modernidade

'Flaubert is to the library what Manet is to the museum', diz Foucault, 'They write, they paint in a fundamental rapport with what was painted and written - or rather with that in painting and writing which remains open indefinitely. Their art erects itself where the archive forms itself.'

"Just as Flaubert's The Temptation of Saint Anthony derives its being from the play of archival material, so too with the work of Manet. (...) Déjeuner sur l'herbe borrowed its tri-figural arrangement from a detail in Marcantonio Raimondi's engraving The Judgement of Paris (c.1525), itself a copy of a lost cartoon by Raphael. (Joseph Tanke, daqui)  Manet merged it with Giorgone's Fête Champêtre (c.1510-1511), which he copied as an art student. Scenes of pastoral repose, such as this one, have a long history in Western art, and were quite popular with the nineteenth-century French bourgeoisie.'

Foucalt sobre Manet: 'No longer is painting content to represent things, but now acquires a self-referentiality about its ability to represent, a process that ultimately "throws off" (se débarasse) representation itself.", ainda de Foucault's philosophy of art: a genealogy of modernity.