Imre Györgyi szerk.: A modell, Női akt a 19. századi magyar művészetben (A Magyar Nemzeti Galéria kiadványai 2004/2)

Tanulmányok / Studies - Bacsó Béla: Képtest - testkép / Picture-body - Body-picture

N O T E S 1 Marin, L.: Über das Kunstgespräcb (De l'entretien). Trans, by Nessler, B. Berlin 2001, 47 ff. Rosenkranz, K.: Die Ästhetik des Hässlichen. Königsberg 1853, 35. 5 Ibid, 235. 4 Cassirer, E.: Eidos und Eidolon. Das Problem des Schönen und der Natur in Piatons Dialogen. In: Vorträge, 1922-23. I. Teil. Ed. by Saxl, F. Leipzig 1924, 18-19. 5 Hetzer, Th.: Das deutsche Element in der italienischen Malerei des 16. Jahrhunderts (1929). Das Ornamentale und die Gestalt. Vol. 3 of Collected Works. Stuttgart 1987, 53. 6 Ibid, 278. Growe, B.: Modernität und Komposition. Zur Krise des 'Werkbegriffs in der französischen Malerei des 19. Jahrhunderts. In: Oelmüller, W. (ed.) Kolloquium Kunst und Philosophie. Das Kunstwerk. Padernborn 1983,161-163. 8 Gombrich, E. H.: Kunst und Fortschritt. Wirkimg und Wandlung einer Idee. Köln 1978, 110-1 12. In his Courbets Wirklichkeiten, Werner Hofmann calls attention tó the verv scenic history-telling that produces the effect, and describes Courbet's figures as the verv antithèses of such piquant exposure. Cf. his Anhaltspunkte. Frankfurt am Main 1989, 234. 9 Belting, H.: Das unsichtbare Meisterwerk. München 1998, 83 ff. 10 Bello ri, G. P.: Die Idee des Künstlers (1664). Trans, by Gerstenberg, K. Berlin 1939, 14-15, 22-24. Note that Kenneth Clark points out the eestatie quality in Raphael's painting, which he thinks enhances the sensuality of the nude. CT. Clark 1986, 287. " Winckelmann, J.: Geschichte der Kunst des Altertums. Wien 1934, 155-156. [

" Lessing, G. E.: Laokoón oder über die Grenzen der Malerei und Poesie. Ch. XXII. Stuttgart n.d. ("Turpe senilis amor; ein gieriger Blick macht das ehrwürdigste Gesicht lächerlich, und ein Greis, der jugendliche Begierden verräth, ist sogar ein ekler Gegenstand.") 13 Diderot, D.: Diderot on Art. Ed. and trans. by Goodman, J. (Notes on Painting, Vol. I). New Häven-London 1996. 14 Baxandall, M.: Patterns of Intention: On the Historical Explanation of Pictures. New Häven-London 1992. IJ Boehm, G.: Der Topos des Lebendigen. Bildgeschichte und ästhetische Erfahrung. In: Küpper, J. and Menke, Ch. (eds.), Dimensionen ästhetischer Erfahrung. Frankfurt am Main 2003, 94-97. 16 Hetzer, Th.: Rubens und Rembrandt (1925-26). Schriften Bd. 5. Stuttgart 1984, 175. 17 Sartre, J. P.: Das Sein und das Nichts (1943). Trans, by Schöneberg, H. and König, T. Hamburg 2001,606. 18 Boehm, op. cit. (n. 15.), 101. ("Erst vom Bild her wird das Dargestellte überhaupt gegenwärtig, zu dem, was es ist, oder sein kann.") 19 Friedlaender, W: David tó Delacroix (1952). Trans, by Goldwater, R. New York 1968, 6-7. ~

