“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
The first modern? Which standard of reason?
See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
Art, money, marketing and fame. It’s worth thinking about Western culture and the travels of the individual artist through romanticism, modernism and post-modernism and to wherever it is that artist is headed now. As for Hirst, it was probably inevitable that someone who couldn’t draw all that well, and didn’t have many of the basics down, would rocket in and out of the spotlight, capturing the moment.
‘Damien Hirst’s output between 2005 and 2008 – the period of his greatest success – has subsequently resold at an average of thirty per cent less than its original purchase price. Moreover, a third of the almost 1700 Hirst pieces that have gone to auction since 2009 have failed to sell at all. Most recently, in November, his gloss-and-butterfly collage Sanctimony failed to reach its lowest pre-sale estimate at a Sotheby’s auction’
The Diamond Skull here. The Shark here.
If you bought it, perhaps you deserve it, and even Hirst seems to be in on that game.
———–
Towards a theme:
Salvador Dali had some training and native talent but was also an idea man.
He was part of the surrealist movement, perhaps best represented by Luis Bunuel’s (Un Chien Andalou) statement:
“Our only rule was very simple: no idea or image that might lend itself to a rational explanation of any kind would be accepted. We had to open all doors to the irrational and keep only those images that surprised us, without trying to explain why.“
I suspect Spanish culture helped along the way by placing a lot of emphasis on the arts as it does, tilting the culture in that direction. It’s produced El Greco, Velazquez, Goya, and Picasso among others. Spanish genius tends to flourish in the visual arts.
Here’s a quote from Goya. that first modern, I keep putting up:
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
Here’s Dali having become something of a caricature of himself:
————-
What’s that theme again?
Any thoughts and comments are welcome.
Related On This Site: …From The City Journal Via Arts And Letters Daily: Andre Glucksman On “The Postmodern Financial Crisis”
Roger Scruton says keep politics out of the arts, and political judgment apart from aesthetic judgment…this includes race studies/feminist departments/gay studies etc.: Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment
Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
Joan Miro: Woman… Goethe’s Color Theory: Artists And Thinkers…Some Quotes From Kant And A Visual Exercise
A Reaction To Jeff Koons ‘St John The Baptist’
Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’ Two ways around postmodernism, nihilism?: One is Allan Bloom Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’…A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint…
Six Significant Landscapes
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman’s arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses
As, for example, the ellipse of the half-moon
Rationalists would wear sombreros.
I quite like this one. Perhaps it’s because of what I see as a Romantic sensibility fitted to imagistic purpose.
As to that final stanza: That’s a lot of very lush language to describe what are, to my mind, very visual-field, mathematical concepts. Stevens was a poet of lush language, celebrating it like the old dandy he was, but also translating the Romantic arrangment of language to the spare, image-based aims of modernism. Make it new and strip it down.
Perhaps, this is more the tension occurring here rather than that of a frustrated mathematician.
I’ll try and stir the pot a bit:
‘…modern rationalism is what commonplace minds made out of the inspiration of men of discrimination and genius.’
Oakeshott, Michael. Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print. Pg 6.
One might ask what kind of genius? Artistic, linguistic and poetic? Or rather mathematical and physical? Parts of this debate could be said to stretch back to the Greeks, at least. They exist [such debates] all around us today, within our universities, politics and lives.
Personally, I’m reminded of many modern debates over reason, what it can do , what it can’t, and also many rationalist/anti-rationalist reactions to it.
The Romantic impulse generally involves a return to Nature and the countryside, away from civilization. The poet and the artist also invite one back to one’s own sense experience anew; the ambitious attempting to celebrate the emotions and grand themes without a hint of irony (love, death, war).
At least, many try and show us as we are and can be to ourselves.
But, this is also having some downstream effects, at least in German theory: Tom Wolfe on Max Weber on one conspicuous use of art in the ‘modern’ world:
‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…‘
The first modern?
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
Six Significant Landscapes
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman’s arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses
As, for example, the ellipse of the half-moon
Rationalists would wear sombreros.
I quite like this one. Perhaps it’s because of what I see as a Romantic sensibility fitted to imagistic purpose.
As to that final stanza: That’s a lot of very lush language to describe what are, to my mind, very visual-field, mathematical concepts. Stevens was a poet of lush language, celebrating it like the old dandy he was, but also translating the Romantic arrangment of language to the spare, image-based aims of modernism. Make it new and strip it down.
Perhaps, this is more the tension occurring here rather than that of a frustrated mathematician.
I’ll try and stir the pot a bit:
‘…modern rationalism is what commonplace minds made out of the inspiration of men of discrimination and genius.’
Oakeshott, Michael. Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print. Pg 6.
One might ask what kind of genius? Artistic, linguistic and poetic? Or rather mathematical and physical? Parts of this debate could be said to stretch back to the Greeks, at least. They exist [such debates] all around us today, within our universities, politics and lives.
Personally, I’m reminded of many modern debates over reason, what it can do , what it can’t, and also many rationalist/anti-rationalist reactions to it.
The Romantic impulse generally involves a return to Nature and the countryside, away from civilization. The poet and the artist also invite one back to one’s own sense experience anew; the ambitious attempting to celebrate the emotions and grand themes without a hint of irony (love, death, war).
At least, many try and show us as we are and can be to ourselves.
But, this is also having some downstream effects, at least in German theory: Tom Wolfe on Max Weber on one conspicuous use of art in the ‘modern’ world:
‘…aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…‘
The first modern?
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
Every 6 months or so…
The first modern?
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
The video’s about 6 minutes long. Included is a pretty brief definition of modernism, but which highlights some of what I think makes Goya so accessible:
“…modernism is an artistic movement which follows the thought of humans being able to change their environment with science, technology and knowledge. In short modernism results in the idea that we, as artists and as humans, should reject tradition…”
Now, there’s a lot to dispute in such a definition…you mean reject religious tradition…all tradition? Surely you want painters to learn how to paint, and understand the technique and mechanics of their craft. How much of modernism would be a product of/reaction to the Enlightenment?
Also On This Site: Joan Miro: Woman…Goya’s Colossus…Goya’s Fight With Cudgels… Goethe’s Color Theory: Artists And Thinkers…Some Quotes From Kant And A Visual Exercise
A Reaction To Jeff Koons ‘St John The Baptist’
Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’
How might Nietzsche figure in the discussion (was he most after freeing art from a few thousand years of Christianity, monarchy and aristocracy…something deeper?), at least with regard to Camille Paglia. See the comments: Repost-Camille Paglia At Arion: Why Break, Blow, Burn Was Successful
The first modern?
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
The first modern?
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.
“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”
See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.