from Three American PAinters – Michael Fried

For twenty years or more almost all the best new painting and sculpture has been done in America; notably the work of artists such as de Kooning, Frankenthaler, Gorky, Gottlieb, Hofmann, Kline, Louis, Motherwell, Newman, Pollock, Rothko, Smith and Still – apart from those in the present exhibition – to name only some of the best. It could be argued, in fact, that the flowering of painting and, to a much lesser degree, of sculpture that has taken place in this country since the end of the Second World War is comparable to that which occurred in American poetry in the two decades after 1912, as regards both the quality of the work produced and what might be called its intrinsic difficulty.

[. . .] It is one of the most important facts about the contemporary situation in the visual arts that the fundamental character of the new art has not been adequately understood. This is not altogether surprising. Unlike poets, painters and sculptors rarely practice criticism; and perhaps partly as a consequence of this, the job of writing about art has tended to pass by default to men and women who are in no way qualified for their profession. Moreover, the visual skills necessary to come to grips with the new painting and sculpture are perhaps even more rare than the verbal skills demanded by the new poetry. But if the inadequacy of almost all contemporary art criticism is not surprising, it is undeniably ironic, because the visual arts – painting especially – have never been more explicitly self-critical than during the past twenty years.

. . . this essay attempts an exposition of what, to my mind, are some of the most important characteristics of the new art. At the same time it tries to show why formal criticism, such as that practiced by Roger Fry or, more to the point, by Clement Greenberg, is better able to throw light upon the new art than any other approach. To do this, the development over the past hundred years of what Greenberg calls ‘modernist’ painting must be considered, because the work of the artists mentioned above represents, in an important sense, the extension in this country of a kind of painting that began in France with the work of Edouard Manet. 1 Sculpture is, to a certain extent, another story, and for reasons of space and simplicity will not be considered here.

Roughly speaking, the history of painting from Manet through Synthetic Cubism and Matisse may be characterized in terms of the gradual withdrawal of painting from the task of representing reality – or of reality from the power of painting to represent it 2 – in favor of an increasing preoccupation with problems intrinsic to painting itself. One may deplore the fact that critics such as Fry and Greenberg concentrate their attention upon the formal characteristics of the works they discuss; but the painters whose work they most esteem on formal grounds – e.g. Manet, the Impressionists, Seurat, Cezanne, Picasso, Braque, Matisse, Leger, Mondrian, Kandinsky, Miro – are among the finest painters of the past hundred years. This is not to imply that only the formal aspect of their paintings is worthy of interest. On the contrary, because recognizable objects, persons and places are often not entirely expunged from their work, criticism which deals with the ostensible subject of a given painting can be highly informative; and in general, criticism concerned with aspects of the situation in which it was made other than in a formal context can add significantly to our understanding of the artist’s achievement. But criticism of this kind has shown itself largely unable to make convincing discriminations of value among the works of a particular artist; and in this century it often happens that those paintings that are most full of explicit human content can be faulted on formal grounds – Picasso’s Guernica is perhaps the most conspicuous example – in comparison with others virtually devoid of such content. (It must be granted that this says something about the limitations of formal criticism as well as about its strengths. Though precisely what it is taken to say will depend on one’s feelings about Guernica, etc.)

It is worth adding that there is nothing binding in the value judgements of formal criticism. All judgments of value begin and end in experience, or ought to and if someone does not feel that Manet’s Dejeuner sur Vherbe, Matisse’s Piano Lesson or Pollock’s Autumn Rhythm are superb paintings, no critical arguments can take the place of feeling it. On the other hand, one’s experiences of works of art are always informed by what one has come to understand about them; and it is the burden of the formal critic both to objectify his intuitions with all the intellectual rigor at his command, and to be on his guard against enlisting a formalist rhetoric in defense of what he fears may be merely private enthusiasms.

It is also imperative that the formal critic bear in mind at all times that the objectivity he aspires toward can be no more than relative. But his detractors would do well to bear in mind themselves that his aspirations toward objectivity are given force and relevance by the tendency of the most important current in painting since Manet to concern itself increasingly and with growing self-awareness with formal problems and issues. [. . . ]

Ever since the publication in 1888 of Heinrich Wolfflin’s first book, Renaissance und Barock, many critics of style have tended to rely on a fundamentally Hegelian conception of art history, in which styles are described as succeeding one another in accord with an internal dynamic or dialectic, rather than in response to social, economic and political developments in society at large. One of the stock objections, in fact, to exclusively stylistic or formal criticism of the art of the past – for example, of the High Renaissance – is that it fails to deal with the influence of non-artistic factors upon the art of the time, and as a result is unable both to elucidate the full meaning of individual works and to put forward a convincing account of stylistic change. Such an objection, however, derives the real but limited validity it possesses from the fact that painting and sculpture during the Renaissance were deeply involved, as regards patronage and iconography, with both the Church and State. But by the late nineteenth and early twentieth century, the relation of art – as well as of the Church and State – to society appears to have undergone a radical change. And although the change in question cannot be understood apart from a consideration of economic and other non-artistic factors, by far the most important single, characteristic of the new modus vivendi between the arts and bourgeois society gradually arrived at during the first decades of the present century has been the tendency of ambitious art to become more and more concerned with Problems and issues intrinsic to itself.

