An imaginary museum that exhibits all of the world’s greatest art under one French philosopher Andre Malraux in his book Le Musée Imaginaire (). A realisation of Malraux’s ‘museum without walls’ (as it was translated). New Post Every Wednesday pm ET. ANDRE MALRAUX André Malraux (3 November – 23 November ), was a man for all. Explorer of Cambodia, freedom fighter (Spanish Civil War), Resistance leader, and Gestapo prisoner André Malraux emerged from World War II.

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Photogravure etching in Kamakura Japan since Enter your email address to subscribe to this blog and receive notifications of new posts by email. Great art, he wrote, made accessible to all through reproductions in books, is liberated from the time, place, and history muweum which they are usually confined by museum categories.

Malraux and the Musee Imaginaire: the ‘museum without walls’ – Culture in Virtual Spaces

Removed from historical context, wal,s can be rearranged in the mind according to aesthetic or philosophical qualities. In this way it has the power to transcend the bitter partisan divisions that Malraux knew so well.

Malraux recognized that while taking the great works of art outside of museums liberated them from history, it also threatened to homogenize them into reproducible formats. Everything from the gigantic Sphinx to medieval miniatures assumes the same dimensions in art books, obliterating the effects of scale.

Despite the great advances in color reproduction made by publishers like Skira now Skira-RizzoliAlinariand others, the reproductions were inevitably flat and standardized.

They could never really substitute for the originals, nor were they meant to. If they served merely as a reminder of the originals, the creative connection would not be lost. The newest form of this cultural commons kalraux the World Wide Mjseum.

With the Google Art Project andfe, the firm turns its mapping skills to the graphic arts, enabling viewers to zoom-in on artwork maoraux the same way Google-Earth lets them zoom-in on the ground. Van Gogh, Starry Night detail. At each museum you can wander around the museum virtually as if you were there, withput a simulated walk-through the galleries.


Unobtrusive links at right go to brief notes, history, tags, artist information, more works by this artist, and more works in this museum. Like the artwork, all the information is viewable in any level of detail that may be desired at the moment — brief notes, expandable to more detailed notes, which in turn link to scholarly treatises. The Viewing Notes are straightforward, well-informed, and thankfully jargon-free. Insights gained there can be instantly explored in closeup views. Just as with art books, homogenization-by-format is a risk.

Pixels on a screen are not the same as paint on canvas or ink embedded in etching paper. My Inklings essay looks into this through the innovations wituout optics, etching, and light-sensitive materials that led to photogravure in the 19th century. Les Andelys, detail of photogravure etching.

We are bombarded to the point of musemu inured with images, and clearly a vast number of people are increasingly unable to perceive the importance of the physicality of images, even when they are declared to be art. People who are looking at and theoretically being aalls by ads are typically receiving them in a flat manner, the manner of video, the computer screen, billboards, magazines, etc.

Their medium is chosen to translate into a wide variety of these information-conveyors. The lowest common denominator of this flatness tends to be photography, and its ubiquitous use is helping erode the perception of physicality in both ads and art. Its strength is its expediency. I am a painter, drawer and printmaker of unpeopled landscapes. From her own experience, April Gornik observes that looking at artwork with a sense of how it is made enhances our ability to relate it to our own lives.

Light in the distance draws us towards infinity and a sense of the immensity of space extending limitlessly out from us, but which Vermeer presents with great intimacy. A painting in the flesh is, and should be, a somatic experience for the viewer.


An image painted by hand, rather than reproduced in a magazine, museuk in its painted surface a person, a world, in the manner in which the paint is applied and the object made, be it realistic or abstract. The real power of visual art is its capacity as virtual reality to create a complex physical experience. Painting is so specifically powerful, and more powerful than other mediums, because an artist who makes one builds into it their actual experience, including decision-making, intent, corrections, and importantly actual time passed.

Paintings generate all this experience back to the viewer. The summary that a painting is of all that activity is capable of both holding and regenerating that experience. The object powers walls somatic connection that remains between the withuot of art, the artist who made it, and the person looking at it.

That connection is an essential part of the human experience, a verification of humanity, history, and our connectedness itself.

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I would only add that original printmaking equally embodies the personal experience of the artist, and takes equal part in the connectedness of human experience. It is a marvelous resource for artists and collectors alike to stay in touch with their senses and with the creative forces of art and the human experience. Les Andelys, photogravure etching, Peter Miller. Copyright Peter Miller.

R theme designed by varometro. About Exposition de photogravures sur la Mongolie Sub Rosa.

“Le Musée imaginaire” by André Malraux | neatly art

About me Anere etching in Kamakura Japan since Photogravure etchings at www. Photogravure etchings at http: Vermeer, View of Delft. April Gornik, Halang Bay.

April Gornik, Shining Sea. April Gornik, Light through the Forest. You can follow any responses to this entry through the RSS 2.

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