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Download e-book for iPad: Art as music, music as poetry, poetry as art, from Whistler by Peter Dayan

By Peter Dayan

ISBN-10: 075466791X

ISBN-13: 9780754667919

ISBN-10: 1409427935

ISBN-13: 9781409427933

In 1877, Ruskin accused Whistler of 'flinging a pot of paint within the public's face'. was once he correct? finally, Whistler consistently denied that the genuine functionality of artwork used to be to symbolize something. If a portray doesn't characterize, what's it, except mere paint, flung within the public's face? Whistler's resolution was once easy: portray is tune - or it's poetry. Georges Braque, part a century later, echoed Whistler's solution. So did Braque's associates Apollinaire and Ponge. They awarded their poetry as track, too - and as portray. yet in the meantime, composers reminiscent of Satie and Stravinsky have been offering their very own paintings - tune - 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, used to be this: we should take into consideration the worth of a piece of paintings, no longer in the common sense of its personal medium, yet as though it transposed the worth of paintings in one other medium. Peter Dayan lines the background of this precept: the way it created our very thought of 'great art', why it declined as a imaginative and prescient from the Sixties, and the way, within the twenty first century, it truly is scuffling with again

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Additional info for Art as music, music as poetry, poetry as art, from Whistler to Stravinsky and beyond

Sample text

Exhorting – denouncing – directing. Filled with wrath and earnestness. Bringing powers of persuasion, and polish of language, to prove – nothing. (149) Whistler refuses to language any power to define art, to speak in art’s name. Words cannot prove anything about the value of paintings; paintings cannot be translated into words. A painting by Whistler was, to Whistler, first and last, a painting, a thing made of paint, sent out into the world to speak, for itself, to the public, the only language it had: the language of paint; paint, and not verbalizable ideas, flung in the public’s face.

Illustrated London News. uk/correspondence. This letter is number 09458. 31 Amidst the quotations of carping British critics, there is one cutting from the New York Tribune (325–6); but it concerns, precisely, the shabby treatment of Whistler’s paintings in England. 32 ‘In the Luxembourg Museum, a painting by Mr. ’ 30 Art as Music, Music as Poetry, Poetry as Art Should Whistler’s exclamation marks be interpreted as an assertion of his American, rather than English or British, origins? This might seem odd given that he had accepted election as the president of the Society of British Artists and had been quite happy to have his work hung in the English section of the 1889 Paris Exhibition, when he felt unfairly treated by the jury for the American section; and nowhere in The Gentle Art is any national pride in evidence.

Exhorting – denouncing – directing. Filled with wrath and earnestness. Bringing powers of persuasion, and polish of language, to prove – nothing. (149) Whistler refuses to language any power to define art, to speak in art’s name. Words cannot prove anything about the value of paintings; paintings cannot be translated into words. A painting by Whistler was, to Whistler, first and last, a painting, a thing made of paint, sent out into the world to speak, for itself, to the public, the only language it had: the language of paint; paint, and not verbalizable ideas, flung in the public’s face.

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Art as music, music as poetry, poetry as art, from Whistler to Stravinsky and beyond by Peter Dayan


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