Abstract
It has frequently been pointed out that Paul Celan’s poems have a dialogic impulse. In this respect, Anselm Kiefer’s paintings can be considered the pictorial extension of Celan’s poetic structures. I will argue that with the inscriptions on his paintings, Kiefer exhibits dialogic moments, relating different perspectives to one another, thereby attempting to understand painting as drama; that is, to create a place for visual experience where no epic narrative is told, but an ongoing and dramatic conflict is acted out. This will be illustrated by a closer look of two of Kiefer’s paintings: The Sand from the Urns (for Ingeborg Bachmann, for , 1997) and The Sand from the Urns (for Paul Celan, 2009).
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Analele Universității de Vest. Seria Științe Filologice
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
