Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-Impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution and interpretation that the neo-Impressionists challeng...
Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-Impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution and interpretation that the neo-Impressionists challenged, and explains how these artists sought to circulate their own work outside the prevailing system. Paintings, Ward argues, often anticipate and respond to their own conditions of display and use, and in the case of the neo-Impressionists, the artists' relations to market forces and exhibition spaces had a decisive impact on their art. Ward details the changes in art dealing, and chronicles how these and new freedoms for the press made artistic vanguardism possible while at the same time affecting the content of painting. She also provides a nuanced account of the neo-Impressionists' engagements with anarchism, and traces the gradual undermining of any strong correlation between artistic allegiance and political direction in the art world of the 1890s.
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There is hardly any need to speak of the dejected, prostrated, concentrated attitudes of sadness, of the active, exultant, radiating attitudes of pleasure; these metaphors clearly tell us that gestures made in the direction of weight affirm sadness; gestures made in the opposite direction affirm joy...it is evident that the goal of these movement is, in the case of sadness, a tendency to put the body in the situation that demands the least work to produce; in the case of pleasure, in the situation that demands the most work to produce. (Charles Henry) (查看原文)
Seurat's mobilizations of the apparatuses of pleasure and pain, then, and the whole psychophysical fantasy of controlling emotional response and commanding human attention, must stand as an instance where the avant-garde did indeed see an aesthetics of the future, but like most of their contemporaries, were alarmingly blind to its consequences. (查看原文)
还没人写过短评呢