Article Title
Keywords
Violence in fine art, Art viewpoint
Document Type
Research Paper
Abstract
Paintings of violence are hung on the walls of museums throughout the world, seen as displays of artistic mastery rather than portrayals of destructive behavior. An example of this is seen in Domenico Fetti’s “David with the Head of Goliath,” an Italian Baroque painting thought to have originated in 1620 (The Royal Collection 2007).
The text displays a tremendous representation of power and, simultaneously, lack thereof. The posthumous gaze of Goliath towards David and the sword suggests an envious dynamic. David is situated upon Goliath’s head as if presenting a hunting trophy, which perpetually dehumanizes Goliath. The frame that is formed between David and the sword emphasizes a celestial bond between him and an otherworldly higher being due to the illuminated sky, which makes up the focal point of the text. The image inherently creates a hypertextual relationship for the viewer, especially since the iteration of David and Goliath is popular enough to be universally understood from the Biblical legend. “David with the Head of Goliath” is obviously an interpretation of that story, meaning the image exists hypertextually since it’s existence would not be possible without the original text.
Genre/Form
articles
Recommended Citation
Deuel, Cameron
(2013)
"The Relationship Between Viewer and Fine Art,"
Occam's Razor: Vol. 3, Article 4.
Available at:
https://cedar.wwu.edu/orwwu/vol3/iss1/4
Subjects - Topical (LCSH)
Violence in art; Violence--Psychological aspects; Violence--Public opinion
Rights
Copying of this document in whole or in part is allowable only for scholarly purposes. It is understood, however, that any copying or publication of this document for commercial purposes, or for financial gain, shall not be allowed without the author’s written permission.
Language
English
Format
application/pdf
Type
Text
