Painting, History and Meaning by Craig Staff;

Author:Craig Staff; [Staff, Craig]
Language: eng
Format: epub
Tags: Painting, History and Meaning
ISBN: 9781789383300
Publisher: Ingram Publisher Services UK
Published: 2021-01-15T00:00:00+00:00

With respect to Stern, Dumas has more recently contended that she wanted to see if she “could take Richter's source out of its blur.”40Although the artist's stated intentions for the painting appear to entail rendering the image somehow conspicuous or, at the very least, legible again, in the first instance Stern appears resistant to any straightforward reading or narrative within which we could place the painting's protagonist and interpret her as such. In the same year that Dumas made this statement, she also made the following claim: “A painting is not an image. A painting is not like its reproduction. A painting is physical even if you may compare it to a corpse. An image is closer to a ghost.”41 Be that as it may, if a painting is not like its reproduction, then what is it like and, moreover, upon what terms, given the historical resonance of both Open Casket and Stern, can a painting's physicality be understood, as such?

In order to respond to what is a compelling, if somewhat complex question, it perhaps would be fruitful to acknowledge that both Open Casket, Stern, and the related paintings that Richter made all derive and have as their point of origin a photographic image. As such, and as Storr points out, echoing Roland Barthes's own pronouncements on the theme, “[d]eath is the eidos – the essential form – of photography […].”42 Moreover:

While a painting may seem lifelike, a photograph never does and never can. Unlike painting, which is a synthetic fiction, even when it is based on observation, the fact of the photograph's static quality is always at odds with the fact – actual or potential – of movement.43

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