Larry Poons

#96. Alan Gouk writes on Key Paintings of the 20th Century; a Musée Imaginaire, Part 2

Joan Miro, “Painting”, 1953, Guggenheim NY, © 2018 Successió Miró Artists Rights Society (ARS), New York ADAGP, Paris

“First the Giants, then the pygmies.”   Elie Faure

PART 2  

Notes Synthetiques ca. 1888  by Paul Gauguin: “Art is an abstraction; derive this abstraction from nature whilst dreaming before it, and think more of the creation which will result than of nature”.

To Schuffeneker Aug. 1888: “Like music it acts on the soul through the intermediary of the senses. Harmonious colours respond to the harmonies of sounds”.

And in Diverse Choses 1898: “ The impressionists… heed only the eye and neglect the mysterious centres of thought”.

The sources of these ideas, which were to prove so fertile for the development of abstract painting, lay in the literature of early German Romanticism, Jean Paul, E T A Hoffmann, the synaesthesic imagery taken up by Baudelaire, Schopenhauer’s views on music as reinterpreted by Wagner, and the cult of Richard Wagner in France, which influenced even the  young Cézanne, and the symbolist poets gathered around Mallarme (though some of these pronouncements of Gauguin antecede his friendship with the latter).

Wagner’s music, especially in The Ring, could be described as the triumph of bad literature over music, or the subjugation of music to the literary imagination. The idea that colour, like music, can express the “mysterious centres of thought” appeals to the literary minded, so it is not surprising to find it echoed in Baudelaire and Mallarme. (See the poem Les Phares by Baudelaire). It is for the most part foreign to the French line in painting stemming from Delacroix and finding its culmination in Matisse. Although Matisse echoes the Mallarmean aesthetic “to paint not the thing but the emotion that it arouses in the artist”, in practice his art remains wedded to the full lustre of the sensory world. The transpositions of colour, red for blue, black for azure, are less emotionally driven as arising from his discoveries in Luxe, Calme et Volupte, 1904/05, that degrees of saturation of hue can form the tonal structure, rather than oppositions of dark and light, just as simultaneous contrasts of colour create light rather than oppositions or gradations of warm and cool.

George Seurat and the theorist Charles Henry voiced similar ideas about the expressive role of line and colour in conveying emotion, on the analogy with music, independently of their function in representation. Chromoluminisme as practiced by Seurat and Divisionism as practiced by Paul Signac, endeavour to combine this emotive theory with the science of colour, a hyper-realism, the two sitting uneasily together, and with mixed results, Pissarro being one of the first to express disillusionment with both the pictorial outcome and the intellectual distancing inherent in the approach.

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#45. Ms. Ellen Knee writes on Twombly’s Sculptures; Strategies for Painting; Rauschenberg; Imperfect Reverse; Peter Hide; Heribert Heindl/ Richard Ward.

Cy Twombly, Victory, 2005

Cy Twombly, Victory, 2005

Cy Twombly Foundation Gifts 5 Sculptures to the Philadelphia Museum of Art

‘Timothy Rub, director and CEO of the museum, said, “Like the artist’s ‘Fifty Days at Iliam,’ this remarkable group of sculptures evokes the timeless themes sounded in Homer’s account of the Trojan War and offers a profound meditation on both classical history and the nature of modernity.” He added, “They represent an enormously important addition to our holdings of work by this great artist, who is a key figure in the history of contemporary art.”’

They obviously think very highly of Twombly at the Philadelphia Museum, as they seemingly do in museums all around the world, but as Carl Kandutsch recently asserted on Twitter, he is a vastly overrated artist. And how exactly, one might reasonably ask, do these dull sculptures evoke “the timeless themes sounded in Homer’s account of the Trojan War”? Is it a case similar to the politically wishfull thinking behind Motherwell’s Elegies, only with far worse work?

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