Foucault OrderThings Ch1.2

8/12/2019 Foucault OrderThings Ch1.2

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Michel Foucault, THE ORDER OF THINGS

An Archeology of the Human Sciences

A translation of es Mots et les choses !"#$$%


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&ART "

'HA&TER I

as Meninas

"

The (ainter is stan)ing a little *ac+ from his canas -"./ He is glancing at his mo)el0 (erha(s he is consi)ering

1hether to a)) some finishing touch, though it is also (ossi*le that the first stro+e has not yet *een ma)e/ Thearm hol)ing the *rush is *ent to the left, to1ar)s the (alette0 it is motionless, for an instant, *et1een canas an)

(aints/ The s+ille) han) is sus(en)e) in mi)2air, arreste) in ra(t attention on the (ainter3s ga4e0 an) the ga4e, in

return, 1aits u(on the arreste) gesture/ 5et1een the fine (oint of the *rush an) the steely ga4e, the scene is a*outto yiel) u( its olume/

5ut not 1ithout a su*tle system of feints/ 5y stan)ing *ac+ a little, the (ainter has (lace) himself to one si)e of

the (ainting on 1hich he is 1or+ing/ That is, for the s(ectator3at (resent o*sering him he is to the right of his

canas, 1hile the latter, the canas, ta+es u( the 1hole of the e6treme left/ An) the canas has its *ac+ turne) to

that s(ectator7 he can see nothing of it *ut the reerse si)e, together 1ith the huge frame on 1hich it is stretche)/

The (ainter, on the other han), is (erfectly isi*le in his full height0 or at any rate, he is not mas+e) *y the tall

canas 1hich may soon a*sor* him, 1hen, ta+ing a ste( to1ar)s it again, he returns to his tas+0 he has no )ou*t

8ust a((eare), at this ery instant, *efore the eyes of the s(ectator, emerging from 1hat is irtually a sort of ast

cage (ro8ecte) *ac+1ar)s *y the surface he is (ainting/ No1 he can *e seen, caught in a moment of stillness, atthe neutral centre of this oscillation/ His )ar+ torso an) *right face are half21ay *et1een the isi*le an) the

inisi*le7 emerging from that canas *eyon) our ie1, he moes into our ga4e0 *ut 1hen, in a moment, he ma+es

a ste( to the right, remoing himself from our ga4e, he 1ill *e stan)ing e6actly in front of the canas he is

(ainting0 he 1ill enter that region 1here his (ainting, neglecte) for an instant, 1ill, for him, *ecome isi*le once

more, free of sha)o1 an)

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TH5 ORDER OF THINGS

free of reticence/ As though the (ainter coul) not at the same time *e seen on the (icture 1here he is re(resente)

an) also see that u(on 1hich he is re(resenting something/ He rules at the threshol) of those t1o incom(ati*le

isi*ilities/The (ainter is loo+ing, his face turne) slightly an) his hea) leaning to1ar)s one shoul)er/ He is staring at a (oint

to 1hich, een though it is inisi*le, 1e, the s(ectators, can easily assign an o*8ect, since it is 1e, ourseles, 1ho

are that (oint7 our *o)ies, our faces, our eyes/ The s(ectacle he is o*sering is thus )ou*ly inisi*le7 first,*ecause it is not re(resente) 1ithin the s(ace of the (ainting, an), secon), *ecause it is situate) (recisely in that

*lin) (oint, in that essential hi)ing2(lace into 1hich our ga4e )isa((ears from ourseles at the moment of our

actual loo+ing/ An) yet, ho1 coul) 1e fail to see that inisi*ility, there in front of our eyes, since it has its o1n

(erce(ti*le e:uialent, its seale)2in figure, in the (ainting itself;


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the s(ectators, are an a))itional factor/ Though greete) *y that ga4e, 1e are also )ismisse) *y it, re(lace) *y that

1hich 1as al1ays there *efore 1e 1ere7 the mo)el itself/ 5ut, inersely, the (ainter3s ga4e, a))resse) to the oi)

confronting him outsi)e the (icture, acce(ts as many mo)els as there are s(ectators0 in this (recise *ut neutral

(lace, the o*serer =

AS MENINAS

an) the o*sere) ta+e (art in a ceaseless e6change/ No ga4e is sta*le, or rather in the neutral furro1 of the ga4e

