By Roger Kimball
Staring at our modern tradition, the prestigious critic Roger Kimball sees that the avant-garde attack on culture has lengthy considering that degenerated right into a sclerotic orthodoxy. He reveals that the "cutting edge," as outlined by way of the confirmed tastemakers, seems many times to be a stale rest of prior impotence. And he locates a pretense that the conventional is the enemy instead of a springboard to originality. In Art's Prospect, Mr. Kimball observes that almost all of the particularly invigorating motion within the artwork international at the present time is a quiet affair. It occurs now not on the Tate glossy in London or on the Museum of contemporary artwork in big apple, no longer within the Chelsea or TriBeCa galleries yet off to 1 part, out of the limelight. it always contains no longer the most recent factor yet everlasting things―they should be new or outdated, yet their relevance is measured now not through the thrill they bring about yet via silences they motivate. With studies and essays composed during the last 20 years and revised for this publication, Art's Prospect illuminates the various leader non secular itineraries of contemporary paintings. It offers, in Mr. Kimball's phrases, "a university whose components, while noticeable from one standpoint, upload as much as a prognosis of a illness, and, while obvious from one other standpoint, provide tricks of the place powerful treatments could be found."
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Additional info for Art's prospect : the challenge of tradition in an age of celebrity
It must be some desire in me or opposition, spleen, lunacy. There have been six great masters in the world during the last thousand years. ” And just as Meier-Graefe’s conﬁdence in Velásquez was eventually shattered, so his opinion of El Greco was eventually transformed. Another amazing thing about The Spanish Journey is the record it contains of a great critic’s meticulous care and patience in looking at art. Meier-Graefe visited the El Grecos in Spain again and again, going not only to the Prado but also to out-of-the-way churches, monastaries, and private collections.
Extraordinary coincidences, to say the least. One of the most disagreeable features of the effort to destroy the Barnes Foundation has been a campaign of character assassination directed at its founder. This, too, has a long history. Barnes made many enemies. He was aggressive, impatient, and could be overbearing to the point of brutality. He harbored a particular dislike for the academic art-establishment, which he regarded as effete, snobbish, and essentially uninterested in the vital aesthetic core of art.
Paul Richard, chief art writer Betraying a Legacy: The Case of the Barnes Foundation 35 for the Washington Post, went even further. In an extraordinarily ignorant article called “An Imprisoned Collection Breathes at Last,” Mr. ” “Few American museums have ever been as selﬁsh, as scornfully unwelcoming, as is the Barnes Foundation,” Mr. ” In fact, Mr. Richard has it exactly wrong. The Barnes Foundation is not a gallery-cum-school; it is a school whose resources include art galleries. The public has not been given free access to the Barnes Foundation facilities, but then the public is not given carte-blanche to wander around classrooms at Yale or Harvard, either.
Art's prospect : the challenge of tradition in an age of celebrity by Roger Kimball