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The emergence of landscape painting in the spirit of nominalism

New from Zurich Newspaper 24th 6. 06

The view of the world

Francesco Petrarca and Jan van Eyck - the emergence of landscape painting in the spirit of nominalism

by Karlheinz Stierle

The appearance of the landscape in the painting of the 15th Century marked a threshold that is neither a break with the so-called middle age can still capture sufficiently as a return to antiquity. The landscape as an expression of a new global grant is based on "medieval" conditions that exceed the new landscapes, but without which they would not have been possible.

In his celebrated essay "Landscape" (1974) attempted Joachim Ritter, bringing the essence of modern landscape experience to the concept. The central movement of this thoughtful concern for the nature of the modern conception of landscape is: ". Nature as landscape is fruit and product of the theoretical mind" This link two theories that explain to each other: 1 Landscape is a publication by nature as opposed to culture. 2. Nature is not simply given as a landscape, it is a product, namely "the theory of mind".

application point of Knight's thinking is the famous letter to the Parisian theologian Dionigi di Borgo Sansepolcro at the beginning of the 4th Book of "Familiares." Petrarch reports of the ascent of Mont Ventoux, the one of 26 April 1335 was undertaken jointly with his brother. Petrarch stands for Ritter, arrived on the plateau of the mountain and the beautiful displays ("spectaculum") of up to perceiving the distant horizons reaching landscape, in the tradition Greek theoria as an "intuitive approach". Petrarca, what is his knights, "climbs, leaving behind all practical purposes, the mountain to the summit, but driven by the desire to look to participate in a free viewing and theory at the whole of nature and of God."

The epochal significance of this moment and this act would then be that Petrarch at the height of Ventoux for the first time experience nature as a landscape and this would have for the first time the theoretical mind would oppose it. The ancient world had the experience of nature, not the landscape. Their true hour seems Knights first came as a natural science, the nature and seized this submission, the possibility of a disinterested view of nature releases, which is now a concrete view of the landscape.

Petrarch has undoubtedly made at the earliest experience of something like landscape and represented diverse. It thus marks the beginning of an experience in the painting of the 15th Century to a triumphant into the picture set new disclosedness the world. But what are the mental conditions to ensure that even the world can become a landscape? What had happened was that landscape in the horizon of visibility and that visibility in the medium of visibility, the painting could come to their representation?

ABUNDANCE AND DIVERSITY OF INDIVIDUAL

The panoramic landscape, the fall from the top of Mont Ventoux, Petrarch's view is not, as Knight says, simply nature, but an infinite combination of nature and human culture. Knights of Petrarch studied in his discussion participation in the world "in all of nature and of God." This is not to see Petrarch's text. On the contrary, instead of the big, top and bottom, sensual and divine world of the comprehensive whole of a theoretical approach to revealing the cosmos looks Petrarca especially the infinite wealth of the individual. The one to which Augustine him in the imaginary conversation of the "Secretum" would lead disintegrates him in bewildering variety.

It seems as if a still not sufficiently developed affinity between Petrarch and the outgoing of Paris new philosophical movement of nominalism, in William of Ockham's philosophical legitimacy of the individual and especially its real target was. Petrarch, who was deeply interested in the latest developments in philosophy and theology in Paris, had probably no effort to familiarize themselves with the latest direction of the Parisian school philosophy.

The real is the individual: "Omnis res extra animam est singularis et una numero in reality." (Every thing outside the soul is in fact individually and one in number) from the set Ockham's "Liber sententiarum" is symptomatic of a new vision of the world. But while still in scholastic paths moving philosophy of nominalism, the experience of the individual is generally postulated, the signature of Petrarch's work, the experience of the individual polymorphic unpredictable in its diversity. Petrarch's world is not a well-ordered cosmos, but a sea of contingency.

SINGLE THINGS IN POINTS

which defines a work from the most eloquent testimony that Petrarch's earliest European success was and is today virtually forgotten how to be "De remediis utriusque Fortuna" (On the remedies against Fortuna in both kinds). In particular, the introduction of the second part, under the Heraclitean motto "Omnia secundum litem fiunt" (Everything is in combat) as is the magnificent evocation of a scene, to which all individual things are understood in ceaseless conflict. The 1532 published in Augsburg German translation summarizes the essence of Petrarch's view of the struggle of all things against each other under the dictum:

Everything that auff earth floats and lives, The reluctant one another.

is unmistakable in the "one each" the central experience of the singularity heard that Ockham's nominalism had made central to the philosophical category and refers to Petrarch in a new discourse of singularity and plurality of their language. The release of the singular stripped of the world their commitment to the ASP, penetrate into the individual and universal, but also a vertical order of being, rising stepwise from the lowest regions of being up to the most exalted sphere of the triune God. The priority of the particular to the General are the former, the fascination with the startling novelty, but also the oppressive presence of the manifold become an incalculable.

This radically new by any theoria more restrained experience seems to be the background on which the first Petrarcasche discovery of the landscape as it is in the Ventoux letter to represent their acute sense receives. What sees Petrarch beyond planning and expectation of the level of the Mont Ventoux, is not natural, much less a cosmic order, but multiplicity of individuals, brought into the suspension as a down to the distant horizon extending carpet - and by virtue of the gaze that the individual subjective released from his isolation to a new kind of coherence. The enormity of this new experience Petrarca can access the strongest formulation, "obstupui" (I wondered).

