750 Malerei, Gemälde
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Heinrich von Kleist, the Prussian, a cosmopolitan? His plays and novellas written with moral-worldly intent? He was indeed restless, lived briefly in Paris and Switzerland, created literature about the revolution in Haiti and the earthquake in Santiago de Chile (although he may really have been thinking of the Lisbon earthquake). And repeatedly, he placed the personae of his novellas in strong relationship to the wider world. [...] Scenes of shipwreck and threatened demise furnish the paradigm for an event-ethic: an ethic, taking narrative form, that Kleist articulated against the backdrop of a state intervention increasingly rendering impossible the cosmopolitanism of Kantian stamp. Instead of the universality of world-citizenship, Kleist presents us with the event's impersonality; instead of a logic of progress, of general moral self-formation, the event's insistent repetition. This is the context for Kleist's editorial reworking of Achim von Arnim's and Clemens Brentano's critique, written for the "Abendblätter", of Caspar David Friedrich's painting now known as "The Monk by the Sea" (1808–1810). Kleist here defines Friedrich's paintings as capturing a relationship to the world grounded in this different ethics; in his reworking, precisely at the point where Kleist decisively moves away from the version submitted by the two Romantic authors, he tellingly speaks of a "sad and uncomfortable position in the world."
Placing the moral spectator : realism, perspective, and affect in the visual culture of shipwreck
(2024)
Disaster at sea has long constituted a prominent aesthetic trope, a singular site of meaning in the history of Western cultural representation. Broad historical developments in the visual depiction of shipwreck and its reception can be seen as indicative of a shifting field of social and cultural meanings, narrating the moral assumptions underpinning the spectacle of the imperiled seafarer, and of the suffering human more generally. [...] My thesis in this chapter is that the shipwreck image's moral meaning operates through perspective and spectatorship, elements which are productive of the perceived distance of the spectator from the depicted suffering, both spatial and emotive. In order to engage with this problematic, it is necessary to ask where we locate the viewing subject - the spectator's position both in relation to the depicted scene, and to the spectator within the artwork. How do we place the human in these artworks: those the image depicts, both sufferers and spectators; the artist; and the viewer, both real and assumed. Within the nexus linking the spectator, the depicted subject, and the creator of the image, is produced not only the image's meaning, but an affective response around which the ethical content of the shipwreck artwork is constituted. In exploring this theme, I rehearse a number of very familiar positions in the historical canon of shipwreck art. However, foregrounding the moral implications of the formal characteristics of these paintings - spectatorship, perspective, realism - and their place in the artwork's reception (particularly in relation to their affective resonances), and exploring the considerable continuities and discontinuities in this discourse, offers new perspectives on the moral landscape - or indeed seascape - of the modern age.
Laura Basten sichtet den schriftstellerischen und künstlerischen Nachlass von Maria Benemann, einer Protagonistin im Umfeld von Expressionismus und Bauhaus, die heute allenfalls als Fußnote in den Biographien prominenter Männer gewürdigt wird. Aus der Perspektive der Editionswissenschaft reflektiert Basten die Möglichkeiten und Probleme, den Nachlass Benemanns wieder einer größeren Leserschaft zuzuführen. Neben Besonderheiten, die den Nachlass selbst betreffen, diskutiert sie dabei auch kanonpolitische Fragen und erörtert, wie eine Edition beschaffen sein müsste, die ein Werk aus bis dato nicht publizierten oder schwerlich zugänglichen Texten zuallererst herstellt.
Die theoretische Vorstellung von Berührung als einer Verbindung durch Trennung, wird, wie Karin Harrasser herausstellt, im Rahmen der politischen Nähe- und Distanzreglementierung der Corona-Pandemie zu einer alltäglichen Erfahrung, die dazu veranlasse, noch einmal neu über das Verhältnis von Berührung und Grenze nachzudenken. Harrassers Beitrag beschäftigt sich mit einem Denken des Halbdurchlässigen in drei Episoden aus Ovids "Metamorphosen" (Arachne, Marsyas und Niobe). Ihre Analyse, in der auch Diego Velázquez' Gemälde "Die Fabel der Arachne" und Tizians "Die Häutung des Marsyas" eine zentrale Rolle spielen, plädiert für das Denken eines "taktvollen Berührbarmachens" und einer Annäherung jenseits von harten Grenzen.
Emmanuel Alloa stellt mit Alois Riegl einen Pionier des kunsthistorischen Umgangs mit materiellen Objekten - Textilien, Schmuck- und Gebrauchsgegenstände aus aller Welt - vor. Diese bedürfen, so die These, eines eigenen, anderen Modus der Rezeption, als ihn die Kunstgeschichte für ihre klassischen Gegenstände, vor allem Gemälde und Skulptur, entwickelt hat: eines haptischen Sehens. Alloa rekonstruiert diese komplexe, weil eben nicht einen Sinn durch einen anderen ersetzende, Näherungsweise und diskutiert sie vor dem Hintergrund der altmeisterlichen niederländischen Malerei.
A study on "The Travel Journal and Pictures" : Li Danlin's image of foreign lands and cultures
(2022)
This article studies the hetero-images in premodern Chinese painter Li Danlin's travelogue "The Travel Journal and Pictures" with regard to Daniel-Henri Pageaux's and Jean-Marc Moura's theories. Li draws pictures of foreign lands and cultures to express his exoticist interest, following the tradition entailed from "The Classic of Mountains and Seas". He transforms the reality and constructs two forms of hetero-images: those of Western cultures by applying clichés, and stereotyped images of indigenous peoples as "Manyi." These hetero-images give us insights into premodern Chinese ideology and offer an example of Occidentalism as a Sinocentric form of ethnotype.
Published in 1991, "Tous les matins du monde" of Pascal Quignard made to appear a real still life from Lubin Baugin called "Le Dessert de gaufrettes" (Musée du Louvre). The importance of this painting in the novel - both narrative and symbolic - is crucial. Baugin's painting constitutes indeed a genetic matrix that must be examined in order to better understand the trajectory of "Tous les matins du monde", insofar as it incites and initiates writing, thereby acquiring a singular hermeneutic depth.
