8/15/2023 0 Comments Garden of hesperides golden applesHence, Didi-Huberman encourages a reading which “embodies” or “incarnates” the human form, and which explores its “symptoms”. Such reading of the images equates the body with a metaphor, with an abstract idea or with a simple iconographical theme. In such exclusive reading, the images are reduced to paradigms and the forms are even contradicted by the idealized content that is ascribed to them. To him, visual representation has an underside that is not sufficiently taken into account (Didi-Huberman 1990) and this mostly because of the humanist primacy of idea over the body. This relational process he defines as “metaphor”, a process in which the sign can only be legible within the exclusive system of iconology. One of his contentions about iconology is that it posits too close a relation between form and intellectual discourse. They come to articulate fantasies and anxieties that are both idiosyncratic and contextualized.Ĥ Georges Didi-Huberman’s study of images is particularly helpful in exploring such tensions. In these cases, the symbolism of the golden apples conflates mythical, gendered and political dimensions, especially because they are associated with woman. 3 The myths of Atalanta’s race or of the garden of the Hesperides are particularly present in many canvases, either directly or indirectly. They allow painters to represent eroticized subjects, such as the female nude in the Judgment of Paris. In Victorian painting, the golden apples too are invested with much symbolic significance. They function as tokens of desire and sensual bliss, especially when they are given by Aphrodite. In Greek mythology, the golden apples are divine fruits that confer immortality or fecundity. In particular, the myth of the golden apples is often associated to female beauty. But many “classical paintings” also treat myths in which this precious material features prominently. In such cases, its function is wholly decorative, but it has a further value for Aesthetic artists: gold is the colour of religious art par excellence and so it participates in the elevation of beauty-mostly the beauty of the body-to a cult. It is employed as pure colour, with backgrounds or scenes glimmering with a golden lustre, as in a number of Aesthetic paintings by Leighton. 3 In J. Solomon’s The Judgment of Paris (1896), for instance, the apple has the same shape as the bre (.)ģ Gold as a pigment is lavishly used in these eclectic pictorial trends.
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