Fricke, Beate (Author)
In their attempt to show bodies animated and alive, painters commented on this crucial question for antique and medieval thinkers by turning it round: Their paintings show an evident interest in what happens to blood after exiting the body in the moment of loosing life, of dying. In Italy since the Trecento, and north of the Alps since ca. 1400, painted traces of blood demonstrate the process of coagulation, the changes of color, substance and liquidity blood experiences outside the body. To render our imagination about the loss of life more lively painters like Enguerrand Quarton, Konrad Witz, the Master of the Bartholomäusaltar and Albrecht Dürer use the paradox that the demonstration of the deadly loss of blood enhances the animation of the picture. On the basis of this artistic interest to contemporary debates about eviction of evidence e.g. in the case of the Holy Blood relic in Mantua 1459/1460 or the `Jetzer'-case at Berne, a new interpretation of the two sides of Albrecht Dürer's panel at Karlsruhe is suggested.
...MoreArticle Pastoureau, Michel (2012) Les cornes, les poils, les oreilles et la queue. Se déguiser en animal dans l'Occident médiéval. Micrologus: Natura, Scienze e Società Medievali (p. 3).
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