This volume presents a new and comprehensive bid concerning the manner in which landscapes in Western pictorial art may be interpreted in relation to the cultures that created them. Its point of departure is a hitherto unexplored development pattern that characterizes landscape representation from Paleolithic cave paintings to 19th-century modernity. Through a structuralist comparison between this pattern and three additional fields of analysis - self consciousness, socially determined perceptions of nature, and world picture - a fascinating insight into culture's macro-historic organization is extrapolated. Not least it is argued controversially that culture at a certain level of observation is marked by a directional evolution. The gradual accentuation of a viewpoint found in landscape images can, in this way, be read as a sign of how self-consciousness - the notion of an 'I' detached from nature - develops.
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