Allegorical Nudity, Visual Disorder and Distraction in the French Renaissance. An Unnoticed Painting from the Sanssouci Picture Gallery

Autor: Logemann, Cornelia

Veröffentlichungsdatum: 13 Okt 2021 15:19

Zitierbare Links:
URN: urn:nbn:de:bvb:355-kuge-587-8


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Sprache: Deutsch

Durchschnittliche Beurteilung

Ihre Beurteilung


Abstract (englisch)

The first and second school of Fontainebleau produced not only a significant number of well-known allegorical paintings but also examples that still resist a convincing art historical interpretation. One of these enigmatic and still unattributed paintings is located in the Picture Gallery of Sanssouci (fig. 1). In three chapters, this essay attempts to offer a new approach to this painting: Firstly, I will focus on the allegorical ambiguity of the painting that seems to be a characteristic for works produced during that era. In a second step, the implicit allegorical topography will help to find new insights into the subject of the painting. Finally, the conditioning of the viewer, or the topographical ‘period eye’ – to take up and develop on the concept of Michael Baxandall – will help to find further explanations for the composition of this panel in Potsdam.


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Fig. 1: Allegory of the Birth of the Dauphin, GK I 5040, Oil on wood, 91 × 125 cm; © Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg / Photo: Roland Handrick