Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

& Am? A Perném.'
7A0 — 7 A4. PAr, A^^rř.

mühF" m his article "Anschauen als Bildkonstitution"
focused on the "nature of time" ("Zeitlichkeit") in
painting and thus reached a deeper understanding of
the inhuence of colour on Baroque art. Bockemühl
revealed a new dimension m the perception of the
movement of colour in Rembrandt. He argued that
Rembrandt tried to express in his pictures the "inte-
riority" with a different language of colour [Fig. 11].
Colour repeated and captured aestheticaliy the inner
feelings of the hgure. Around 1630, Rembrandt
worked with a particular method of using pigments,
and was able to make colour appear and disappear,
thus creating a sensation of movement. He appears
to have found another way to reveal the truth of the
object, a deeper meaning lying behind objective vis-
ible appearances. Thus through aesthetics we start to
come in contact with the "ineffable" which cannot be
experienced through mere Symbols. This becomes an
integral part of the visual experience of the painting
and of its compréhension. Rembrandt talks about
the language of colour, combining the chromatic
character of colour with spirituality, thus giving the
observer the possibilité^ to have a concrète experience
of the inner processes of the various figures. But

^ BOCKEMÜHL, M.: Anschauen als Bildkonstitution. In:
(see in note 1), pp. 63-83.

he went even beyond that, showing clearly how the
painting was not the totality of the image. Instead he
showed that colours cause internal processes which
were not part of the painting, but at the same time
were needed to complété it, and so led the observer
to participate in the total truth of the work of art.
Thus we are no longer passive récipients, but rather
actors, contributing to the discovery of the content
of art by îts observation. While observing it, we
trans form the object. In Rembrandťs paintings, we
do not immediately recognize an object, but rather
we have the impression that the object in the paint-
ing reveals itself slowly in front of our eyes, through
our continued observation. He made visible the fact
that things change constantly, as the object would be
in transformation. Rembrandt shows an experience
which we only grasp if we let ourselves be moved
by our experience of colour. The observer in a way
captures the actual experience of an inner process,
not by recognizing known forms, or by combining
his existential knowledge with what he sees, but
rather by the mere perception of colour.
The effect of Rembrandt and Lorraines aesthetics
can be fully appreciated in Turner's IZgA (TAwr
(HA/A r TAort) - 71A AiorAyg /A - Aiowj*
IFAA'yg /A BooA o/ HAorA Turner, while sharing
Lorraines idea of a fantastic world shining through

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