Oppositions and Pendulums: Part 2

“Beauty is truth, truth beauty,” wrote John Keats. He may have intended that ironically, although it has been taken literally by many. Truth is beauty — well, at least in this: that artists have always sought to express the truth, at least as they have known it.

Art is, in large part, an attempt to discover truth in the welter of the chaos and confusion that is our lives. We write a play and test whether the ideas our characters believe can hold up under scrutiny. We paint canvasses in an attempt to discover what the world looks like. We write music to explore our emotional coherence.

In short, science is the test we give to hard fact; art is the test we give to everything else.

If you look at the broad expanse of cultural history (including art, literature, music, architecture — even politics and religion), you find each generation attempting to ameliorate the fallacies, misconceptions and naivete of their parents’. It is an ongoing march.

(The 20th century was deluded into thinking that there was a directional arrow to this process, and that they were the conclusion of the historical process, the end result of all that dialectic. That was their naivete.)

But the process continues: Our children see right through us. Their children will see through them.

The real “truth” is that our experience is too multifarious, to contradictory, ever to be summarized by a single cultural moment. This does nothing to minimize the efforts of all those generations before us to attempt to understand their lives. Each attempt is heroic in its own way. And each is truthful in its own way.

This constant shifting can be seen in the back-and-forth of certain cultural constants, which I call the pendulums. They swing back and forth. In gross outline, they are the classic and romantic ideas, the Apollonian and Dionysian impulses. But the pendulums are more complex than that simplicity implies. There are dozens, scores, hundreds of competing and repeating ideas that jostle each other out of the way temporarily, only to reappear in their turn and push back.

In the previous blog post, I discussed one of these ideas — the primacy in their turns of the generalized, universalized image, versus the individualized and particularized.

But there are many more oppositions, many more pendulums, swinging back and forth over our shared history.

(My survey encompasses primarily Western art tradition, because it is the one I know best, the one I swim in, but other cultures share the dynamic, albeit with differing permutations. Just consider the Chinese art that swings from the formality of Chen Honshou to the spontaneity of Mu-Ch’i or Pa-ta-shan-jen).

Society or Cosmos

I wanted to look at just a few of these other oppositions in Western culture.

A second large group of oppositions concerns the subject matter, and whether the artist is concerned with man as a social being, an individual set in a welter of humanity — or whether he is concerned with the individual against the background of nature or the cosmos.

In the 18th Century, for instance, Alexander Pope wrote that “The proper study of mankind is man.”

The novel, which investigates human activity in its social setting, came from the same century. Fielding and Defoe come from that century.

The succeeding century is concerned more with man in nature, or man in his loneliness, or fighting the gods and elements. One thinks of Shelley’s Prometheus Unbound or Byron’s Manfred.

Such poetry would have been considered utter nonsense 50 years earlier. One hundred years later, and they were taken for nonsense once again.

One only has to look at Pope and Wordsworth to see the difference.

I said these pendulums swing at different rates: After Romanticism in writing, we swing back to the social nature of Flaubert or Thackery or Dickens. The pendulum tends to remain social through the early part of this century. Eliot, despite his religious conversion, is eminently concerned with man and man, and sees religious conviction as a social good.

But when we hit the mid-century, the pent-up spirituality bursts out with the Beat writers, with the Abstract Expressionists, with Existential philosophy

The social-cosmic pendulum does not swing in synch with the general-particular pendulum.

Social — Cosmic

Limits — No limits

This world — The next world

Political — Apolitical

Regional — International

Active participation — Retreat from world

Rational — Magical

Emblem — Myth

Incarnation — Transcendence

Society — Nature

Nature as desert — Nature as cathedral

Dramatic — Lyric

Irony — Sincerity

Clarity and Ambiguity

The third large category is the fight between clarity and ambiguity. One age likes its art simple and direct; the next likes it textured, complex and busy.

The classic example, of course, is the shift from Renaissance classicism to Baroque emotionalism.

In a Renaissance painting, the artist made sure everything could be seen clearly. He lined everything up with the picture frame, lit it with a general illumination so that confusing shadows would be minimized.

Look at this Last Supper by Andrea del Castagno.