(iercing at a right angle through the canas, su*8ect an) o*8ect, the s(ectator an) the mo)el, reerse their roles

infinity/ An) here the great canas 1ith its *ac+ to us on the e6treme left of the (icture e6ercises its secon)

function7 stu**ornly inisi*le, it (reents the relation of these ga4es from eer *eing )iscoera*le or )efinitely

esta*lishe)/ The o(a:ue fi6ity that it esta*lishes on one si)e ren)ers foreer unsta*le the (lay of metamor(hoses

esta*lishe) in the centre *et1een s(ectator an) mo)el/ 5ecause 1e can see only that reerse si)e, 1e )o not

+no1 1ho 1e are, or 1hat 1e are )oing/ Seen or seeing; The (ainter is o*sering a (lace 1hich, from moment

to moment, neer ceases to change its content, its form, its face, its i)entity/ 5ut the attentie immo*ility of his

eyes refers us *ac+ to another )irection 1hich they hae often follo1e) alrea)y, an) 1hich soon, there can *e no

)ou*t, they 1ill ta+e again7 that of the motionless canas u(on 1hich is *eing trace), has alrea)y *een trace)

(erha(s, for a long time an) foreer, a (ortrait that 1ill neer again *e erase)/ So that the (ainter3s soereign

ga4e comman)s a irtual triangle 1hose outline )efines this (icture of a (icture7 at the to( 2 the only isi*le

corner 2 the (ainter3s eyes0 at one of the *ase angles, the inisi*le (lace occu(ie) *y the mo)el0 at the other *ase

angle, the figure (ro*a*ly s+etche) out on the inisi*le surface of the canas/

As soon as they (lace the s(ectator in the fiel) of their ga4e, the (ainter3s eyes sei4e hol) of him, force him to

enter the (icture, assign him a (lace at once (riilege) an) inesca(a*le, ley their luminous an) isi*le tri*ute

from him, an) (ro8ect it u(on the inaccessi*le surface of the canas 1ithin the (icture/ He sees his inisi*ility

ma)e isi*le to the (ainter an) trans(ose) into an image foreer inisi*le to himself/ A shoc+ that is augmente)

an) ma)e more ineita*le still *y a marginal tra(/ At the e6treme right, the (icture is lit *y a 1in)o1 re(resente)

in ery shar( (ers(ectie0 so shar( that 1e can see scarcely more than the em*rasure0 so that the floo) of light

streaming through it *athes at the same time, an) 1ith e:ual generosity, t1o neigh*oring s(aces, oerla((ing *ut

irre)uci*le7 the surface of the (ainting, together 1ith the olume it re(resents !1hich is to say, the (ainter3sstu)io, or the salon in 1hich his easel is no1 set u(%, an), in front of that surface, the real olume occu(ie) *y

the s(ectator !or again, the unreal site of the mo)el%/ An) as it (asses through the room from right to left, this

ast floo) of gol)en light carries *oth the s(ectator to1ar)s the (ainter an) the mo)el to1ar)s the canas0 it isthis light too, 1hich, 1ashing oer the (ainter, ma+es him isi*le to the s(ectator an)

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THE ORDER OF THINGS

turns into gol)en lines, in the mo)el3s eyes, the frame of that enigmatic canas on 1hich his image, once

trans(orte) there, is to *e im(risone)/ This e6treme, (artial, scarcely in)icate) 1in)o1 frees a 1hole flo1 of

)aylight 1hich seres as the common locus of the re(resentation/ It *alances the inisi*le canas on the other

si)e of the (icture7 8ust as that canas, *y turning its *ac+ to the s(ectators, fol)s itself in against the (icture

re(resenting it, an) forms, *y the su(erim(osition of its reerse an) isi*le si)e u(on the surface of the (icture

)e(icting it, the groun), inaccessi*le to us, on 1hich there shimmers the Image (ar e6cellence, so )oes the

1in)o1, a (ure a(erture, esta*lish a s(ace as manifest as the other is hi))en0 as much the common groun) of

