The Visible and the Invisible: On Seventeenth-Century Dutch Painting by Hammer-Tugendhat Daniela

Author:Hammer-Tugendhat, Daniela [Hammer-Tugendhat, Daniela]
Language: eng
Format: epub
Publisher: De Gruyter
Published: 2015-03-01T16:00:00+00:00

Fig. 112: Caravaggio, The Calling of St. Matthew, 1600, canvas, Rome, San Luigi dei Francesi, Contarelli Chapel

Of course I am not proposing to equate the specific text-image connections from the avant-garde with works of medieval or early modern art. Moreover, audio-visuality in predominantly oral medieval culture differs significantly from audio-visuality as we experience it in the age of new media. However, in the Middle Ages and early modern period, images were also not received as direct depictions of visual reality, but rather as signs —quite similar to the avant-garde.687 In pre-scientific times the entire world appeared to be a book, a text: meaning was ascribed to all sorts of phenomena. Language and images were equivalent paths for getting from visible things to invisible truths. The meanings obtained, however, were not understood as culturally encoded, but rather as manifest and sanctioned by God. The central aim of avant-garde art was to point out just that: the depiction of signs as signs. Integrating language into Cubist paintings and graphic works reveals them as signs. Cubist images intended not to be seen as iconic depictions, but rather as sign systems, like language.

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