ü Held, J.: Antoine Watteau Einschiffung nach Kythera. Versöhnung von Leidenschaft und Vernunft. Frankfurt am Main 1994, 30. 21 Ibid., 20-21. Hetzer, Th.: Francisco Goya und die Krise der Kunst um 1800 (1932). In: Zur Geschichte des Bildes von der Antike bis Cézanne. (Collected Works, Vol. 9). Stuttgart 1998, 149-150. "

3 Evangelia Kelperi gives a brilliant analysis of tliis shift in her Die nackte Frau in der Kunst. Von der Antike bis zur Renaissance (München 2000). "Sexless man is a créature of Christian anthropology, a notion unthinkable in the pagan world" (115). Düring the Byzantine controversy of the image, this very sexlessness would be used as a defence for the représentation of Christ. In his classic work, Ernst Kitzinger points out that the departure of early Christian art from the material world entailed giving up the selfreliance of the classic-antique work of art; while the figures of a Greek relief turn towards one another, are parts of the scène, the figures of the ivory carvings turn towards us, fully aware that they are there tó be seen. Cf. Kitzinger, E.: Kleine Geschichte der frühmittelalterlichen Kunst (1940). Köln 1897, 31. 24 Hetzer, op. cit. (n. 22.) 148-149. Clark, op. cit. (n. 1 0.) ~

b Hetzer, op. cit. (n. 22.) 149. 27 Scheler, M.: Der Mensch als das sich schämende Wesen. In: Schriften zur Anthropologie (Schriften aus dem Nachlaß). Stuttgart 1994, 218 ff. 28 Nagel 1997, 42. 29 Ibid., 81. 30 Lehmann, A.-S.: Das unsichtbare Geschlecht. In: Benthien, C. and Wulf, Ch. (eds.) Körperteile. Eine kulturelle Anatomie. Hamburg 2001, 324-325. Zanker, P.: Eine Kunst für die Sinne. Zur Bilderwelt des Dionysos und der Aphrodite. Berlin 1998, 109. "Later in the nineteenth Century, in the works of Delacroix and literally dozens of other French and British painters, the Oriental genre tableau carried représentation into visual expression and a life of its own..." Said 2000. 207. Let me not quote this ingenious frain of thought at length, but emphasize instead that in his "spurious" représentations of the East, the Western artist was more concerned with himself, and through the image of the East, indulged in what his own culture placed a ban on. The West created its own, fanciful image in an Eastern setting. In short, Said claims the West represented the Eastern woman thus: "They express unlimited sensuality, they are more or less stupid, and above ail they are Willing" (357). Let me not delve into this scholar's image of the West, ör ask how much he has understood of the culture he has been living in for décades. Warnke, M.: Goyas Gesten In: Hofmann, W. Helman, F.. - Warnke, M.: Goya. "Alle werden fallen." Frankfurt am Main 1987, 135. 34 Hofmann, W: Goya. Traum, Wahnsinn, Vernunft. München 198 1, 15 ff. Hausenstein, W: Der nackte Mensch in der Kunst aller Zeiten. München 1916, 150 ff. Valéry, P.: Erinnerungen an Degas. Trans, by Zemp, W. Zürich 1940, 68. r Ibid., 97-98. Fleckner, U.: Das Türkische Bad. Ein Klassizist auf dem Weg zur Moderne. Frankfurt am Main 1996. " Ibid., 25. 40 Rosenkranz, op. cit. (n. 2.), 282-283. (What an argument for Said!) 41 Freedberg, D.: The Power of Images. Studies in the History and Theory of Response. Chicago-London 1989, 350. 42 Ibid. (n. 41.), 353. Durieu, E.: Draped Model (1854). Available online at: www.usc.edu/schools/annenberg/ asc/projects/comm544/library/images/

