Modalities of Pictorial Time. Morandi and Photography
Łukasz Kiepuszewski
kuki.k@wp.plAdam Mickiewicz University Poznań (Poland)
https://orcid.org/0000-0001-5750-0928
Abstract
This text attempts to use photographic images as source testimony concerning the creative process employed by Giorgio Morandi (1890–1964) and to use them as a comparative medium to trace. A series of photographs taken by Luigi Ghirri in 1989 reveals the phenomenological parameters of a studio that was the artist’s living space and the locus of his painting practice. In the photographer’s view, the studio has the characteristics of an optical chamber for observing phenomena related to the objects of study. The main part of the essay focuses on a comparative analysis of the 1964 Still Life with a photograph of objects related to this work. While a photograph has the temporal characteristics of a testimony, a painted image, due to its immersion in the manual procedure of its execution, possesses a temporality that accentuates the present-time quality of the perceptual event.
Keywords:
Giorgio Morandi, Luigi Ghirri, painting, time, photographyReferences
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Authors
Łukasz Kiepuszewskikuki.k@wp.pl
Adam Mickiewicz University Poznań Poland
https://orcid.org/0000-0001-5750-0928
Łukasz Kiepuszewski is an art historian, a professor at the Institute of Art History of the Adam Mickiewicz University in Poznań. His selected publications include: Obrazy Cézanne’a. Między spojrzeniem a komentarzem [Cézanne’s Paintings. Between a Gaze and a Commentary] (2005); Niewczesne obrazy. Nietzsche i sztuki wizualne [Untimely Images. Nietzsche and the Visual Arts] (2013); as the editor: Historia sztuki po Derridzie [Art History after Derrida] (2006); as the coeditor: Obrazy mocne – obrazy słabe [Strong Images – Weak Images] (2018); Obraz jako obiekt teoretyczny [Image as a Theoretical Object] (2020); Powierzchnia i tło obrazu [The Surface and the Background of a Painting] (2022).
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