Abstract

The essay analyses discrepancies within Giorgio Morandi's oeuvre between still life and landscape paintings. It turns to readings on spatiality from Martin Heidegger's 'Being and Time' to allow for re-interpretation of Morandi's work though, for example, the Heideggerian distinction between readiness-to-hand and presence-at-hand. The essay then considers how such approaches can apply to representations of architecture, and ends by feeding these back once again into the reading of Morandi's work.