The Rhetoric of Perspective
Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting
Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.
Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.
Introduction: The Thought of Painting
1. The Invisibility of Depth
Merleau-Ponty, Lacan, and the Lure of Painting
2. Truth in Breakfast Painting
Horror Vacui versus the Void and Pascal's Geometrical Rhetoric
3. The Rhetoric of Perspective
Panofsky, Damisch, and Anamorphosis
4. Perspective as Allegorical Form
Vanitas Painting and Benjamin's Allegory of Truth
Conclusion: The Look of Painting