147. html 44 Zola, É.: Az 1866. évi Salon [Mon salon 1866], In: Válogatott művészeti írásai [Selected Writings on Art]. Trans, by Lengyel, G. Budapest 1961, 68. 4,5 Crary 1999, 39. Cf. also Crary's latest ideas on the 19th-century changes of social space, vision and art (especially Manet!) in his Suspension of Perception. Attention, Spectacle and Modern Culture (Cambridge, Massachusetts and London 1999). 46 Freedberg, op. cit. (n. 4L), 359. 47 Flaubert Correspondance. Vol. 111. Paris 1892, 58. 48 Hofmann, op. cit. (n. 8.), 228. 49 Nagel, op. cit (n. 28.), 100. Batailles, G.: Die Erotik. Ch. XIII. Ed. and trans. by Bergfleth, G. München 1994, 135. (L'erotisme. Paris, 1957.) Merleau-Ponty, M.: Phänomenologie der Wahrnehmung (Das Leib als geschlechtlich Seiendes). Trans, by Boehm, R. Berlin 1966, 185 ff. 52 Zola, É.: Nana. New York 1958, 25. 3 Recently, several exhibitions have been dedicated tó the représentation of the body in 19th-century art. Täte Gallery's Exposed - The Victorian Nude (2002, curator: Alison Smith) brilliantly revealed the coexistence of prudery and passion in 19th-century British art. A good case in point is John Everett Millais' The Knight Errant (1870), in which the knight frees a woman/virgin/saint tied tó a tree who "suffers" the armoured man's liberating touch with averted eyes. The centre of the composition is taken up by the tree, which separates the man and the woman almost completely. The libération is a symbolic gesture, which opens the Spaces of division and attraction, as the tied-up/ravished woman is placed in the vicinity of a man whom the armour makes almost completely sexless. British art was slow tó approach the représentation and representability of the human body. How very unlike Courbet's, Manet's or Cézanne's attempt tó tackle the problem of the body! Choosing ourselves for our subject, however, is always an attempt tó acknowledge what we once were, and an occasion tó see whether we have changed. 5 Zola, É.: Edouard Manet. In: Selected Writings on Art, op. cit. (n. 44.), 98. Zola, E.: Manet hagyatéka [The Legacy of Manet]. In: ibid., 168-170. In his Masterpiece (L'Oeuvre), whose painter hero is an amalgám of Manet and Cézanne, Zola represents not only the struggle artists at the time had tó engage in with a prudish, narrowminded and hypoeritical public, but also the drama of painting a body/woman, and what it means tó attain vividness in the figure on the canvas. The figure of the artist lost in, and by, his work often recurs in literature, from Balzac through Poe tó James, and it is interesting that all thèse heroes are undone by the painting of the perfect female figure, the other sex: Venus fleets, and what remains, mére matter (paint), overwhelms those who tried tó elude reality. In his excellent book, Das unsichtbare Meisterwerk, Hans Belting studies the 19th-century artists living under the spell of the masterpiece, who, while working on the opus magnum, measure themselves by the standards of the greatest, try tó copy their examples, keeping at the same time their eyes on reality. This "squint" of modernity, of which Baudelaire warned in his Le peintre de la vie moderne (1863; The Painter of Modern Life. In: Jonathan Maync [trans. and ed.]: The Painter of Modern Life and Other Essays. New York-London 1964, 402-405.), forces them into a constant State of uncertainty, caused by their attempt tó represent reality, but risking overstepping it, ör becoming the mére conserver of antique models (Belting 1998, 203). Mallarmé, S.: Die Impressionisten und Edouard Manet. In: Ina Conzen (ed.), Edouard Manet und die Impressionisten. Staatsgalerie Stuttgart. Exhibition Catalogue. Stuttgart 2002. Valéry, P.: Triumphzug Manets. In: Zur Ästhetik und Philosophie der Künste. Werke. Frankfurt 1995, 386. s8 Sauerländer, W: Manet et Manebit? Eindrücke aus der Manet-Ausstellung, Paris 1983. In: Geschichte der Kunst - Gegenwart der Kritik. Köln 1999, 123. 19 Foucault, M.: Die Malerei von Manet. (1971) Berlin 1999, 37.