The New Reality in Art and Science

Bibliographic Data

ID2106799
AuthorsE M Hafner (Hampshire College, corresponding author)
Year1969
Volume11
Issue4
Pages385-397
Publication date1969-10-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueComparative Studies in Society and History (JOURNAL)
Journal identifiersISSN: 0010-4175 • E-ISSN: 1475-2999
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0010417500005442
OpenAlexW2127043284
LanguageEN
Citations received6
References cited2

We are often told, and it is easy to believe, that the images of abstract art are not drawn from the real world. In the most conventional view of the modern school, abstract painting is a search for free expression of the artist's own vision. The non-representational painter works as he pleases and is pleased by little that he sees. A humorous drawing in a sophisticated magazine shows a studio full of wild canvases, with the artist gazing through the window at a magnificent sunset. He says to a friend, 'Yes, old man, I admit that it's beautiful. Sometimes I'm sorry it's not the sort of thing I do.' Authority for the establishment of a public attitude that makes such a joke possible is to be found in the writings of many critics and in the words of artists themselves. Harold Rosenberg: 'The big moment [in art] came when it was decided to paint-just to paint. The gesture on the canvas was a gesture of liberation from value, political, aesthetic, moral.' André Malraux: 'What then was painting becoming, now that it no longer imitated or transfigured? Simply-painting.' Sheldon Cheney: 'I cannot do better, in trying to help you to an understanding of modernism, than to point out the devastating effect the realistic movement had on the arts as a whole.' Piet Mondrian: 'In order that art ... should not represent relations with the natural aspect of things, the law of the denaturalization of matter is of fundamental importance.' Clive Bell: 'Creating a work of art is so tremendous a business that it leaves no leisure for catching likenesses.' Kasimir Malevich: 'From the supremist point of view, the appearances of natural objects are in themselves meaningless. ... The representation of an object ... is something that has nothing to do with art.' Laurence Binyon, in 1911: 'The theory that art is, above all things, imitative and representative, no longer holds the field with thinking minds.' Ortega y Gasset: 'Painting completely reversed its function and, instead of putting us within what is outside, endeavored to pour out upon the canvas what is within: ideal invented objects

Aesthetics · Art · Art history · Art world · Expression (computer science) · Gesture · Joke · Literature · Modern art · Modernism (music) · Mondrian · Natural (archaeology) · Order (exchange) · Painting · Performance art · Politics · Representation (politics) · Studio · The arts · Value (mathematics) · Visual arts · Aesthetic Perception and Analysis · History · Law · Philosophy

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