Abstract
This article investigates the assumption that paintings that depict other paintings seen from behind, in examples ranging from fifteenth-century depictions of St Luke Painting the Virgin to Roy Lichtenstein’s Stretcher-Back series in the 1960s, constitute an emphatic kind of ‘presence by occlusion’ arising from their four relationships with pictorial settings: ‘intra’, ‘extra’, ‘recto’, ‘verso’. This permits the comparative analysis of the pictorial worlds or ontological realms in which they feature, together with the further possibility of representing the divided presence of more than one ontological realm encapsulated in a painting.
| Original language | English |
|---|---|
| Pages (from-to) | 121-135 |
| Journal | Melbourne Art Journal |
| Volume | 11-12 |
| Publication status | Published - 2009 |