Modernist Painting Clement Greenberg Summary
Modernism is not limited to art-work and verses of literature. Nowadays its true meaning is to uncover our culture. Clement Greenberg (1909-1994) had a lot of novelty historical. His first essay was the “Modernist Painting” which was printed in 1961. According to Pinney & Christopher, the western evolution is not the first to observe the examination of their own fundamentals, but it took further this process (35).Identifying modernism with amplification, almost this self-deprecatory tendency that initiated with the philosopher Kant, having been the first to disapprove about the very critical media, Greenberg considered Kant the first true modernist. The principle of modernism, as I observe, lies in the usage of characteristic approaches of …show more content…
By Clement Greenberg’s essays which include "Avant-garde and Kitsch" and “Modernist Painting” evidently show a progression of formal innovation in modernist painting.
If the avant-garde art from the late nineteenth century, led to the end of the need to renew the critical thinking, the art of the last decades of the twentieth century again put into question the theoretical discourse about the vanguards that had been consolidated. As per my knowledge and the researches I have come across to I have analyzed that, in this second stage, it was not only necessary to break with the parameters established from the art already established in order to think a new
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A “Painting”, in reference to the Enlightenment approach, should be cross-examined conferring to its intrinsic tenacities. The fundamental word to use is “inherent,” for reviewing an object conferring to its necessary descriptions that must disqualify conveying any non-significant or exterior measures. In similar terms, a picture telling a “decent story” is not necessarily a virtuous painting. In reference to this article according to MacAulay , Greenberg transfers on his effort to “save” and to express “great art,” and “Modernist Painting” of the year 1960, which could be equated to “Avant-Garde and Kitsch” of the year 1939, (91).
Two whole centauries had passed away and Greenberg had evolved himself from emerging to an art essayist to being the intermediary of fine arts that resided in New York, appreciating a truthfully honorable and yet critical
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