Tales of Transformation
The rhetoric of secrecy played an important role in the early modern fashioning of painting as a specialized kind of knowledge about the visible and invisible worlds. This article explores Goltzius’s use of secrecy in regard to his largest and perhaps most enigmatic composition, which is also his on...
Ausführliche Beschreibung
Autor*in: |
Christine Göttler [verfasserIn] |
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E-Artikel |
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Sprache: |
Deutsch ; Englisch ; Französisch ; Italienisch |
Erschienen: |
2020 |
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Übergeordnetes Werk: |
In: 21: Inquiries into Art, History, and the Visual - arthistoricum.net, 2021, 1(2020), 2 |
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Übergeordnetes Werk: |
volume:1 ; year:2020 ; number:2 |
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Link aufrufen |
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DOI / URN: |
10.11588/xxi.2020.2.76233 |
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Katalog-ID: |
DOAJ073329509 |
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10.11588/xxi.2020.2.76233 doi (DE-627)DOAJ073329509 (DE-599)DOAJe706e54558eb4dd5b295c43ab375faa1 DE-627 ger DE-627 rakwb ger eng fre ita NX1-820 Christine Göttler verfasserin aut Tales of Transformation 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The rhetoric of secrecy played an important role in the early modern fashioning of painting as a specialized kind of knowledge about the visible and invisible worlds. This article explores Goltzius’s use of secrecy in regard to his largest and perhaps most enigmatic composition, which is also his only painted work that includes a self-portrait. With its explicit references to the processes of alchemical transformation the work draws attention to the enigma of artistic creation and the mutability and versatility of Goltzius’s art. The witty play with various attributes alludes to the multiple roles and guises an artist could assume, and the abundance of detail reflects on the mercurial power of painting as an art that links and connects the worlds of knowledge and deceit. The article argues for a dynamic and discursive notion of subject that challenges rather than satisfies the viewer’s imagination and explores rather than asserts knowledges and ideas. Secrecy alchemy magic color gold knowledge Arts in general In 21: Inquiries into Art, History, and the Visual arthistoricum.net, 2021 1(2020), 2 (DE-627)1691833096 27011550 nnns volume:1 year:2020 number:2 https://doi.org/10.11588/xxi.2020.2.76233 kostenfrei https://doaj.org/article/e706e54558eb4dd5b295c43ab375faa1 kostenfrei https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/76233 kostenfrei https://doaj.org/toc/2701-1569 Journal toc kostenfrei https://doaj.org/toc/2701-1550 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_39 GBV_ILN_40 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_267 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2046 GBV_ILN_2089 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 1 2020 2 |
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The rhetoric of secrecy played an important role in the early modern fashioning of painting as a specialized kind of knowledge about the visible and invisible worlds. This article explores Goltzius’s use of secrecy in regard to his largest and perhaps most enigmatic composition, which is also his only painted work that includes a self-portrait. With its explicit references to the processes of alchemical transformation the work draws attention to the enigma of artistic creation and the mutability and versatility of Goltzius’s art. The witty play with various attributes alludes to the multiple roles and guises an artist could assume, and the abundance of detail reflects on the mercurial power of painting as an art that links and connects the worlds of knowledge and deceit. The article argues for a dynamic and discursive notion of subject that challenges rather than satisfies the viewer’s imagination and explores rather than asserts knowledges and ideas. |
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The rhetoric of secrecy played an important role in the early modern fashioning of painting as a specialized kind of knowledge about the visible and invisible worlds. This article explores Goltzius’s use of secrecy in regard to his largest and perhaps most enigmatic composition, which is also his only painted work that includes a self-portrait. With its explicit references to the processes of alchemical transformation the work draws attention to the enigma of artistic creation and the mutability and versatility of Goltzius’s art. The witty play with various attributes alludes to the multiple roles and guises an artist could assume, and the abundance of detail reflects on the mercurial power of painting as an art that links and connects the worlds of knowledge and deceit. The article argues for a dynamic and discursive notion of subject that challenges rather than satisfies the viewer’s imagination and explores rather than asserts knowledges and ideas. |
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The rhetoric of secrecy played an important role in the early modern fashioning of painting as a specialized kind of knowledge about the visible and invisible worlds. This article explores Goltzius’s use of secrecy in regard to his largest and perhaps most enigmatic composition, which is also his only painted work that includes a self-portrait. With its explicit references to the processes of alchemical transformation the work draws attention to the enigma of artistic creation and the mutability and versatility of Goltzius’s art. The witty play with various attributes alludes to the multiple roles and guises an artist could assume, and the abundance of detail reflects on the mercurial power of painting as an art that links and connects the worlds of knowledge and deceit. The article argues for a dynamic and discursive notion of subject that challenges rather than satisfies the viewer’s imagination and explores rather than asserts knowledges and ideas. |
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|
score |
7.3979883 |