Sie befinden Sich nicht im Netzwerk der Universität Paderborn. Der Zugriff auf elektronische Ressourcen ist gegebenenfalls nur via VPN oder Shibboleth (DFN-AAI) möglich.
mehr Informationen...
Verbildlichung und Bildwerdung der Wirklichkeit in der Kontrollgesellschaft. Anne Imhofs Performance Faust
Ist Teil von
Zeitschrift für Kunstgeschichte, 2020-07, Vol.83 (2), p.255-279
Ort / Verlag
Munich: De Gruyter
Erscheinungsjahr
2020
Link zum Volltext
Quelle
De Gruyter journals
Beschreibungen/Notizen
Image formation historically - using the example of Giovanni Bellini's wife at the toilet At the beginning of the 16th century, Giovanni Bellini painted a naked woman sitting next to an opening in a wall (fig. 1). Lost in her face in the hand mirror, she straightens her hairstyle, which another mirror on the wall shows from behind.' The pictorial space is closed off from the outside world in that the landscape is reduced to a view and moved into the distance, while the viewer is obviously not in the picture. The wall mirror shows the mirror images in Jan van Eyck's so-called Arnolfini Wedding of 1434 or later in Diego Velåzquez' Las Meninas of 1656, in which the viewer appears in the person of the artist alongside the royal couple as a participant in the picture in the mirrors on the back wall Bellini only the back of the woman's head. The impression thus created, of seeing the unprotected, authentic face of the woman as an unrecognized voyeur, thanks to the alleged intimacy, immediately proves to be a deception. Next to the woman lies an open letter on which the Venetian painter signed and dated the picture (Joannes bellinus faciebat M.D.X. By declaring the picture to be a work by Bellini, the signature addresses its status as a medium of representation, as Klaus Krüger has made clear-2 Because the signed letter “fits in homogeneously with the world of objects inside the picture in the sense of a deceptively real illusion and forms a part of it; and yet it is at the same time the testimony of its fictitiousness.