In the essay I examine ontology of painterly thought and its discontinuity which was brough about by postmodernism. I attempt to provide insight into the basic aspects of painterly thought and the most important shifts in mental and pictorial process starting with modernism which initiated the autonomy of painting. As a corollary, modernism is very much concerned with the morphologyof pictorial field. I follow painterly thought from Cézanne's analytical approach, which indicated all the following paradigm changes, through primary or analytical painting with Ryman, to Polke, whose work is marked by new interdisciplinary media and technological resources as well as by the deconstruction of the modernist unique style, yet, in complex and meditated pictorial formulations, he does not present discontinuity. In the last part of the essay I attempt to analyze changes and attitudes as have occured in contemporary postpostmodern time. What are the major painterly transformations in the context of postmodernist, according to Danto posthistorical art, which is no longer evaluated from visual but rather from conceptual point of view? From the point of view of painting as an autonomous praxis I meditate on painting's intentionality, its media transformations and its problems.
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