De l'effet de la musique, aux effets de l'image; ou pourquoi les modes ne sont pas les "affetti"

Freedberg, David A.

Contrary to the assertions of jan Bialostocki in his famous article entitled "Das Modusproblem in der bildenden Kunsten", the idea of ​​modes in art (and in painting in particular) was not widespread, at least until the middle of the seventeenth century - time from which it would experience a long-lasting vogue. Now, the introduction of this notion among the major questions in the history of art is due to the influence of a single man: I mean Nicolas Poussin. This is why I will not evoke Tasso himself, but the painter who knew how to use his theoretical contribution with doubtless unequaled intelligence. I will therefore not discuss his well-known use of subjects borrowed from Tasso, but rather some aspects of the poetic and musical doctrine of "modes" which occupies a central position in Poussin's work and which may contribute to clarifying some aspects of the question of affetti, rather, brings some suggestions on the problem of the relationship between the appearance of images and their effects - in particular emotional - on the mind.


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Also Published In

La Jérusalem délivrée du Tasse: poésie, peinture, musique, ballet: actes du colloque organisé au muse̋e du Louvre . . . les 13 et 14 novembre 1996
Musée du Louvre

More About This Work

Academic Units
Art History and Archaeology
Published Here
April 7, 2010