How might one think about narrative painting in the present era, in the wake of modernism and post-modernism? What picture-viewer relations does narrative painting postulate in exceeding two-dimensionality towards the domain of the fictional? How can painting, once characterized as a window opening onto fictional reality and redefined by modernism as an opaque window drawing attention to its own material features, be considered narrative?
This book address these questions and reconsiders the conceptualization of narrative painting by way of the psychoanalytic thinking of Freud and Lacan as it pertains to the fields of vision and the visual arts.
From the series Interpretation and Culture.