In: ARS, vol. 55, no. 1
Matúš Novosad
Details:
Year, pages: 2022, 59 - 75
Language: slo
Keywords:
fantasy, narrative, Reni, Ovidius, sadism, masochism, Elsheimer, network paintings,
reversibility
Article type: materiál
About article:
The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem
and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and
’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for
such an extensive treatment of the emergence of meaning from the movement of the view of the
image, precisely in relation to the transgressive principles of networking images outside themselves.
I noticed how the look and the story were connected. The movement of the eye along the image
does not have to be in a single line, but can only subsequently form a single line with a jump; this
leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network
paintings (originating from the Cologne area of the eighties and nineties), which also worked in large
scale with the text, context and painting principles. It may be too distant a relationship at first glance,
but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to
Kandinsky. The predecessor and distant follower worked as I will show below with the movement
of the eye around the image.
How to cite:
ISO 690:
Novosad, M. 2022. Album fantázií s Guidom Renim. In ARS, vol. 55, no.1, pp. 59-75. 0044-9008. DOI: https://doi.org/10.31577/ars-2022-0005
APA:
Novosad, M. (2022). Album fantázií s Guidom Renim. ARS, 55(1), 59-75. 0044-9008. DOI: https://doi.org/10.31577/ars-2022-0005
About edition:
Published: 1. 8. 2022