Still Life in Movement
A Commentary on the Order of Things of the Order of Things
DOI:
https://doi.org/10.3986/fv.46.3.08Keywords:
still life, historical painting, hierarchy of genresAbstract
By the juxtaposition or the intertwinement of the two arguably seminal texts on still life, Charles Sterling’s comprehensive art historical study and Gérard Wajcman’s theoretical, philosophical commentary thereon, the interpretative net is firmly established; the impression is given that all that is left is the reiteration of the well-trodden paths. However, neither the historical presentation of still life’s linear emancipation from historia nor the following ontological definition of the emancipated still life is so simple. Still life as a specific iconographic genre is shown to be, contrary to its name, in a perpetual state of becoming, of movement. And more, as soon as the goal of emancipation from the historical painting is achieved, the movement becomes inverted: a renewed relationship between still life and historia follows on another level. On the other hand, it is shown that still life is only rarely completely devoid of some narrative content.
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