DOI Artikel:
Czekalski, Stanisław: Jan Białostocki, Goya's "Third of May", and the aporias of research on the genetic relations of paintings
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.52534#0097
2. Paul Révéré: The Bloody
Massacre Perpetrated in King
Street, Boston on March 5,h,
1770 hy a Party of the 29,h
Regiment, 1770. Repro:
BIAWSTOCKI, Jan: Sym-
bole i obrazy w s'wiecie sztuki.
Warszawa 1982, fig. 272.
dern art refer to a particularly suggestive “archétype"
of that figure, painted by Raphael.39
The interpictorial references which allow the be-
holder to find a meaning which indicates the “frame”
of their relationship Bialostocki essentially considered
intentional, i.e. testifying to a deliberate reinterpre-
tation in a new work of the frame subject inscribed
in the adapted model.40 He assumed that at least
sometimes “artists themselves thought in terms of such frame
subjects?^ Thus, the Interpreters récognition of the
frame of meaning which connects two paintings de-
spite the différence in their spécifie iconographie con-
tent would equal grasping the idea followed by the
39 Ibidem, pp. 140, 145, 152-154, 158.
40 The reverse of such connections are borrowings of formai sché-
mas related to a given subject, which is not followed by the
meaningfùl connection of the paintings on the iconographie
and the frame levels. Such ambiguous adaptations of pictorial
artist when he adapted a representational schéma ta-
ken from elsewhere. If the borrowed general formal-
ideological model had been formerly related to an
unambiguous iconographie concretization, being con-
nected with a spécifie narrative or hero, one may sur-
mise that making a reference to that iconography
might hâve been a deliberate choice of the artist who
saw in it a more universal idea which could be adap-
ted for a different concretization. Assuming that the
clarity of the interpictorial relation allows one to hâve
an insight into the artist’s intention, Bialostocki went
even as far as to décidé whether or not in a given case
the artist made an allusion to the iconographie con-
forms Bialostocki considered “unconscious", giving as an exam-
ple (after Panofsky) the représentations of Hercules at the cross-
roads, referring to the schéma of Imago Pietatis or Mourning.
See BIALOSTOCKI 1961 (see in note 34), pp. 147-148.
41 Ibidem, p. 151.
95
Massacre Perpetrated in King
Street, Boston on March 5,h,
1770 hy a Party of the 29,h
Regiment, 1770. Repro:
BIAWSTOCKI, Jan: Sym-
bole i obrazy w s'wiecie sztuki.
Warszawa 1982, fig. 272.
dern art refer to a particularly suggestive “archétype"
of that figure, painted by Raphael.39
The interpictorial references which allow the be-
holder to find a meaning which indicates the “frame”
of their relationship Bialostocki essentially considered
intentional, i.e. testifying to a deliberate reinterpre-
tation in a new work of the frame subject inscribed
in the adapted model.40 He assumed that at least
sometimes “artists themselves thought in terms of such frame
subjects?^ Thus, the Interpreters récognition of the
frame of meaning which connects two paintings de-
spite the différence in their spécifie iconographie con-
tent would equal grasping the idea followed by the
39 Ibidem, pp. 140, 145, 152-154, 158.
40 The reverse of such connections are borrowings of formai sché-
mas related to a given subject, which is not followed by the
meaningfùl connection of the paintings on the iconographie
and the frame levels. Such ambiguous adaptations of pictorial
artist when he adapted a representational schéma ta-
ken from elsewhere. If the borrowed general formal-
ideological model had been formerly related to an
unambiguous iconographie concretization, being con-
nected with a spécifie narrative or hero, one may sur-
mise that making a reference to that iconography
might hâve been a deliberate choice of the artist who
saw in it a more universal idea which could be adap-
ted for a different concretization. Assuming that the
clarity of the interpictorial relation allows one to hâve
an insight into the artist’s intention, Bialostocki went
even as far as to décidé whether or not in a given case
the artist made an allusion to the iconographie con-
forms Bialostocki considered “unconscious", giving as an exam-
ple (after Panofsky) the représentations of Hercules at the cross-
roads, referring to the schéma of Imago Pietatis or Mourning.
See BIALOSTOCKI 1961 (see in note 34), pp. 147-148.
41 Ibidem, p. 151.
95