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Urte Krass: Strukturwandel der Öffentlichkeit
Strukturwandel der Öffentlichkeit
(S. 249 – 266)

The Relentlessness of Perspective. A Look at the Bystanders in 15th-Century Italian Painting

Urte Krass

Strukturwandel der Öffentlichkeit
Piero della Francescas »Flagellazione« als Schaustück für die Unerbittlichkeit der Perspektive

PDF, 18 Seiten

In the center of this article stands Piero della Francesca’s Flagellation of Christ. The enigmatic painting has been the object of innumerable interpretations; while for the most part, research has focused on the identification of the three prominent figures in the foreground, this article suggests that it is not the painting’s intention to present the bystanders as specific and clearly defined individuals. On the contrary, the painting exemplifies the artist’s relentlessness in constructing a perspectival space: the self-confident artist of the Quattrocento raises simple bystanders or onlookers to the status of protagonists within the pictorial space, while reducing central stories from the Christian salvific history to mere background events.

  • Betrachter
  • Blick
  • Byzanz
  • Kunstgeschichte
  • Ikonographie
  • Mittelalter
  • Auge
  • Islamische Kunst
  • Malerei
  • Antike
  • Öffentlichkeit

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Urte Krass

Urte Krass

ist Wissenschaftliche Assistentin am Institut für Kunstgeschichte der Ludwig-Maximilians-Universität München. Ihre Forschungen widmen sich dem Heiligenbild von der Ikone bis zur Fotografie, der frühen Kunsttheorie in italienischen Novellen des 14. Jahrhunderts sowie aktuell dem politischen Bildgebrauch im portugiesischen Kolonialreich in der Frühen Neuzeit.

Weitere Texte von Urte Krass bei DIAPHANES
Beate Fricke (Hg.), Urte Krass (Hg.): The Public in the Picture / Das Publikum im Bild

The invention of depicting figures participating in an event — nameless bystanders, beholders, and onlookers — marks an important change in the ways artists addressed the beholder of the artworks themselves. This shift speaks to a significant transformation of the relationship between images and their audience. The public in the picture acts as mediator between times, persons, and contents. The contributions of this volume describe this moment from a diachronic and transcultural perspective, while each of them focuses on a specific group of works revealing a new moment in this history. They explore the cultural contexts of the political and religious public, and relate the rise of the public in the picture to the rise of perspectival representation (Panofsky’s space-box and Kemp’s Chronotopos).

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