TY - JOUR
TI - Diderot’s synaesthesias: the omnipresence of the hearing in Diderot’s pictorial criticism
AU - Langbour, Nadège
TI - Diderot’s synaesthesias: the omnipresence of the hearing in Diderot’s pictorial criticism
AB - To respond to an order from his friend Grimm who publishes the Correspondance littéraire, Diderot writes, between 1759 and 1781, nine accounts of the painting and sculpture exhibitions taking place at the Louvre. In his art critic, Diderot often uses the vocabulary of music and noise. Sometimes he evokes the hubbub of colors, sometimes he evokes their harmony. Then, he questions the definition of painting as “silent poetry”. The use of this vocabulary is not only metaphorical. Diderot’s sensualist aesthetics and philosophy encourage him to use the vocabulary of the auditory to establish correspondences between the visual and auditory sensations. So, he developes synaesthesias that announce those of Baudelaire.
VL - 2021
IS - Numéro 25
PY - 2021
SN - 2300-4681
C1 - 2353-8953
SP - 9
EP - 31
DO - 10.4467/23538953CE.20.021.13545
UR - https://ejournals.eu/en/journal/cahiers-erta/article/les-synesthesies-diderotiennes-lomnipresence-de-lauditif-dans-la-critique-picturale-de-diderot
KW - art critism
KW - painting
KW - music
KW - auditory
KW - synesthesia