By Rosalind E. Krauss
In accordance with the 1999 Walter Neurath Memorial Lecture, this e-book makes use of the paintings of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can by no means be easily collapsed into the physicality in their aid.
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According to the 1999 Walter Neurath Memorial Lecture, this booklet makes use of the paintings of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can by no means be easily collapsed into the physicality in their aid.
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Extra info for A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (Walter Neurath Memorial Lecture)
57 A possible collaboration between father and sons may also be assumed for the Scuola Grande di San Marco. On 15 December 1466 Gentile himself received two contracts for the same scuola, which speciﬁed two paintings with Old Testament subjects, the ﬁrst of which was to be Moses and the Israelites in the Desert and the second the Defeat of Pharaoh. 58 In a subsequent phase, in 1470, it was the turn not only of Lazzaro Bastiani, but of Giovanni Bellini as well, the latter receiving a commission from the Scuola Grande di San Marco for two pictures with Old Testament themes, a Noah’s Ark and a Great Flood.
Such works nourished Bellini’s interest in depictions of architecture and its three-dimensional detail. What Mantegna suggested with his relief-decorated pilasters and the ornament of capitals guided Bellini in his great altarpieces, ﬁrst in Santi Giovanni e Paolo in Venice, then in the altar of San Francesco in Pesaro and in the San Giobbe altarpiece. For the young Bellini, Mantegna’s art in the 1460s was the most important challenge for his artistic endeavours, as well as for his self-image as an artist.
Vasari, however, had been wrongly informed concerning the 28 | Giovanni Bellini 20 Jacopo, Gentile and Giovanni Bellini, St Augustine, c. 1460–65, wood. Musée du Louvre, Paris. 21 Jacopo, Gentile and Giovanni Bellini, St Antony Abbot, c. 1455–60, wood. Musée du Louvre, Paris. social status of the Bellini family. He did not know that the Bellini belonged to the cittadini originari, the privileged bourgeoisie that came in rank immediately after the nobility. ’63 Jennifer M. Fletcher characterizes the cittadini originari as ‘members of an elite group who ranked next to the nobility and from whose ranks Training | 29 the Grand Chancellor was chosen’.
A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (Walter Neurath Memorial Lecture) by Rosalind E. Krauss