Album fantázií s Guidom Renim

The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and ’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for such an extensive treatment of the emergence of meaning from the movement of the view of the image, precisely in relation to the transgressive principles of networking images outside themselves. I noticed how the look and the story were connected. The movement of the eye along the image does not have to be in a single line, but can only subsequently form a single line with a jump; this leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network paintings (originating from the Cologne area of the eighties and nineties), which also worked in large scale with the text, context and painting principles. It may be too distant a relationship at first glance, but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to Kandinsky. The predecessor and distant follower worked as I will show below with the movement of the eye around the image.