In he majority of this essay, Clement Greenberg is summarizing the history of art in the past century, and trying to explain what he thinks happened to it. Art was changing during this time period, and he was trying to make sense of it all by producing some of his own theories. During this time period, art was going through cycles of imitation. This immitation was occuring in painting, literature and music.
A public access portfolio of sorts for the poetry, prose, art, and developed thoughts of JM Rayner and those who influence him. Most of the essay is simply a summary of the history of the past century in art, with a bit of theory applied to what happened.
The path that this spiral followed went through cycles of imitation, first of literature and then of music.
This tendency was driven by a desire to incorporate all the arts, or at least to conglomerate the more appealing elements of each into the others.
Visual art imitated at first poetry and narrative, then the lyricism and transcendent qualities of symphonies. Poetry also attempted to make itself fractured, as with T.
Eliot, or take up the Realist cause of the working man. The key word with all of this is imitated; Greenberg says that there was no way these art forms, especially painting, could have arrived at true recognition of themselves without first fighting against their fundamental natures.
They tried to find themselves outside of themselves, and only when they had completely exhausted those options were they able to turn into themselves; they had nowhere else to go. Painting denied the two things that made it painting: Painting was originally a fight against the medium.
It worked to be a picture, an illusion, an imitation, and grew tired of faking it. Greenberg concludes by recognizing the historical basis of his apology for abstract art.
He notes that there is nothing in abstract art which forces it to be abstract. Instead, it is how it is because it was the next step, history simply brought it to itself. Greenberg sees it as the zenith, but possibly only for the moment.
One must always allow for history continuing, that there will likely be another step. If he is correct, even if he had written with every ounce of intellect against abstraction, it still would have prevailed.Description: A giant of 20th century art criticism, Clement Greenberg () set the terms of critical discourse from the moment he burst onto the scene with his seminal essays "Avant-Garde and Kitsch" () and "Towards a Newer Laocoon" ().
In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington College in , Greenberg provides his .
” his later essay first broadcast on radio in , made some amendments to those opinions. “Towards a Newer Laocoon ” took its inspiration, and its title, from Gotthold Lessing's famous essay of , “Laocoon: An Essay Upon the Limits of Painting and Poetry. "Towards a New Laocoon" Greenberg's use of the word in his own essay clearly denotes his concern with one of Modern art's critical debates: whether the existence of limits within specific media ultimately has a beneficial or negative effect on the value of an artwork.
Sep 17, · The essay titled "Towards a Newer Laocoon," explains the author's view of his time period. In he majority of this essay, Clement Greenberg is summarizing the history of art in the past century, and trying to explain what he thinks happened to it.
"Towards a Newer Laocoon" () is an essay by Clement Greenberg, first published in the Partisan Review. The title references the text Clement Greenberg was probably the single most influential art critic in the .
“ Towards a Newer Laocoon, ” an essay published in Partisan Review in Garde and Kitsch" (), as well as to the . 1 Greenberg 1 Towards a Newer Laocoön Clement Greenberg The dogmatism and intransigence of the "non-objective" or "abstract" purists of painting today cannot be dismissed as symptoms merely of a cultist attitude towards art.
Purists make extravagant claims for art, because usually they value it much more than anyone else does. Essay .