By Peter Dayan
In 1877, Ruskin accused Whistler of ‘flinging a pot of paint within the public’s face’. was once he correct? in the end, Whistler consistently denied that the real functionality of artwork used to be to symbolize something. If a portray doesn't symbolize, what's it, except mere paint, flung within the public’s face? Whistler’s solution was once easy: portray is song – or it's poetry.
Georges Braque, part a century later, echoed Whistler’s solution. So did Braque’s pals Apollinaire and Ponge. They provided their poetry as track too – and as portray. yet in the meantime, composers akin to Satie and Stravinsky have been proposing their very own artwork – song – as though it transposed the values of portray or of poetry. the elemental precept of this intermedial aesthetic, which sure jointly a unprecedented fraternity of artists in all media in Paris, from 1885 to 1945, was once this: we should always take into consideration the worth of a piece of paintings, now not in the common sense of its personal medium, yet as though it transposed the worth of artwork in one other medium. Peter Dayan lines the historical past of this precept: the way it created our very concept of ‘great art’, why it declined as a imaginative and prescient from the Sixties and the way, within the twenty first century, it really is battling back.
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Extra resources for Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky and Beyond
Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky and Beyond by Peter Dayan