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| Claude Lorrain's Port Scenes: the Knowable, the Liminal and the Incommensurable Itay Sapir This project proposes a historical, theoretical, topological and narratological reading of Claude Lorrain's port scenes, a genre in which the French-Roman painter excelled all through his career. It is the second section of a three-part research programme on the links between seventeenth-century Italian painting and contemporaneous conceptions of knowledge, its potentialities and its limits. Following the PhD dissertation, analysing Roman tenebrism in relation to the sceptical crisis of knowledge around 1600, it is now the aim to show how Claude's port scenes represent and perform another complex viewpoint on fundamental epistemological questions. These works, with their typical binary structure, present innumerable subtle variations of dialectics: between land and sea; culture and nature; classical architecture in perspective and the limitless extension towards the horizon; the knowable and the inaccessible infinite. Ports are depicted in Le Lorrain's compositions as the liminal spaces 'par excellence', in which the epistemological 'hubris' of human, and in particular European culture, is questioned and critiqued. The binary structural pattern, repeated and varied in the corpus of Claude's port scenes, will be juxtaposed with the different narratives depicted in these paintings, mostly stories of departures and arrivals involving inter-cultural exchanges. Claude's own historical and biographical context, as a foreign artist in prosperous Baroque Rome, as well as the content of his commissions, will be explored as a possible framework for the recurrent, perhaps obsessive choice of port scenes as a sub-genre of Claude's "ideal landscapes". < zurück |
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