Download e-book for iPad: Art as Music, Music as Poetry, Poetry as Art, from Whistler by Peter Dayan
By Peter Dayan
In 1877, Ruskin accused Whistler of ‘flinging a pot of paint within the public’s face’. was once he correct? finally, Whistler constantly denied that the genuine functionality of paintings was once to symbolize something. If a portray doesn't characterize, what's it, except mere paint, flung within the public’s face? Whistler’s solution was once uncomplicated: portray is track – or it really is poetry.
Georges Braque, part a century later, echoed Whistler’s resolution. So did Braque’s acquaintances Apollinaire and Ponge. They provided their poetry as tune too – and as portray. yet in the meantime, composers comparable to Satie and Stravinsky have been offering their very own artwork – song – as though it transposed the values of portray or of poetry. the elemental precept of this intermedial aesthetic, which certain jointly a rare fraternity of artists in all media in Paris, from 1885 to 1945, used to be this: we should always take into consideration the worth of a piece of artwork, no longer in the good judgment of its personal medium, yet as though it transposed the worth of paintings in one other medium. Peter Dayan lines the heritage of this precept: the way it created our very proposal 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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Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky and Beyond by Peter Dayan