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Pearls from artists* # 338

Pastels

Pastels

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Beauty without symbolic depth results in ornament.  Symbol without beauty results in psychoanalysis.  Only when the two meet can we speak of art.  The artistic works that combine the two elements most compellingly are what are called the classics.  In his magisterial book The Analogical Imagination, the theologian David Tracy defines the classic as a work exhibiting a permanent “excess of meaning.” We speak of classics as “timeless,” he says, not because they belong to time, but because they are perpetually timely; their relevance never wanes, and each generation, each percipient, must interpret them anew.  According to Tracy, we know we are dealing with a classic when a work makes us realize that our general outlook on life is not as complete as we thought it was, that “something else might be the case.”  In the light that the classic emanates, things suddenly seem less clear-cut than they used to seem – we find ourselves in the presence of something greater than we are, something potentially infinite.  Classics take us to the apex of the numinous, the point of what Werner Herzog calls “ecstatic truth.”    

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

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Pearls from artists* # 112

New York, NY

New York, NY

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

If the goal of art is Beauty and if we assume that the goal is sometimes reached, even if always imperfectly, how do we judge art?  Basically, I think, by whether it reveals to us important Form that we ourselves have experienced but to which we have not paid adequate attention.  Successful art rediscovers Beauty for us.

One standard, then, for the evaluation of art is the degree to which it gives us a fresh intimation of Form.  For a picture to be beautiful it does not have to be shocking, but it must in some significant respect be unlike what has preceded it (this is why an artist cannot afford to be ignorant of the tradition within his medium).  If the dead end of the romantic vision is incoherence, the failure of classicism, which is the outlook I am defending, is the cliché, the ten thousandth camera-club imitation of a picture by Ansel Adams.

Robert Adams in Beauty in Photography 

Comments are welcome!