Diderot’s Letter on the Blind (1749) is widely held to have inaugurated a new, rational and humane approach to visual impairment, which, so it has further been argued, helped to shape the way that the blind were represented by eighteenth-century French artists. By contrast, this essay contends that such images are heavily indebted to iconographic convention and other established tropes of blindness, as well as to the professional and personal concerns of the artists. Most of these works depict a blind beggar from the Hopital des Quinze-Vingts, which was located in the heart of Paris; a quintessentially Parisian figure, the ‘quinze-vingt’ embodied the city’s street life. Such insights as the artists offer into blindness as a condition can be attributed as much to the familiarity of this figure as to the enlightened ideas of philosophers such as Diderot. Nor did works of art challenge the outsider status of the blind man, since it was in his isolation and vulnerability that the significance and appeal of this figure very largely lay. Works discussed include etchings by Abraham Bosse and Sebastien Le Clerc, a drawing by (and print after) Edme Bouchardon, paintings by Jean-Simeon Chardin and Jean-Baptiste Greuze and Jacques-Louis David’s Belisarius.
人们普遍认为，狄德罗的《关于盲人的信》(1749年)开创了一种新的、理性的、人道的方法来对待视力障碍，因此，人们进一步认为，这有助于塑造18世纪法国艺术家描绘盲人的方式。相比之下，这篇文章认为，这些图像严重依赖于图像传统和其他既定的失明比喻，以及艺术家的专业和个人关注。这些作品大多描绘了一个来自位于巴黎中心的昆兹维茨医院的盲人乞丐;“quinze-vingt”是典型的巴黎人，体现了这座城市的街头生活。艺术家们对失明的洞见，既可以归因于对这个人物的熟悉，也可以归因于狄德罗等哲学家的开明思想。艺术作品也没有挑战盲人的局外人地位，因为这个人物的意义和吸引力很大程度上在于他的孤立和脆弱。讨论的作品包括Abraham Bosse和Sebastien Le Clerc的蚀刻画，Edme Bouchardon的素描(以及之后的版画)，Jean-Simeon Chardin和Jean-Baptiste Greuze的油画，以及Jacques-Louis David的Belisarius。
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