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Raumbegriff in der Malerei der Moderne: Exemplarische Untersuchung am Beispiel von Masaccio und Francis Bacon

Raumbegriff in der Malerei der Moderne: Exemplarische Untersuchung am Beispiel von Masaccio und Francis Bacon

          
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About the Book

Dieses Buch beschäftigt sich mit dem Phänomen des Raumes in der Kunstproduktion der Renaissance und der Moderne. Ausgehend von der Linearperspektive untersucht diese Arbeit die Entstehung und die Wirkung der pikturalen Räume. Stellvertretend für die Malerei der Renaissance wird das Trinitätsfresko (1428/1429) von Masaccio den Räumen in dem OEvre von Francis Bacon gegenübergestellt. Während die mittelalterliche Raumvorstellung von der Annahme ausging, dass der Raum, entsprechend der Göttlichen Omnipotenz und Omnipräsenz, an sich nicht nur unendlich ist, sondern drüber hinaus auch keinen Mittelpunkt besitzt, wird der mittelalterliche Raumbegriff mit dem Anbrechen der Neuzeit revidiert. Die Entdeckungen der Wissenschaft und der Philosophie verändern das Bild des Menschen ebenso wie seine Beziehung zur Welt. Als das erste Beispiel für die Berücksichtigung des gewandelten Raumbegriffes auf dem Gebiet der Malerei gilt Masaccios Trinita. Noch vor Leon Battista Albertis Traktat de pictura (1435) entwirft Masaccio einen linearperspektivischen Raum, der den Betrachterstandpunkt berücksichtigt und die Objekt-Raum Relation mit Hilfe mathematischer Konstruktion löst. Das bis dahin geltende linearperspektivische Modell wird von avantgardistischen Künstlern seit dem Ende des 19. Jahrhunderts zunehmend in Frage gestellt. Das Problem des Raumes und das Verhältnis des künstlerischen Bildes zu der visuellen Realität werden in den Kunstdiskursen des angehenden 20. Jahrhundert zu einem wichtigen Thema. Insbesondere die Kunst des Kubismus setzt sich mit den Voraussetzungen der Malerei kritisch auseinander. Eine für die spätere Entwicklung der Kunst wichtige Neuerung ist die Aufsplitterung des Raumes. Der Raum ist nicht mehr quasi-objektiven naturwissenschaftlichen Gesetzmäßigkeiten unterworfen, sondern berücksichtigt im hohen Maße die menschliche Raumerfahrung. Damit wird auch die Mimesis als Ziel und Funktion der Malerei negiert. Die Werke von Francis Bacon gehen von einem ähnlichen S
About the Author: Dietmar Mezler, Magister Artium. Magisterstudium der Kunstgeschichte und Geschichte an der Universität Kassel. Abschluss 2008 als Magister Artium der Fächer Kunstgeschichte und Geschichte. Derzeit tätig als Praktikant an der Platform Garanti Contemporary Art Center in Istanbul im Bereich der Recherche und Koordination von Ausstellungen, Vorträgen und Projekten mit dem Schwerpunkt auf die Tendenzen und Diskurse zeitgenössischer Kunstproduktion.


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Product Details
  • ISBN-13: 9783836675055
  • Publisher: Diplomica Verlag Gmbh
  • Binding: Paperback
  • Height: 254 mm
  • No of Pages: 118
  • Series Title: German
  • Sub Title: Exemplarische Untersuchung am Beispiel von Masaccio und Francis Bacon
  • Width: 178 mm
  • ISBN-10: 3836675056
  • Publisher Date: 29 May 2009
  • Depth: 13
  • Language: German
  • Returnable: N
  • Spine Width: 6 mm
  • Weight: 222 gr


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