Diptih Federica da Montefeltro in Batiste Sforza
published: Feb. 12, 2009, recorded: December 2008, views: 303
Report a problem or upload filesIf you have found a problem with this lecture or would like to send us extra material, articles, exercises, etc., please use our ticket system to describe your request and upload the data.
Enter your e-mail into the 'Cc' field, and we will keep you updated with your request's status.
Miklavž Komelj si je ob Pierovem diptihu (naslikanem ok. 1472) zastavil vprašanje, kaj pomeni vpis časa v sliko na ravni samih slikarskih postopkov. Piero della Francesca je običajno opisovan kot slikar brezčasnosti par excellence - toda ali ni ta "brezčasnost" predvsem učinek časovnih napetosti, ki so v prostoru slike vzpostavljene s subtilnimi slikarskimi sredstvi, s katerimi slikar zarisuje mejo med življenjem in smrtjo?
Predavanje je bilo posneto 1. decembra 2008 v Galeriji Škuc v Ljubljani.
This lecture poses a question related to Piero's diptych (painted around 1472): what does inscribing time into a painting mean at the level of painting technique. Piero della Francesca is usually described as a timeless painter par excellence – but is not this "timelessness" above all the consequence of time tensions, which the painting establishes with the subtle painting approaches with which the painter draws the line between life and death?
Miklavž Komelj (born 1973) is a poet with a PhD in the history of art.
Link this pageWould you like to put a link to this lecture on your homepage?
Go ahead! Copy the HTML snippet !