Abstract
The semiotic analysis of sculptures, paintings, and photographs constitutes yet another source for deciphering the meanings of love. The philosopher Plotinus claimed that art revealed the true nature of an object more accurately than just viewing it with the eyes, raising our experience of the mundane to a contemplation of universal truths. This is certainly true of the visual representations of love. Indeed, of all the grand visions conjured up by the human imagination, few captivate us more than the moment when lovers lock in an intimate embrace or a passionate kiss, as in the great kiss sculpture by Rodin, which recounts visually the medieval story of the star-crossed lovers, Paolo and Francesca, as well as capturing the intensity of their love through an indelible yet fatalistic embrace cast into marble. The painters and sculptors who have made love the object of their art are among the greatest of all time, from the ancient anonymous sculptors to Titian, Rodin, Hayez, and even the pop artists, to mention but a handful. They have left us a powerful “pictography” of love that speaks to our eyes and heart directly. The purpose of this chapter is to describe this pictography. The history of love as documented in images is intertwined with the history of entire societies. The ancient Greek sculptures portrayed love gods goddesses as powerful and defiant, and as founders of their worlds. From Aphrodite and Adonis to the mischievous love satyrs and nymphs, we have before us a powerful visual almanac of how love and sex have stimulated the imagination of artists from the dawn of history.
Art and love are the same thing: It’s the process of seeing yourself in things that are not you.
—Chuck Klosterman (b. 1972)
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Cited in David Wallechinsky and Amy Wallace, The Book of Lists (Edinburgh: Canongate Books, 2004), p. 22.
- 2.
Denis Dutton, The Art Instinct: Beauty, Pleasure, and Human Evolution (London: Bloomsbury, 2009).
- 3.
Susanne K. Langer, Philosophy in a New Key (New York: Mentor Books, 1948).
- 4.
Roland Barthes, “Rhetoric of the Image,” in Carolyn Handa (ed.), Visual Rhetoric in a Visual World: A Critical Sourcebook (New York: Bedford/St. Martin’s, 2004, originally 1964).
- 5.
John Berger, Ways of Seeing (Harmondsworth: Penguin, 1972).
- 6.
Rudolph Arnheim, Visual Thinking (Berkeley: University of California Press, 1969).
- 7.
Vico, The New Science, op. cit.
- 8.
Donald Verene, Vico’s Science of Imagination (Ithaca: Cornell University Press, 1981), p. 101.
- 9.
Douglas Coupland, Generation X (New York: St. Martin’s, 1991).
- 10.
Marina Roy, Sign After the X (Vancouver: Advance Artspeak, 2000).
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Danesi, M. (2019). Love Images. In: The Semiotics of Love. Semiotics and Popular Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-18111-6_5
Download citation
DOI: https://doi.org/10.1007/978-3-030-18111-6_5
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-18110-9
Online ISBN: 978-3-030-18111-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)