AESTHETIC EXPERIENCE

Petrarch's view of the world is purely within the world, while the experience of over reality, quite Augustine moved the following, in the inwardness or Ausserweltlichkeit of memory. Petrarch's experience of the landscape is but the mere perception of intraworldliness not. The linkage of the individual owes to the perception, not the factuality, but weltverwandelnden the power of the subjective gaze. Landscape, it is never itself, it arises only in its being perceived. Only the face of it, near and far, but also the detail of perception. In it combine the data of diverse individuals to a totality second order, which stems from the power of the welter closing instant.

the only way in which each individual view-taking, but also to the landscape Anblickhaftigkeit together entering a maximum of self-reference reach and a internal plurality, polyphony even win that makes the landscape only to an aesthetic experience. Not by chance is the perception of landscape polyphony with the invention of polyphonic music in an epochal context.

landscape in the modern sense, as it occurs in Petrarch Ventoux letter first appeared is, the birth of landscape elements from their functional context and thus the discovery of the landscape as a manifestation of the diversity of the world ahead. It is the context-setting, raumkonstituierende power of the gaze from the lofty site, which gives the saw a new kind of self-reference. What happens if the experience of the released range of image is, can be seen from the painter who has put the potential of becoming image of the landscape at the most profound thought and at the most artistic work and without which the development of landscape painting in the 15th Century would be unthinkable, Jan van Eyck.

to Jan van Eyck probably before 1420 arising miniature of the baptism of Christ by John the Baptist in Turin-Milan Hours (Turin, Museo Civico) and its about 1430 painted portrait of the Chancellor Rolin ( Louvre), the new landscape design very clearly. The representation of the baptism of Christ, a Bas-de-page miniature of the smallest format thumbnail the birth of John the Baptist is a contemporary viewer in its landscape and its depth in the water is reflective, fine-grained light effects of astonishing modernity.

MODEL MINIATURE

The sun, the white dove as its rays on the group of Baptist and Christ, standing in the water depends, is also the real sun, the light with its shadows and water reflections on the whole landscape is. The landscape is made up of its meaning center, the baptism of Christ, free and gain in depth and width of its own life as objectification of a unifying gaze that brings in microscopic details manifesting variety of the landscape in the suspense and the sense of the center as an accidental occurrence in the middle release of a dynamically moving world can be. Thus, this landscape miniature or miniature landscape in the irresolvable tension between the open countryside, is as the scene of the collapse of the over reality in the world of the infinitely complex and the binding of the manifold to an order, the evidence just seems to be still a distant memory.

Jan van Eyck's model of a new landscape design in the spirit of nominalism finds her redemption with the grandiose image of Chancellor Rolin, which is given in the intensive Bible Meditation the appearance of the Virgin with the infant Jesus. Here, too, thanks to a brilliant pictorial invention, should make the era, the religious center both mind set and not in force. For if the viewer from the praying-Chancellor in the foreground and it appears the royal Lady replaced with the Child, his view through three of two free-standing columns demarcated falls column bent to a wide-open landscape, the distant horizon of the is formed in the brightest light lying Alps. In the middle arch appears a broad, from afar-coming River, crossed by a bridge, she combines a rich Gothic town with a modest village or a suburb on the other side.

has left to the viewer once this view, he is as recorded by a suction that pulled out into a good extensively landscape in which he can lose in a vast abundance of details. He can free himself from them and capture the whole of the landscape, but he needs to solve, in turn, also from this, if he wants to see the view of the praying Chancellor of the Mother of God. This is how the viewer the experience of incompatible perspectives and with them the incompatible relationship between turning to religious introspection and experience of the Urban lot of the world.

CHRIST ON CALVARY

little doubt should exist as that Jan van Eyck, the image display has invented the crucified Christ on Golgotha amidst a landscape that is the world landscape expands. Although the van lost original of Eycksche seems to be speaking, a whole family of images of the crucifix overlooking a vast landscape clearly the imagery van Eyck. Criss-cross, face the indifference of the world in their isolation, as a unit of the landscape presents itself to the viewer. He breaks away from the sight of the diversity and yet not able to learn more on the cross as the sole purpose center.

The decomposing in isolation world that brings the look in the suspension of a single still of the view itself guaranteed in full, by Petrarch first lifted from the abstractness of a scholastic nominalist theorem sensual in the sphere viewable . But it is Jan van Eyck, who made the first disclosedness the world as a landscape to the experience of the thinking eye, and thus the painting of the 15th century has been an inexhaustible subject and abandoned. Subject of this painting is the new world, not nature. In the history of aesthetic perception and its growth so that a chapter is opened, which goes well beyond ancient theoria and offers an aesthetic space, the possibilities have been exhausted today not to.

Karlheinz Stierle occupied until his retirement in the Chair of Romance literature at the University of Konstanz. His recent publications include "Francesco Petrarca. An intellectual in Europe of the 14th Century "(2003).