Original scientific paper
Vidljivost povijesnog vremena : “Historijsko slikarstvo” kod Richtera, Tuymansa i Sasnala
Blaženka Perica
; Arts Academy, Split, Croatia
Abstract
In contemporary painterly practice there has been an evidence of widespread strategy
of paintings based on photographs—or other reproductive media—i.e. technically
generated images. With regards to this, there are paintings that represent events
belonging to the recent or distant past, on the basis of which recent art theory and
criticism have attempted to interpret the relationship between contemporary painting
and reality in a two-fold way: first, this genre confronts us with our comprehension
of the notion of history and the reception of reality in terms of current socio-political
events; on the other hand, it simultaneously implies the problematic status of the
very medium a nd the question of (in)capability of t he discipline of painting to
problematize (or, visually re-create) events happening in our everyday life dominated
by a contingent cornucopia of techno-media images. This article builds its argument
upon the work of three painters in order to investigate references and differences
that imbue t heir a rt permeated w ith t he specifc sensibility for historical t ime in
contemporary conditions. In this study we analyze the examples of contemporary
historical painting in the works of Wilhelm Sasnal, Luc Tuymans and Gerhard Richter,
who support such reflections and provide insights into the problem of realism, which
marked the end of the historical painting genre as a stylistic epoch, but also traced
a new beginning of modern understanding of both history and art. We will try to
answer the question whether modernism itself is, despite being forward-looking,
at least in part responsible for a “new appropriation of tradition”, as suggested by
Jacques Rancière.
Keywords
historical painting, modernism, Wilhelm Sasnal, Luc Tuymans, Gerhard Richter, photo-painting
Hrčak ID:
276026
URI
Publication date:
15.12.2019.
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