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Spiegelschau im Garten Eden Amico Aspertinis Genesis -Stich
Maurice Saß
From the Journal: Zeitschrift für Kunstgeschichte
Published online:
12 Oct 2018
Abstract
This paper focuses on Amico Aspertini’s engraving Genesis Scene with Fall, Expulsion, Adam and Eve after the Fall, and Abel’s Sacrifice , a complex allegory that places a self-mirroring man in the middle of the events. The aim of the article is to highlight the general importance of the mirror motif in representations of the biblical story of Eden. On the one hand, the seduction of Eve was understood as a visual event and as an act of artful illusion. On the other hand, envy (invidia ) or, alternatively, pride (superbia ) was considered to be the reason for the original sin. And either personification had a mirror as its main attribute. Aspertini’s engraving takes up this understanding of the fall to show that his own art and more generally all figurative imitations thrive on the productive tension between diabolic allurement and divine vision.
This paper focuses on Amico Aspertini’s engraving
Other Articles in this Issue:
Zeitschrift für Kunstgeschichte Issues
Volume 86 (2023)
Volume 85 (2022)
Volume 84 (2021)
Volume 83 (2020)
Volume 82 (2019)
Volume 81 (2018)
Volume 80 (2017)
Volume 79 (2016)
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