âThe Liberating Quality of Avant-Garde Artâ - Timothy R. Quigley
âThe Liberating Quality of Avant-Garde Artâ - Timothy R. Quigley âThe Liberating Quality of Avant-Garde Artâ - Timothy R. Quigley
Modern Art: Basic Assumptions, Definitions, and QualificationsEmergence of New Criteria“Abstraction implies...a criticism of the accepted contents of thepreceding representations as ideal values or life interests. This does notmean that painters, in giving up landscape, no longer enjoy nature; butthey do not believe, as did the poets, the philosophers and painters ofthe nineteenth century, that nature can serve as a model of harmony forman, nor do they feel that the experience of nature’s moods is anexalting value on which to found an adequate philosophy of life. Newproblems, situations and experiences of greater import have emerged:the challenge of social conflict and development [Marx and the critiqueof capitalism], the exploration of the self, the discovery of its hiddenmotivations and processes [Freud and the unconscious], the advanceof human creativeness in science and technology [Darwin, Einstein,etc.]“All these factors should he taken into account in judging the significanceof the change in painting and sculpture. It was not a simple studioexperiment or an intellectual play with ideas and with paint; it was relatedto a broader and deeper reaction to basic elements of commonexperience and the concept of humanity, as it developed under newconditions.” [Schapiro, 4]Barnett Newman, Moment, 1946Tuesday, February 7, 2012
Modern Art: Basic Assumptions, Definitions, and QualificationsEmergence of New Criteria and Proliferation of StylesAs abstraction and expression trumped representation in the practice ofmodern artists, new criteria and expectations emerged.The two fundamental requirements for the modern painting were that everyindividual work have both unity and expressive form.The artist came to believe that what was essential in art...were two universalrequirements: that every work of art has an individual order or coherence, aquality of unity and necessity in its structure regardless of the kind of formsused; and, second, that the forms and colors chosen have a decided expressivephysiognomy, that they speak to us as a feeling-charged whole, through theintrinsic power of colors and lines, rather than through the imaging of facialexpressions, gestures and bodily movements…. [Schapiro, 2]Arshile Gorky, The Liver is the Cock's Comb, 1944Tuesday, February 7, 2012
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Modern Art: Basic Assumptions, Definitions, and QualificationsEmergence <strong>of</strong> New Criteria and Proliferation <strong>of</strong> StylesAs abstraction and expression trumped representation in the practice <strong>of</strong>modern artists, new criteria and expectations emerged.The two fundamental requirements for the modern painting were that everyindividual work have both unity and expressive form.The artist came to believe that what was essential in art...were two universalrequirements: that every work <strong>of</strong> art has an individual order or coherence, aquality <strong>of</strong> unity and necessity in its structure regardless <strong>of</strong> the kind <strong>of</strong> formsused; and, second, that the forms and colors chosen have a decided expressivephysiognomy, that they speak to us as a feeling-charged whole, through theintrinsic power <strong>of</strong> colors and lines, rather than through the imaging <strong>of</strong> facialexpressions, gestures and bodily movements…. [Schapiro, 2]Arshile Gorky, The Liver is the Cock's Comb, 1944Tuesday, February 7, 2012
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