Art in its Time: Theories and Practices of Modern Aesthetics

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69 Figure 4.2 Eugène Delacroix, Death of Sardanapalus, 1827. Courtesy of Réunion des Musées Nationaux/Art Resource, NY.
BEAUTIFUL AND SUBLIME female sublime. Gun in one hand, tricolor in the other, her bare breasts demonstrating her continued sexual presence, she appears at the barricade not as destroyer of order but as incarnation of a new order in which the bourgeois and laboring classes will create a common destiny. Republican men here stand with her, not against her. Perhaps it is not just the difference between France and Britain but the actuality of revolution—the picture was made in 1830—that saved her from restriction to sublime widowhood and allowed her the sexuality of the “woman of the people” crowned as Liberty in 1789. 74 But of course the new order was a chimera, and this image had no immediate successor. It might be said to have reappeared in the late 1960s, in the form of the heroine of Third World revolutionary struggle—Asian, African, or Native American—with a rifle in her hand or on her back. Its provenance in modernizing movements suggest what might be called its early nineteenth-century nature—and also the centrality of gender issues to social transformation. Here again the difficulty of imagining the feminine sublime in terms other than those of uneasy compromise between masculine attributes and rejection of the patriarchal order is further testimony to the gendered character of the categories of beautiful and sublime. Abstraction and the sublime In 1805 Goethe could still write, “To make the transition from the world of letters, and even from the highest manifestations of words and language, namely poetry and rhetoric, to the visual arts, is difficult and well-nigh impossible: for between them lies an enormous gulf which only a special natural aptitude can bridge.” 75 On the other hand, in 1795 Schiller demanded that “the plastic arts . . . must become sheer form,” though only because “it is an inevitable and natural consequence of their approach to perfection that the various arts, without any displacement of their objective frontiers, tend to become ever more like each other in their effect upon the psyche.” In any and every art, “subject-matter . . . 74 See the related mythology sketched by Victor Hugo, reporting the June Days of 1848 in his Choses Vues: At that moment a young woman appeared on the crest of the barricade, a young woman, beautiful, disheveled, terrifying. This woman, who was a public whore, pulled her dress up to the waist and cried to the guardsmen, in that dreadful brothel language that one is always obliged to translate: “Cowards! Fire, if you dare, at the belly of a woman!” . . . It’s a hideous thing, this heroism of abjection, when all that weakness contains of strength bursts out. Victor Hugo, Oeuvres complètes (Paris, 1955) vol. 31, pp. 361–6; cit. Neil Hertz, “Medusa’s head: male hysteria under political pressure,” Representations 4 (1983), p. 29 75 J. W. von Goethe, “Winckelmann,” tr. H. B. Nisbet, in Nisbet, German Aesthetic and Literary Criticism, p. 243. 70
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ART IN ITS TIME Art writing normall
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First published 2003 by Routledge 1
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CONTENTS List of illustrations ix P
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PREFACE In writing this book I have
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1 INTRODUCTION The ten chapters tha
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INTRODUCTION ideology, as I am atte
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INTRODUCTION process as practically
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INTRODUCTION articulation of nonver
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2 SOME MASKS OF MODERNISM The days
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SOME MASKS OF MODERNISM which it di
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SOME MASKS OF MODERNISM chaotic mov
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SOME MASKS OF MODERNISM the faces o
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SOME MASKS OF MODERNISM Figure 2.2
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Page 34 and 35: SOME MASKS OF MODERNISM private str
Page 36 and 37: SOME MASKS OF MODERNISM the artist
Page 38 and 39: ART AND MONEY action taken to turn
Page 40 and 41: ART AND MONEY Diderot’s version o
Page 42 and 43: ART AND MONEY Luxury and corruption
Page 44 and 45: ART AND MONEY financed not only by
Page 46 and 47: ART AND MONEY of Plato with whom th
Page 48 and 49: ART AND MONEY When a handful of spe
Page 50 and 51: ART AND MONEY might confuse the hon
