The invention of depicting figures participating in an event marks an important change in the ways artists addressed the beholder of the artworks themselves. 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.
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).
Edited by Beate Fricke and Urte Krass.
Texts by Beate Fricke, Urte Krass, Annette Haug, Andrea Lermer, Andrew Griebeler, Christopher Lakey, Henrike Haug, Daniela Wagner, Anja Rathmann-Lutz, Cornelia Logemann, Alberto Saviello, Christiane Hille.
