RITU KEDIA
1024110
CIA 2
MEL 132
WESTERN AESTHETICS
15 JULY 2010
MAP OF “MORDERNIST PAINTING” BY CLEMENT GREENBERG
PARAGRAPH 1: WHAT IS MODERNISM?
Includes more than art and literature-covers culture in its entirety-of historical novelty-has self critical tendency-Kant-the first real modernist-criticizes the means itself of criticism
PARAGRAPH 2: WHERE DOES MODERNISM’S ESSENCE LIE?
Using characteristic method of the discipline to criticize the discipline itself-Kant-used logic to establish limits of logic
PARAGRAPH 3: HOW CRITICISM EVOLVED?
Self criticism of modernism-enlightenment-criticized from outside-modernism-from inside- criticism-appeared first in philosophy-then other fields-demanded rational justification-for every formal activity
PARAGRAPH 4: ART AND RELIGION
Religion- could not avail criticism in order to justify itself-art-saved by proving that the experience it provided was valuable in its own right
PARAGRAPH 5: ART’S PLACE
Each art had to determine the effects exclusive to itself-thus narrowing in narrowing its area of competence-making its possession more certain.
PARAGRAPH 6: HOW DOES ART GET ITS PURITY?
Unique area of competence of each art coincided with the uniqueness in the nature of its medium-task of self criticism-to eliminate every effect borrowed from other art-thus art gets purity-purity meant self definition-self criticism-self definition with a vengeance
PARAGRAPH 7: REALISTIC AND IMPRESSIONISTS
Realistic art uses art to conceal art-modernism-used art to call attention to art-limitations of paintings-negative forces-old masters-under modernism became positive forces-recognized-acknowledged openly-Manet’s-first Modernist pictures-flat surfaces- impressionists-abjured underpainting and glazes-Cézanne- sacrificed correctness-to fit his drawing to the canvas’s rectangular shape
PARAGRAPH 8: ROLE OF FLATNESS IN MODERN PAINTING
Stressing ineluctable flatness-fundamental process by which pictorial art criticized and defined itself under modernism-flatness unique to pictoral art-enclosing shape shared with art of theatre-colour shared with theatre and sculpture-flatness of painting shared with no other art
PARAGRAPH 9: HOW DOES SUCCESS OF MODERNISM LEND SUCCESS TO SELF CRITICISM?
Old masters-necessary to preserve integrity of picture plane-signifies enduring presence of flatness underneath-modernists-reversed its term-makes aware of what flatness contains-modernist picture-seen as a picture first-modernism’s success in doing so is the success of self criticism.
PARAAGRAPH 10: PAINTING AND SCULPTURE
Modernist painting-not abandoned-representation of recognizable objects in principle-but represents space that recognizable objects inhibit-abstractness-not necessary in self criticism of pictorial art-illustration-no uniqueness-association important-recognizable entities exist in three dimensional space-it being province of sculpture-to achieve autonomy painting has to divest itself of everything it might share with sculpture-so painting-abstract.
PARAGRAPH 11: HOW PAINTING TOOK ANTI-SCULPTURAL DIRECTION?
Resistance to sculpture-dates back-before advent of modernism-western painting-owes to sculpture that taught-how to shape-model for illusion of relief-greatest feats of western painting made itself rid of the sculptural-started in Venice-sixteenth century-first effort-colour-David-eighteenth century tried to revive sculptural painting-to save pictorial art from-decorative flattening out-emphasis on colour-yet strength of David’s best picture-colour-Ingres-pupil-subordinated colour-executed portraits-that were flattest-least sculptural painting-in West-since fourteenth century-therefore middle of nineteenth century-anti-sculptural direction
PARAGRAOH 12: COUNTER REVOLUTION
From colour versus drawing to optical experience against optical experience-Cezanne-cubist-reacted against Impressionism-David reacted against Fragonard-Cubist counter revolution-painting flatter than anything in Western art since Giotto and Cimabue-hardly recognizable images
PARAGARPH 13: CHANGES OVER THE TIME
Cardinal norms of painting began with onset of modernism-picture’s enclosing shape-loosened-tightened-isolated-tightened again-by successive generations of Modernist painters-norms of finish-paint texture-value-colour contrast-revised-testing is not finished yet
PARAGRAPH 14: LIMITS THAT DEFINE PICTURE
Norms of discipline when defined-limits conditions that a picture must comply with-to be experienced as a picture-Modernism-limits pushed back-indefinitely-picture turns into arbitrary object-criss-crossing black lines-coloured rectangles of Mondrian paintings give new force by echoing shape-once used to abstractness-realize-its conservative in colour—subservient to frame
PARAGRAPH 15: ILLUSIONS BY OLD MASTER’S AND MODERN PAINTERS
Flatness-never-absolute flatness-heightened sensitivity-no longer permitted-sculptural illusion-permitted optical illusion-old masters-illusion of depth and space-one could imagine oneself walking into-analogous illusion-modernist painter can only be seen into-only with the eye
PARAGRAPH 16: R0LE OF SCIENCE
Impressionist or neo impressionist-not misguide when they flirted with science-Kantian self criticism-found fullest expression in science-not philosophy-visual art should confine itself exclusively to-visual experience-no reference to any other experience-thus notion’s justification-in scientific consistency
PARAGRAPH 17: RELATING SCIENCE AND MODERN ART
Art’s convergence with science-mere accident-assures nothing more-convergence show-profound degree to which Modernist art belong-modern science thus of-highest significance as historical fact
PARAGRAPH 18: SELF CRITICISM IN MODERN ART
Carried in spontaneous-subliminal ways-a matter of practice-not theory-less of programmatic in Modernist art than in renaissance or academics painting-no fixed ideas about art-certain inclinations-affirmations-refusals-necessary-more expressive art lies through them-truth and success of work –personal-reveals self critical tendency of Modernist painting
PARAGRAPH 19: HOW MODERNISM DIFFERS FROM THE TRADITIONAL?
Modernism means devolution-unraveling of tradition-further evolution-modernist art continues the past without gap-making of pictures-controlled-Palaeolithic painters-disregard norm of frame-worked on support-arbitrarily given by nature-deliberate choosing of flat surface-modernist painting- limiting conditions of art are altogether human conditions
PARAGRAPH 20: WHAT MODERNISM DOES?
Does not offer theoretical demonstrations-converts theoretical possibilities into empirical ones-tests theories about art for their relevance-revives reputations of-Uccello-El Greco Giotto- not lowering-Leonardo-Raphael- past did appreciate masters justly-but gave wrong reasons for doing so often
PARAGRAPH 21: MODERN ART THROUGH JOURNALISM
Art criticism-art history-lag behind modernism as it lagged behind pre modernistic art-written things about modern art belong to journalism –not critical or art history-journalism hails each new phase of modernist art as the start of new epoch-breaking from customs-everyone regardless of how well informed or uninformed-has say about it-each time expectations disappointed-Modernist art takes place in intelligible continuity of taste and tradition
PARAGRAGH 20: ART IS CONTINUITY
Lacking the past of art-need to maintain standards of excellence-modernist art would lack both substance and justification.
Work cited:
Greenberg,Clement “Modernist Painting”art in modern culture: an anthology of critical texts. Eds Francis,Jonathan Harris. Londaon/New York: Phaidon1992.Print.
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