(ainter, figures, mo)els, an) s(ectators, as the other is solitary !for no one is loo+ing at it, not een the (ainter%/From the right, there streams in through an inisi*le 1in)o1 the (ure olume of a light that ren)ers all

re(resentation isi*le0 to the left e6ten)s the surface that conceals, on the other si)e of its all too isi*le 1oen

te6ture, the re(resentation it *ears/ The light, *y floo)ing the scene !I mean the room as 1ell as the canas, the

room re(resente) on the canas, an) the room in 1hich the canas stan)s%, enelo(s the figures an) the

s(ectators an) carries them 1ith it, un)er the (ainter3s ga4e, to1ar)s the (lace 1here his *rush 1ill re(resent

them/ 5ut that (lace is conceale) from us/


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No1, as it ha((ens, e6actly o((osite the s(ectators 2 ourseles 2 on the 1all forming the far en) of the room,

?ela4:ue4 has re(resente) a series of (ictures0 an) 1e see that among all those hanging canases there is one

that shines 1ith (articular *rightness/ Its frame is 1i)er an) )ar+er than those of the others0 yet there is a fine

1hite line aroun) its inner e)ge )iffusing oer its 1hole surface a light 1hose source is not easy to )etermine0

for it comes from no1here, unless it *e from a s(ace 1ithin itself/ In this strange light, t1o silhouettes are

a((arent, 1hile a*oe them, an) a little *ehin) them, is a heay (ur(le curtain/ The other (ictures reeal little

more than a fe1 (aler (atches *urie) in a )ar+ness 1ithout )e(th/ This (articular one, on the other han), o(ens

onto a (ers(ectie of s(ace in 1hich recogni4a*le forms rece)e from us in a light that *elongs only to itself/Among all these elements inten)e) to (roi)e re(resentations, 1hile im(e)ing them, hi)ing them, concealing

them *ecause of their

$

AS MENINAS

(osition or their )istance from us, this is the only one that fulfils its function in all honesty an) ena*les us to see

1hat it is su((ose) to sho1/ Des(ite its )istance from us, )es(ite the sha)o1s all aroun) it/ 5ut it isn3t a (icture7

it is a mirror/ It offers us at last that enchantment of the )ou*le that until no1 has *een )enie) us, not only *y the

)istant (aintings *ut also *y the light in the foregroun) 1ith its ironic canas/

Of all the re(resentations re(resente) in the (icture this is the only one isi*le0 *ut no one is loo+ing at it/

@(right *esi)e his canas, his attention entirely ta+en u( *y his mo)el, the (ainter is una*le to see this loo+ing2glass shining so softly *ehin) him/ The other figures in the (icture are also, for the most (art, turne) to face 1hat

must *e ta+ing (lace in front 2to1ar)s the *right inisi*ility *or)ering the canas, to1ar)s that *alcony of light

1here their eyes can ga4e at those 1ho are ga4ing *ac+ at them, an) not to1ar)s that )ar+ recess 1hich mar+s

the far en) of the room in 1hich they are re(resente)/ There are, it is true, some hea)s turne) a1ay from us in

(rofile7 *ut not one of them is turne) far enough to see, at the *ac+ of the room, that solitary mirror, that tiny

glo1ing rectangle 1hich is nothing other than isi*ility, yet 1ithout any ga4e a*le to gras( it, to ren)er it actual,

an) to en8oy the su))enly ri(e fruit of the s(ectacle it offers/

It must *e a)mitte) that this in)ifference is e:ualle) only *y the mirror3s o1n/ It is reflecting nothing, in fact, of

all that is there in the same s(ace as itself7 neither the (ainter 1ith his *ac+ to it, nor the figures in the centre of

the room/ It is not the isi*le it reflects, in those *right )e(ths/ In Dutch (ainting it 1as tra)itional for mirrors to

(lay a )u(licating role7

they re(eate) the original contents of the (icture, only insi)e an unreal, mo)ifie), contracte), concae s(ace/

One sa1 in them the same things as one sa1 in the first instance in the (ainting, *ut )ecom(ose) an) re2

com(ose) accor)ing to a )ifferent la1/ Here, the mirror is saying nothing that has alrea)y *een sai) *efore/ et

its (osition is more or less com(letely central7 its u((er e)ge is e6actly on an imaginary line running half21ay

*et1een the to( an) the *ottom of the (ainting, it hangs right in the mi))le of the far 1all !or at least in the

mi))le of the (ortion 1e can see%0 it ought, therefore, to *e goerne) *y the same lines of (ers(ectie as the

