O scurtă istorie a „tabloului articulat”. De la dipticul consular la serialismul artei contemporane
A Short History of the Articulated Painting

Summary/Abstract: The articulated painting, as a compositional and representational modality, has a rich history in visual arts, constantly proving to be a formula appreciated by artists for the multitude of possibilities it offers for relating images in a complex visual ensemble. Its beginnings are situated in Late Antiquity, continuing in the Middle Ages, with the Italian Renaissance and Flemish Gothic as its period of maximum flourishing; after the Baroque, it follows a period of approximately two centuries in which examples of articulated paintings are few in number. If the beginnings of the articulated painting are located in a secular environment (the consular diptych), it gradually became the most important devotional image – in the form of the altar/retable – in Catholic cathedrals and churches. Its golden age is in the 15th and 16th centuries, but after Rubens, in the first half of the 17th century, it experienced a decline. It will be reborn again in a secular environment, in the second half of the 19th century. After the Second World War we encounter numerous examples of articulated paintings, in various forms, which often sit on the border between painting and sculpture. In fact, they are developments and interpretations in a postmodern key of the altarpiece from the Gothic period, in which the painted and sculpted scenes from the Gospels were combined into a harmonious whole. The series, which is a form of articulated painting, is defined as a variation on the same theme. The series appears in the modern era, with the industrial revolution and the development of mass multiplication methods; the advent of the camera and photography also played an important role. Claude Monet, Andy Warhol, Francis Bacon or Bernd and Hilla Becher are just a few examples of artists whose work is often composed in a serial form.

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