About Dependences of Painting.
Photography in the Painting of the 1960s and 1990s


The study focuses on the analysis of the spccihc
relationship between painting and photography in
the 1960s and 1990s. It is a partial resuit of the au-
thor's research at the Division of Visual and Culture
Studies of the Research Centre of the Academy of
Fine Arts and Design in Bratislava. Contrary to the
controversial relationship between these two media,
which has tinged different historical phases of art
history, beginning with the invention of photogra-
phy, through the discovery of non-iconic, non-im-
aging art/ to the late 1970s, when, in the context of
the rising post-modem art, both media repeatedly
dehned themselves negatively against each other/
the presented study emphasises the analysis of the
painters' artwork, which not only took notice of the
existence of photography, but became, in a certain
way, dépendent on it. It is a type of painting, which,
despite the fact that it bears some traces of reality,
does not originate from the directly visible, because
there has been a technical hlter - a photograph — put
between the world and the image redecting it.
Through the works of model artists from the
1960s and 1990s - Gerhard Richter (b. 1932), Ri-
chard Hamilton (b. 1922), Franz Gertsch (b. 1930),
Georg Shaw (b. 1966), Peter Doig (b. 1959), Eliza-
beth Peyton (b. 1965) and Luc Tuymans (b. 1958)
—, the author compares two fundamentally different
approaches to reality, which projected into different
concepts of image, and relate, on the one hand to
the change in the régime of vision, and on the other
hand to the so-called PT/ohV

* The author has dealt with this problém in the study "Niekol'ko
poznámok k mýtu konca mal'by" [Some Comments on the
Myth about the End of Painting] in fAG
7P42 - POOP [Academy of Fine Arts, 1949 — 2009].
Bratislava 2009, pp. 81-90.
" The author has dealt with this problém in the study "Koniec
konca mal'by" [End of the End of Painting]. It is an unpub-
lished manuscript, which will be included in the prepared
publication LVgy ^ 'G?' y Áčwi&xfřpArVýy,

The hrst part of the paper focuses on changes
that occurred in the second half of the 2(V Cen-
tury in the approach to the perception of reality.
The author focuses on the réfactions by Wolfgang
Welsch, primarily referring to his lecture Hr/ÿTA/
Ai* IFFr/F o/* E/A/roAc MadA
OhGf 1TAZA/ in which the author contemplâtes the
o/ o/
and or o/ o//r o/
Geržová offers a short historical excurse to
this paradigmatic shift with an emphasis on the in-
vestigation of the role played by apparatuses (caméra,
recorder) as the technical extensions of the human
eye in this process of the new vision of reality. She
begins with a reference to Walter Benjamin and his
37wf PFAory gf P/G/o^r^Py (1931), continues with
the thesis by philosopher and media expert Vilém
Flusser (pPr PV/oropVo FAtgry/V Göttingen
1983), and concludes with the redections by French
philosopher Paul Virilio (Fu7 woAow A AAo^. Paris
1988), who was one of the hrst to point out the fact
that the lack of trust in the direct vision of the world
grew proportionally to the slave-like dependency on
the view mediated by the objective of a caméra.
She pays special attention to the photograph,
which has, since its invention, been interpreted as a
paradoxical image, created mechanically as a record
made with a technical apparatus, while this image has
been, since the very beginning, attributed with the
characteristics of an index. It was understood as a
direct imprint of reality, like an imprint of a foot in
(V/kGyw/ <2 [Ontology of Painting. Réfactions
about the Being of Painting in the Context of Plurality,
Eclecticism and Hybridisation].
^ WELSCH, W: LVATtyt/V
wdA^ A)A tyř/cy [Artificial Paradises? Considering the World
of Electronic Media and Other Worlds]. Bratislava 1995, p.
6.
^ Ibidem.

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