Page 52 and 53: ART AND MONEY complaint about the r
Page 54 and 55: ART AND MONEY comparison with Kant
Page 56 and 57: ART AND MONEY experience of the bea
Page 58 and 59: ART AND MONEY worthy inheritors of
Page 60 and 61: BEAUTIFUL AND SUBLIME It is, we mus
Page 62 and 63: BEAUTIFUL AND SUBLIME strength. Cri
Page 64 and 65: BEAUTIFUL AND SUBLIME In Rousseau
Page 66 and 67: BEAUTIFUL AND SUBLIME two centuries
Page 68 and 69: BEAUTIFUL AND SUBLIME exemplified b
Page 70 and 71: BEAUTIFUL AND SUBLIME Figure 4.1 Jo
Page 72 and 73: BEAUTIFUL AND SUBLIME “beautiful
Page 74 and 75: BEAUTIFUL AND SUBLIME and political
Page 76 and 77: BEAUTIFUL AND SUBLIME The paintings
Page 78 and 79: BEAUTIFUL AND SUBLIME In this pictu
Page 80 and 81: world will be long in freeing itsel
Page 84 and 85: BEAUTIFUL AND SUBLIME always has a
Page 86 and 87: the sublime and the beautiful—cal
Page 88 and 89: THE RATIONALIZATION OF ART “Spiri
Page 90 and 91: THE RATIONALIZATION OF ART als, wit
Page 92 and 93: THE RATIONALIZATION OF ART The dist
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Page 96 and 97: THE RATIONALIZATION OF ART image, e
Page 98 and 99: THE RATIONALIZATION OF ART which de
Page 100 and 101: 6 MECHANICAL REPRODUCTION IN THE AG
Page 102 and 103: MECHANICAL REPRODUCTION Almost none
Page 104 and 105: MECHANICAL REPRODUCTION models were
Page 106 and 107: MECHANICAL REPRODUCTION But we are
Page 108 and 109: MECHANICAL REPRODUCTION They repres
Page 110 and 111: MECHANICAL REPRODUCTION have alread
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Page 114 and 115: MECHANICAL REPRODUCTION It is evide
Page 116 and 117: MECHANICAL REPRODUCTION order of be
Page 118 and 119: MECHANICAL REPRODUCTION triumph as
Page 120 and 121: PORK AND PORCELAIN extent not only
Page 122 and 123: PORK AND PORCELAIN support of the B
Page 124 and 125: PORK AND PORCELAIN for the distinct
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Page 128 and 129: PORK AND PORCELAIN ment censorship
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8 THE AESTHETICS OF ANTI-AESTHETICS
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THE AESTHETICS OF ANTI-AESTHETICS o
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THE AESTHETICS OF ANTI-AESTHETICS
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THE AESTHETICS OF ANTI-AESTHETICS p
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THE AESTHETICS OF ANTI-AESTHETICS p
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THE AESTHETICS OF ANTI-AESTHETICS O
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THE AESTHETICS OF ANTI-AESTHETICS r
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THE AESTHETICS OF ANTI-AESTHETICS C
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THE PHILOSOPHY OF ANDY WARHOL Warho
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THE PHILOSOPHY OF ANDY WARHOL readi
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THE PHILOSOPHY OF ANDY WARHOL print
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THE PHILOSOPHY OF ANDY WARHOL and E
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THE PHILOSOPHY OF ANDY WARHOL 1989
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THE PHILOSOPHY OF ANDY WARHOL found
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THE PHILOSOPHY OF ANDY WARHOL ident
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Buchloh sees the political limitati
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THE PHILOSOPHY OF ANDY WARHOL conte
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THE AVANT-GARDE IN FASHION Figure 1
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THE AVANT-GARDE IN FASHION recast a
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Such a view is more plausible in re
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THE AVANT-GARDE IN FASHION “strip
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THE AVANT-GARDE IN FASHION the unif
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THE AVANT-GARDE IN FASHION long con
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THE AVANT-GARDE IN FASHION had its
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THE AVANT-GARDE IN FASHION wrong. A
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THE AVANT-GARDE IN FASHION One can
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CLASSLESS TASTE home or being aroun
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CLASSLESS TASTE Burning call “aca
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CLASSLESS TASTE It would be pervers
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CLASSLESS TASTE ing, as the boundar
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Adams, Abigail 48 Adorno, Theodor 5
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play 41ff Pocock, J. G. A. 28 n. 16
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