(icture itself0 1e might 1ell e6(ect the same stu)io, the same (ainter, the same canas to *e arrange) 1ithin it

accor)ing to an i)entical s(ace0

it coul) *e the (erfect )u(lication/

In fact, it sho1s us nothing of 1hat is re(resente) in the (icture itself/ Its motionless ga4e e6ten)s out in front of

the (icture, into that necessarily

B

TH5 ORDER OF THINGS

inisi*le region 1hich forms its e6terior face, to a((rehen) the figures arrange) in that s(ace/ Instea) ofsurroun)ing isi*le o*8ects, this mirror cuts straight through the 1hole fiel) of the re(resentation, ignoring all it

might a((rehen) 1ithin that fiel), an) restores isi*ility to that 1hich resi)es outsi)e all ie1/ 5ut the

inisi*ility that it oercomes in this 1ay is not the inisi*ility of 1hat is hi))en7 it )oes not ma+e its 1ay aroun)

any o*stacle, it is not )istorting any (ers(ectie, it is a))ressing itself to 1hat is inisi*le *oth *ecause of the

(icture3s structure an) *ecause of its e6istence as (ainting/


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1ithin the (ainting are loo+ing at so fi6e)ly, or at least those 1ho are loo+ing straight ahea)0 it is therefore 1hat

the s(ectator 1oul) *e a*le to see if the (ainting e6ten)e) further for1ar), if its *ottom e)ge 1ere *rought lo1er

until it inclu)e) the figures the (ainter is using as mo)els/ 5ut it is also, since the (icture )oes sto( there,

)is(laying only the (ainter an) his stu)io, 1hat is e6terior to the (icture, in so far as it is a (icture 2 in other

1or)s, a rectangular fragment of lines an) colours inten)e) to re(resent something to the eyes of any (ossi*le

s(ectator/ At the far en) of the room, ignore) *y all, the une6(ecte) mirror hol)s in its glo1 the figures that the

(ainter is loo+ing at !the (ainter in his re(resente), o*8ectie reality, the reality of the (ainter at his 1or+%0 *ut

also the figures that are loo+ing at the (ainter !in that material reality 1hich the lines an) the colours hae lai)out u(on the canas%/ These t1o grou(s of figures are *oth e:ually inaccessi*le, *ut in )ifferent 1ays7 the first

*ecause of an effect of com(osition (eculiar to the (ainting0 the secon) *ecause of the la1 that (resi)es oer the

ery e6istence of all (ictures in general/ Here, the action of re(resentation consists in *ringing one of these t1o

forms of inisi*ility into the (lace of the other, in an unsta*le su(erim(osition 2 an) in ren)ering them *oth, at

the same moment, at the other e6tremity of the (icture 2 at that (ole 1hich is the ery height of itsre(resentation7 that of a reflecte) )e(th in the far recess of the (ainting3s )e(th/ The mirror (roi)es a metathesis

of isi*ility that affects *oth the s(ace re(resente) in the (icture an) its nature as re(resentation0

it allo1s us to see, in the centre of the canas, 1hat in the (ainting is of necessity )ou*ly inisi*le/

A strangely literal, though inerte), a((lication of the a)ice gien, so it is sai), to his (u(il *y the ol) &achero

1hen the former 1as 1or+ing in his stu)io in Seille7 3The image shoul) stan) out from the frame/3

C

AS MENINAS II

5ut (erha(s it is time to gie a name at last to that image 1hich a((ears in the )e(ths of the mirror, an) 1hich

the (ainter is contem(lating in front of the (icture/ &erha(s it 1oul) *e *etter, once an) for all, to )etermine the

i)entities of all the figures (resente) or in)icate) here, so as to aoi) em*roiling ourseles foreer in those

ague, rather a*stract )esignations, so constantly (rone to misun)erstan)ing an) )u(lication, 3the (ainter3, 3the

characters3, 3the mo)els3, 3the s(ectators3, 3the images3/ Rather than (ursue to infinity a language ineita*ly

ina)e:uate to the isi*le fact, it 1oul) *e *etter to say that ?ela4:ue4 com(ose) a (icture0 that in this (icture he

re(resente) himself, in his stu)io or in a room of the Escurial, in the act of (ainting t1o figures 1hom the

