Suchergebnisse

Anyone who likes to analyse the world in terms of comparative
statics would , in Ihe light of this book's contents. find his approach
erroneous as the book leaves no doubt in the reader's mind that only by
unfolding the forces of dynamics can one grasp some reality underlying
any change. The author, who grew up in the walled city of Lahore, has,
with a beautiful combination of his personal experiences and theorising
ability, produced a remarkable study of the intricate processes which
may have shaped the existing physical and socio-economic structures of
the city.

We are often told, and it is easy to believe, that the images of abstract art are not drawn from the real world. In the most conventional view of the modern school, abstract painting is a search for free expression of the artist's own vision. The non-representational painter works as he pleases and is pleased by little that he sees. A humorous drawing in a sophisticated magazine shows a studio full of wild canvases, with the artist gazing through the window at a magnificent sunset. He says to a friend, 'Yes, old man, I admit that it's beautiful. Sometimes I'm sorry it's not the sort of thing I do.' Authority for the establishment of a public attitude that makes such a joke possible is to be found in the writings of many critics and in the words of artists themselves. Harold Rosenberg: 'The big moment [in art] came when it was decided to paint—just to paint. The gesture on the canvas was a gesture of liberation from value, political, aesthetic, moral.' André Malraux: 'What then was painting becoming, now that it no longer imitated or transfigured? Simply—painting.' Sheldon Cheney: 'I cannot do better, in trying to help you to an understanding of modernism, than to point out the devastating effect the realistic movement had on the arts as a whole.' Piet Mondrian: 'In order that art … should not represent relations with the natural aspect of things, the law of the denaturalization of matter is of fundamental importance.' Clive Bell: 'Creating a work of art is so tremendous a business that it leaves no leisure for catching likenesses.' Kasimir Malevich: 'From the supremist point of view, the appearances of natural objects are in themselves meaningless. … The representation of an object … is something that has nothing to do with art.' Laurence Binyon, in 1911: 'The theory that art is, above all things, imitative and representative, no longer holds the field with thinking minds.' Ortega y Gasset: 'Painting completely reversed its function and, instead of putting us within what is outside, endeavored to pour out upon the canvas what is within: ideal invented objects.'