See how clear it all is. But the Baroque painter Tintoretto had a different vision of the same biblical event. It is writhing, twisting out into deep space, with deep shadows and obscure happenings.

The Renaissance liked stability and clarity, the Baroque, motion and confusion.

Like the David of Michelangelo and the Bernini statue of Apollo and Daphne.

Or the Birth of Venus of Botticelli

and the Calling of St. Matthew by Caravaggio.

In buildings, you can see the shift from the Gothic, with its infinite variety and crenelated detail, obscuring the larger structural designs to the clarity of ornament and design in Christopher Wren’s  St. Paul’s Cathedral in London.

You can hardly see the actual walls of the Gothic cathedral, so overwhelmed are they by buttresses and sculptures.

But St. Paul’s is a monument to line and form, clearly seen and designed.

Clarity — Ambiguity

Limits — Freedom

Simplicity — Complexity

Unity — Diversity

Drawing — Painting

Stasis — Energy

Regulation — Impulse

Overall — Detail

Formal — Organic

Codify — Explore

Stability — Change

Rules — Anything goes

Clarity — Obscurity

Old form — New form

Discrete disciplines — Mix and match

Relevant or Isolated

Another shift concerns whether art should serve some wider function, like moral instruction or a search for scientific truth, or whether art has no purpose but to stimulate our esthetic tastes. Art for art’s sake.

Should the art hang on the wall to be looked at, or should it decorate the handle of the shovel or spoon? Should it remain outside the mores of its time, or should it be used as propaganda for a righteous cause? Is it merely to look at, or should a Madonna teach you something about your religion?

This is a concern that has become important in the art of our time. A whole herd of artists arose in the 1960s who saw art as divorced from life. Color Field painters preached the gospel: “Art can make nothing happen.”

But Postmodernism is largely about inserting political thought into the paintings. Art for art’s sake is declared “elitist” and “irrelevant” and the new art must be judged on its political truth.

 

Art as Art — Art for Function

Entertainment — Edification

Style — Content

Apolitical — Political

Ignore past — Embrace past

Retreat from world — Active participation

Art on wall — Art on implement

Technical — Visionary

Vocation — Inspiration

Contemplation — Propaganda

Ideal — Practical

Tribal or Cosmopolitan

The history of art also pulsates with the shift from nationalistic to international styles, from that which is specific to an ethnic or identity group, and that which seeks to transcends those limitations. The Gothic style as an international style, but the Renaissance is either Italian or Northern. The Baroque breaks up further into French, Dutch, Italian, Flemish.

In music, Bach imitated the national styles in his English and French suites and his Italian Concerto.

But the Galant and Classical styles that replaced it vary little from country to country. Perhaps the Italian is a little lighter and the German a little more complex, but you can’t get simpler or more direct than Mozart.

Nationalism reasserted itself in the next century, so that you have whole schools of Czech music, French, Russian.

In the early 20th Century, internationalism took charge once more and for a while, everybody was writing like Stravinsky.

The main architectural style of the first half of this century is even called “The International Style.”

But ethnic identity is back, and art is once again seen as a key to identity.

Exclusionary — Syncretic

Limits — No limits

Theocratic — Humanistic

Reinforce ethos — Challenge ethos

Regional — International

Nationalism — Cosmopolitanism

Discrete disciplines — Mix media

All of us or just me

One of the big shifts is between what I call “ethos” and “ego.”

That is, art that is meant to embody the beliefs of an age, thoughts and emotions that everyone is believed to share — or art that is the personal expression of the individual making it.

We have so long taken it for granted that an artist is supposed to “express himself,” that we forget it has not always been so. Did Homer express his inner feelings in the Iliad? Or are those emotions described the emotions he expected everyone would understand and share? He tells of what Achilles is feeling, or Ajax or Hector or Priam — and they are deep and profound emotions — but they give no clue to what Homer was feeling.

In music, Haydn’s symphonies were written about as being powerfully emotional. Nowadays, we think of Haydn as a rather cerebral composer. If we want emotion, we go to Beethoven or Schubert. You cannot listen to Schubert’s string quintet and not believe it expresses the deepest emotions that its composer was suffering at the time. It is his emotion. We may share it, but it is his.