Infanta Margarita has come there to 1atch, together 1ith an entourage of )uennas, mai)s of honour, courtiers,

an) )1arfs0 that 1e can attri*ute names to this grou( of (eo(le 1ith great (recision7 tra)ition recogni4es that

here 1e hae Dona Maria Agustina Sarmiente, oer there Nieto, in the foregroun) Nicolaso &ertusato, an Italian8ester/


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is o(ene)/

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THE ORDER OF THINGS

This o(ening is not, li+e the one in the *ac+ 1all, ma)e *y (ulling *ac+ a )oor0 it is the 1hole *rea)th of the

(icture itself, an) the loo+s that (ass across it are not those of a )istant isitor/ The frie4e that occu(ies the

foregroun) an) the mi))le groun) of the (icture re(resents 2 if 1e inclu)e the (ainter 2 eight characters/ Fie of

these, their hea)s more or less *ent, turne) or incline), are loo+ing straight out at right angles to the surface of

the (icture/ The centre of the grou( is occu(ie) *y the little Infanta, 1ith her flare) (in+ an) gray )ress/ The

(rincess is turning her hea) to1ar)s the right si)e of the (icture, 1hile her torso an) the *ig (anniers other )ress

slant a1ay slightly to1ar)s the left0 *ut her ga4e is )irecte) a*solutely straight to1ar)s the s(ectator stan)ing in

front of the (ainting/ A ertical line )ii)ing the canas into t1o e:ual hales 1oul) (ass *et1een the chil)3s

eyes/ Her face is a thir) of the total height of the (icture a*oe the lo1er frame/ So that here, *eyon) all

:uestion, resi)es the (rinci(al theme of the com(osition0 this is the ery o*8ect of this (ainting/ As though to

(roe this an) to em(hasi4e it een more, ?ela4:ue4 has ma)e use of a tra)itional isual )eice7 *esi)e the

(rinci(al figure he has (lace) a secon)ary one, +neeling an) loo+ing in to1ar)s the central one/ i+e a )onor in

(rayer, li+e an angel greeting the ?irgin, a mai) of honour on her +nees is stretching out her han)s to1ar)s the

(rincess/ Her face stan)s out in (erfect (rofile against the *ac+groun)/ It is at the same height as that of the

chil)/ This atten)ant is loo+ing at the (rincess an) only at the (rincess/ A little to the right, there stan)s another

mai) of honour, also turne) to1ar)s the Infanta, leaning slightly oer her, *ut 1ith her eyes clearly )irecte)to1ar)s the front, to1ar)s the same s(ot alrea)y *eing ga4e) at *y the (ainter an) the (rincess/ astly, t1o other

grou(s ma)e u( of t1o figures each7 one of these grou(s is further a1ay0 the other, ma)e u( of the t1o )1arfs, is

right in the foregroun)/ One character in each of these (airs is loo+ing straight out, the other to the left or the

right/ 5ecause of their (ositions an) their si4e, these t1o grou(s corres(on) an) themseles form a (air7 *ehin),

the courtiers !the 1oman, to the left, loo+s to the right%0 in front, the )1arfs !the *oy, 1ho is at the e6treme right,

loo+s in to1ar)s the centre of the (icture%/ This grou( of characters, arrange) in this manner, can *e ta+en to

constitute, accor)ing to the 1ay one loo+s at the (icture an) the centre of reference chosen, t1o )ifferent figures/

The first 1oul) *e a large 7 the to( left2han) (oint of this 1oul) *e the (ainter3s eyes0 the to( right2han) one,

the male courtier3s eyes0 at the *ottom left2han) comer there is the comer of the canas re(resente) 1ith its *ac+

to1ar)s us !or,

"AS M5NINAS

more e6actly, the foot of the easel%0 at the *ottom right2han) corner, the )1arf !his foot on the )og3s *ac+%/


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conerge at a ery shar( angle, an) the (oint 1here they meet, s(ringing out from the (ainte) surface, occurs in

front of the (icture, more or less e6actly at the s(ot from 1hich 1e are o*sering it/ It is an uncertain (oint

