Foucault's introduction to the epistemic origins of the human sciences is a forensic analysis of the painting Las Meninas (The Ladies-in-waiting, 1656), by Diego Velázquez, as an objet d’art. Las Meninas es un cuadro enigmático y desafiante en relación al problema de la representación debido a que nos plantea la dialéctica de las relaciones del signo con la cosa. For Foucault, Las Meninas contains the first signs of a new episteme, or way of thinking, in European art. Michel Foucault y Las meninas 1 En abril de 1966, la prestigiosa editorial Gallimard publicó Las palabras y las cosas, de Michel Foucault. How can we explain these anti-psychological, transgressive moves in the face of the post-representation convergence thesis that would imply an art-knowledge parallel in the psychologization of the modern subject? This difference between the Classical divergence and modern convergence of art and knowledge is crucial for at least two reasons.  Michel Foucault, The Order of Things: An Archeology of the Human Sciences (New York: Vintage, 1970), p. 318. Examining these questions in some detail allows me to engage broader questions about the value of Tanke's approach to Foucault's aesthetic writings, including the book's investment in linking Foucault's writings about art to ethical claims about aesthetic freedom. Tanke presents Foucault's writings on art as a "necessary corrective to the ahistorical tendencies of philosophical aesthetics" (5). As Tanke points out, and as readers of Foucault's The Order of Things (1966) already know, "representation" in Foucault has a specific, historically inflected epistemic meaning: representation names the ordering of knowledge that characterizes the Classical age, the 17th- and 18th-century episteme that follows the Renaissance age of resemblance and which gives way to modernity and the rise of man at the end of the 18th century. Copyright © 2020 Notre Dame Philosophical Reviews Tanke repeatedly describes this freedom as a force unearthed in history: Rebeyrolle's canvasses "dig into painting's representative capacity to unearth a play of forces" (90); similarly, Michals "overturns the conventions of photography by reaching into history to unearth alternative strategies" (153); and Foucault himself, in his lectures on the Cynics, "unearths an alternative path out of the ancient period" (169). Resumen Del Libro Marx Para Principiantes, Resumen El Ingenioso Hidalgo Don Quijote La Mancha Capitulos XIX-XXI. Tanke bookends his readings of art in modernity with an opening interpretation of Foucault's famous commentary on Diego Velázquez's Las Meninas (1656) in The Order of Things (1966) and, in the final chapter, an analysis of Foucault's last Collège de France lectures, Le Courage de la vérité, on the Cynical life as a work of art. ããè¦³è³è ã¨çµµã®ç»å ´äººç©ã¨ã®éã«ã¼ãããããé¢ä¿ãåµé ããã But what are we to make of the genealogical rupture this implies? 1945), and Duane Michals (b. First, it exposes basic contradictions in Tanke's (and perhaps Foucault's) historiographical frame. (1881-1882) destabilizes and mobilizes the viewer's position in contrast to. More problematically, what is the relation between this persistence of resemblance and the break with quattrocento painting, ushered in by Manet (Chapter Two), that marks the advent of non-representational modernity? If we have long understood Foucault to be a thinker of epistemic and genealogical rupture, the relation between that rupture and the visual realm has not yet been as clearly articulated as it is in. Las Meninas according to Foucault's analysis presents a fascinating conception of the act representation representing itself (I think) and that is why I've included my analysis here. Especially in Chapters Four and Five, Tanke links Foucault's thinking about aesthetics to his later work on the ethical formation of the subject. And while this transhistorical view of art as a disruptive, may appeal to some, it is not consistent with Foucault's own thinking about power as the productive play of forces or freedom as a relational practic, : "the freedom of the subject in relation to others … constitutes the very stuff of ethics.". Clearly not, since Tanke repeatedly characterizes modern art as a rupturing force in the present. Forces, strategies, paths, the elementary: these unearthed energies seem to explode into the present as the timeless eruptions of freedom itself. Las meninas (como se conoce a esta obra desde el siglo XIX) o La familia de Felipe IV (según se describe en el inventario de 1734) se considera la obra maestra del pintor del Siglo de Oro español Diego Velázquez. Study regarding the relation between art and knowledge, despite the post-representation thesis in the age representation... These conundrums in Foucault 's ) historiographical frame my final question about ethics aesthetic... A little back from his canvas [ l ] el contemplado, del modelo y el contemplado del... Is the historico-philosophical relation between art and knowledge, despite the post-representation convergence thesis of studies. Explicit: painting ) in modern art as a practice of Freedom, '' in (! Foucauldian claim that, beginning with Manet in the release of image-events finds. 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