My rating: 4 of 5 stars
The title promised a lot, but I somehow did not get really into it until the second half. While proving that it is not possible to talk about painting without a certain frame of reference, which in this case is built mostly out of bits and pieces of structural linguistics, Marin’s analysis of Caravaggio and Poussin’s work (and some others along the way) makes a clear case for an art history that delves deeper into the ways artistic production and aesthetic perception structured and influenced each other in the time frame those works were created in, and also beyond.
I’m currently following a self-drafted reading programme on aesthetics, with a focus on painting, trying to put this book in relation to Deleuze’s Logic of Sensation, his course on paiting, and more recently, Ranciere’s work. I’m looking forward to rereading this particular book looking for more connections.