*ecause 1e cannot see it0 yet it is an ineita*le an) (erfectly )efine) (oint too, since it is )etermine) *y those

t1o )ominating figures an) confirme) further *y other, a)8acent )otte) lines 1hich also hae their origin insi)e

the (icture an) emerge from it in a similar fashion/


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A reflection that sho1s us :uite sim(ly, an) in sha)o1, 1hat all those in the foregroun) are loo+ing at/ It

restores, as if *y magic, 1hat is lac+ing in eery ga4e7 in the (ainter3s, the mo)el, 1hich his re(resente) )ou*le

is )u(licating oer there in the (icture0 in the +ing3s, his (ortrait, 1hich is *eing finishe) off on that slo(e of the

canas that he cannot (erceie from 1here he stan)s0 in that of the s(ectator, the real centre of the scene, 1hose

(lace he himself has ta+en as though *y usur(ation/ 5ut (erha(s this generosity on the (art of the mirror is

feigne)0 (erha(s it is hi)ing as much as an) een more than it reeals/ That s(ace 1here the +ing an) his 1ife

hol) s1ay *elongs e:ually 1ell to the artist an) to the s(ectator7

in the )e(ths of the mirror there coul) also a((ear 2 there ought to a((ear 2 the anonymous face of the (asser2*y

an) that of ?ela4:ue4/ For the function of that reflection is to )ra1 into the interior of the (icture 1hat is

intimately foreign to it7 the ga4e 1hich has organi4e) it an) the ga4e for 1hich it is )is(laye)/ 5ut *ecause they

are (resent 1ithin the (icture, to the right an) to the left, the artist an) the isitor cannot *e gien a (lace in the

mirror7 8ust as the +ing a((ears in the )e(ths of the loo+ing2glass (recisely *ecause he )oes not *elong to the

(icture/

In the great olute that runs aroun) the (erimeter of the stu)io, from the ga4e of the (ainter, 1ith his motionless

han) an) (alette, right roun) to the finishe) (aintings, re(resentation came into *eing, reache) com(letion, only

to )issole once more into the light0 the cycle 1as com(lete/ The lines that run through the )e(th of the (icture,

on the other han), are not com(lete0 they all lac+ a segment of their tra8ectories/ This ga( is

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THE ORDER OF THINGS

cause) *y the a*sence of the +ing 2 an a*sence that is an artifice on the (art of the (ainter/ 5ut this artifice *oth

conceals an) in)icates another acancy 1hich is, on the contrary, imme)iate7 that of the (ainter an) the s(ectator

1hen they are loo+ing at or com(osing the (icture/ It may *e that, in this (icture, as in all the re(resentations of

1hich it is, as it 1ere, the manifest essence, the (rofoun) inisi*ility of 1hat one sees is inse(ara*le from the

inisi*ility of the (erson seeing 2 )es(ite all mirrors, reflections, imitations, an) (ortraits/ Aroun) the scene are

arrange) all the signs an) successie forms of re(resentation0 *ut the )ou*le relation of the re(resentation to its

mo)el an) to its soereign, to its author as 1ell as to the (erson to 1hom it is *eing offere), this relation is

necessarily interru(te)/ It can neer *e (resent 1ithout some resi)uum, een in a re(resentation that offers itself

as a s(ectacle/ In the )e(th that traerses the (icture, hollo1ing it into a fictitious recess an) (ro8ecting it

for1ar) in front of itself, it is not (ossi*le for the (ure felicity of the image eer to (resent in a full light *oth the

master 1ho is re(resenting an) the soereign 1ho is *eing re(resente)/

&erha(s there e6ists, in this (ainting *y ?ela4:ue4, the re(resentation as it 1ere, of 'lassical re(resentation, an)

the )efinition of the s(ace it o(ens u( to us/ An), in)ee), re(resentation un)erta+es to re(resent itself here in all

its elements, 1ith its images, the eyes to 1hich it is offere), the faces it ma+es isi*le, the gestures that call it

into *eing/ 5ut there, in the mi)st of this )is(ersion 1hich it is simultaneously grou(ing together an) s(rea)ing

out *efore us, in)icate) com(ellingly from eery si)e, is an essential oi)7 the necessary )isa((earance of that

1hich is its foun)ation 2 of the (erson it resem*les an) the (erson in 1hose eyes it is only a resem*lance/ This

ery su*8ect 2 1hich is the same 2 has *een eli)e)/ An) re(resentation, free) finally from the relation that 1as

im(e)ing it, can offer itself as re(resentation in its (ure form/

Documents

Foucault OrderThings Ch1.2