Ethos — Ego

General — Particular

Investigate world — Investigate self

Chorus — Individual

Rectitude — Bohemianism

Anonymous creator — Signed art

Vocation — Inspiration

Atelier — Single creator

Talent — Genius

Depiction of emotion — Expression of emotion

Head or Heart

Then, there is the fight between wit and sentiment.

To some generations, art needs to take a cool, ironic view of the world. Cervantes in his Quixote, or Pope in his Rape of the Lock.

To other generations, art is about human emotion. The more a person feels, the better the art.

Wit was the hallmark of the 18th century. Sentiment of the 19th. It was a common issue of discussion. Everyone knew just what you meant when you used the terms.

Did you wish to write “what oft was thought, but ne’er so well expressed”? or did you want to release pent up emotions, creating something new, never felt before? That’s what Baudelaire did.

Wit — Sentiment

Irony — Sincerity

Universal — Particular

Intellect — Emotion

External — Internal

Reinforce ethos — Challenge ethos

Artifice — Naturalism

Social — Cosmic

Verbal — Sensuous

Society — Nature

Emblem or Myth

Penultimately, there is the swing from art which uses its symbols emblematically and that which uses it mythologically.

That is, if you use a symbol, does it stand “for” something else — as cupid stands easily for love in so much pastoral poetry — or does it partake of that which it expresses — that is, in photographer Minor White’s wonderful formulation: “what it is and what ELSE it is.”

Cupid is an emblem. The Cross on the Knight’s shield in The Faerie Queene is an emblem. Moby Dick is a myth. One is easily translatable, the other is not and opens itself to investigating that which cannot be put in mere words or images.

A Classic age tends to be emblematic, a Baroque or Romantic age tends to be mythic. The one uses symbols as shorthand, the other as incredibly convoluted mental images that point at, but don’t touch, what it means. It is the opposite of shorthand.

Ovid is the acme of the emblematic. Homer of the mythic. Homer’s gods — for all their occasional silliness — are actual divinities. Ovid’s are puppets playacting for our amusement.

Emblem — Myth

Universal — Particular

Intellectual — Emotional

Simplicity — Complexity

Unity — Diversity

Stasis — Energy

Regulation — Impulse

External — Internal

Secular — Religious

Style — Content

Synthetic — Organic

Miniature — Epic

Ironic — Sincere

Mimesis or Poiesis

And finally, there is the issue of whether art should imitate the appearance of nature, or should imitate the processes of nature. That is, whether art is mimetic or poetic. Should it copy or create from whole cloth?

We have seen in our century the change from abstract art to images. Abstraction once seemed unassailable. It was the serious art; anything else was trivial.

Well, we got over that. From the time of Pop Art, art has increasingly attempted to look, in some form or other, like the world.

It hasn’t done this in imitation of the look of paintings from earlier centuries. That look cannot come back, or cannot be used without irony.

But artists today paint images of people and things. They are identifiable. Some are almost like the old paintings.

Richard Diebenkorn was hailed as an abstract artist in the 60s.

When he began returning to the figure, he was at first castigated.

Now he is seen as a prophet.

Abstraction wasn’t only in painting. Waiting for Godot is an abstract play. Gertrude Stein wrote abstract prose. Carl Andre wrote abstract poetry.

Mimesis — Poiesis

Imitation — Abstraction

Particular — General

Individual — Universal

Observed –Stylized

Detail — Overall

Edification — Entertainment

Content — Style

Naturalism — Artifice

Investigate world — Investigate self

Scientific realism — Emotional realism

Stretching the frame

Before we leave the subject, we should point out that oppositions are entirely dependent on context. Baptists and Lutherans are opposites until we pair them as Protestants against Catholics, and we pair those against, say, Islam as the opposite of Christianity, or those paired as religions of the book against, let’s pick, Hinduism, but then we can pair those as religions against atheism, and pair them as belief systems against thoughtlessness, and pair them as philosophies against — well, whatever is the opposite of philosophy.

There are an uncounted number of oppositions; I have listed a few I have considered. I could elaborate blogs about each of pair them.

But you get the picture.