Citant Thomas Struth à propos de ses portraits de familles, " 'The portrait is the subject matter in photography where the problem of the media [why the plural?] are the most visible' " (192). Ann Goldstein comments: "For him, those problems begin with the reality of putting a person in front of a camera, and the complex dynamics that take place between the sitter, the photographer and the spectator".
Propos de Fried : repéré aussi dans l'histoire de la peinture : "In mid-18th century France, for example, the portrait was a quiestionable genre in the eyes of many art critics. As I remark in Absorption and Theatricality, a frequent objection was that portraiture required the exercise merely of mechanical skills rather than of the pictorial imagination. 'But there was', I suggest, 'still another source of critical misgiving - the inherent theatricality of the genre. More nakedly and as it were categorically than the conventions of other genres, those of the portrait call for exhibiting a subject, the sitter, to the public gaze; put another way, the basic action depicted in a portrait is the sitter's presentation of himself or herself to be beheld. It followas taht the portrait as a genre was singularly ill-equiped to comply with the demand that a painting negate or neutralize the presence of the beholder, a demand that ... became a matter of urgent, if for the most part less thant fully conscious, concern for French art critics during these years." (192-193)
Voir Goffman, La Présentation de soi. La mise en scène de la vie quotidienne (Minuit, 1973).
Plus loin, rappel de Barthes, Chambre claire, sur le rapport intime entre photographie et pose : "what founds the nature of Photography is the Pose". + expresses predilection for photographs of persons who look directly into the camera, "[who look me] straight in the eye". Barthes's antitheatricalism.
Propos de Fried : repéré aussi dans l'histoire de la peinture : "In mid-18th century France, for example, the portrait was a quiestionable genre in the eyes of many art critics. As I remark in Absorption and Theatricality, a frequent objection was that portraiture required the exercise merely of mechanical skills rather than of the pictorial imagination. 'But there was', I suggest, 'still another source of critical misgiving - the inherent theatricality of the genre. More nakedly and as it were categorically than the conventions of other genres, those of the portrait call for exhibiting a subject, the sitter, to the public gaze; put another way, the basic action depicted in a portrait is the sitter's presentation of himself or herself to be beheld. It followas taht the portrait as a genre was singularly ill-equiped to comply with the demand that a painting negate or neutralize the presence of the beholder, a demand that ... became a matter of urgent, if for the most part less thant fully conscious, concern for French art critics during these years." (192-193)
Voir Goffman, La Présentation de soi. La mise en scène de la vie quotidienne (Minuit, 1973).
Plus loin, rappel de Barthes, Chambre claire, sur le rapport intime entre photographie et pose : "what founds the nature of Photography is the Pose". + expresses predilection for photographs of persons who look directly into the camera, "[who look me] straight in the eye". Barthes's antitheatricalism.
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