1st writing assighnment

Lariesa Durham
Modernist painting question 2
Greenberg relates to modern and traditional painting in king of the same ways. He believes that both shares a lot of common traits. Greenberg identifies modernism with intensification of self critical tendencies that began with the philosopher Kant. Philosopher Kant was the first to criticize the means itself of criticism. Greenberg refers to him as the first real modernist, biased Kant’s aspects, and views. Since Kant used criticism to extract, obtain logic, and establish the limits of logic, he withdrew much from its old jurisdiction. Greenberg believes that everything, including modernist painting began with criticism. The questioning of ones art, criticism of the enlightenment, and self definition. The enterprise of self criticism in art became one of self definition. Naturalistic art dissembled the medium, using art to conceal art. Modern art use’s art to call attention to art, to make one really look at, placing judgment upon it. The limitations that constricts medium of the pigment were attended by the old masters as negative factors that could be acknowledge openly. Example : Manet’s became the first Modernist pictures by virtue of the frankness with which they declared the flat surfaces on which they were painted. Since flatness was the only condition painting shared with no other art, Flatness was another condition that was shared. Modernist paintings oriented itself to flatness as it did to nothing else. Flatness was another favorite of the Old Masters, they thought it was necessary to preserve what is called the integrity of the picture plane. So that it would signify the enduring presence of flatness underneath and above the most vivid illusion of the three dimensional space, art. This was essential to the success of their art, as well as all of pictorial art. Modernists have not avoided or resolved that contradiction, instead they have reversed its terms. For example: One is made of the flatness of its pictures before instead of after , being aware of what the flatness contains. Another, one sees the modernist picture as the picture first, then seeing the picture itself. Kind of like looking at a picture an painting it as is, and looking at the modernist one first, and seeing it as the picture. Greenberg thinks that that is the best way to even look at any kind of picture, old master or modernism imposes it as the only and necessary way. Greenberg believes that modernism owes sculpturing a great deal of debt, because it taught modernism in the beginning how to shade and model for the illusion of relief. One of the artist in sculpturing is a guy named David, he in the 18th century tried to revive sculptural painting. David’s work lies as much in their color as in anything else. In conclusion, Greenberg thinks that what ties modernism, and traditional painting together, is the questioning of ones art, criticism of the enlightenment, and self definition. Also, flatness underneath and above the most vivid illusion of the three dimensional space, art. Last, the bond both has with sculpturing.