Painting belongs together with cults, magic, miracles - and illusions.

Those are its onthological unerpinnings, and more or less possible for a young contemporary artist to manage. It was to make miracles credible that central perspective was developed, in parallel in Flanders and in Northern Italy, in the 15th century. It was to coerce or entice nature, or to conjure up the gods, to make them behave like peolpe wanted them to, that pictures were painted - on rock faces, in forrest grottels, on walls and floors, in the innermost recesse of secret rooms.

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