All this has, of course, been recounted before. But what has not been sufficiently recognized is that in the face of these developments the same objections that are effective when directed against exclusively formal criticism of High Renaissance painting lose almost all their force and relevance. In comparison with what may be said in precise detail about the relations between High Renaissance art and the society in which it arose, only the most general statements – such as this one – may be made about the relation between modernist painting and modern society. In a sense, modernist art in this century finished what society in the nineteenth began: the alienation of the artist from the general preoccupations of the in which he is embedded, and the prizing loose of art itself from the concerns, aims and ideals of that . With the achievements of Cubism in the first and second decades of this century, if not before, painting and sculpture became free to pursue concerns intrinsic to themselves. This meant that it was now possible to conceive of stylistic change in terms of the decisions of individual artists to engage with particular formal problems thrown up by the art of the recent past; and in fact the fundamentally Hegelian conception of art history at work in the writings of Wblfflin and Greenberg, whatever its limitations when applied to the art of the more distant past, seems particularly well suited to the actual development of modernism in the visual arts, painting especially.

I am arguing, then, that something like a dialectic of modernism has in effect been at work in the visual arts for roughly a century now; and by dialectic I mean what is essential in Hegel’s conception of historical progression, as well as that of the young Marx, as expounded in this century by the Marxist philosopher Georg Lukacs in his great work, History and Class Consciousness, and by the late Maurice Merleau-Ponty in numerous books and essays. More than anything else, the dialectic in the thought of these men is an ideal of action as radical criticism of itself founded upon as objective an understanding of one’s present situation as one is able to achieve. There is nothing teleological about such an ideal: it does not aim toward a predetermined end, unless its complete incarnation in action can be called such an end. But this would amount to nothing less than the establishment of a perpetual revolution – perpetual because bent on unceasing radical criticism of itself. It is no wonder such an ideal has not been realized in the realm of politics; but it seems to me that the development of modernist painting over the past century has led to a situation that may be described in these terms. That is, while the development of modernist painting has not been directed toward any particular style of painting, at any moment – including the present one – the work of a relatively few painters appears more advanced, more radical in its criticism of the modernist art of the recent past, than any other contemporary work. The chief function of the dialectic of modernism in the visual arts has been to provide a principle by which painting can change, transform and renew itself, and by which it is enabled to perpetuate virtually intact, and sometimes even enriched, through each epoch of self-renewal, those of its traditional values that do not pertain directly to representation. Thus modernist painting preserves what it can of its history, not as an act of piety toward the past but as a source of value in the present and future.

For this reason, if for no other, it is ironic that modernist painting is often described as nihilistic and its practitioners characterized as irresponsible charlatans. In point of fact, the strains under which they work are enormous, and it is not surprising that, in one way or another, many of the finest modernist painters have cracked up under them. This tendency toward breakdown has been intensified in the past twenty years by the quickening that has taken place in the rate of self-transformation within modernism itself – a quickening that, in turn, has been the result of an increase in formal and historical self-awareness on the part of modernist painters. The work of such painters as Noland, Olitski and Stella not only arises largely out of their personal interpretations of the particular situations in which advanced painting found itself at crucial moments in their respective developments; their work also aspires to be adjudged, in retrospect, to have been necessary to the finest modernist painting of the future. ‘History, according to Hegel, is the maturation of a future in the present, not the sacrifice of the present to an unknown future, and the rule of action according to him is not to be effective at any price, but above all to be fecund,’ Merleau-Ponty has written. In this sense the ultimate criterion of the legitimacy of a putative advance in modernist painting is its fecundity. But if one seeks to test this criterion against the art of the recent past, one must bear in mind that the finest contemporary painting testifies to the fecundity not only of the art of Barnett Newman around 1950, but to that of de Kooning as well; and that this is so because of, not in spite of, the fact that Newman’s art amounts to the most radical criticism of de Kooning’s one can imagine.

One consequence of all this is that modernist painting has gone a long way toward effacing the traditional distinction between problems in morals and problems in art formulated by Stuart Hampshire in his essay ‘Logic and Appreciation’ as follows: ‘A work of art is gratuitous. It is not essentially the answer to a question or the solution to a presented problem.’ Whereas ‘action in response to any moral problem is not gratuitous; it is imposed; that there should be some response is absolutely necessary. One cannot pass by a situation; one must pass through it in one way or another.’

Hampshire’s distinction holds good, I think, for all painting except the kind I have been trying in this essay to define. Once a painter who accepts the basic premises of modernism becomes aware of a particular problem thrown up by the art of the recent past, his action is no longer gratuitous but imposed. He may be mistaken in his assessment of the situation. But as long as he believes such a problem exists and is important, he is confronted by a situation he cannot pass by, but must, in some way or other, pass through; and the result of this forced passage will be his art. This means that while modernist painting has increasingly divorced itself from the concerns of the society in which it precariously flourishes, the actual dialectic by which it is made has taken on more and more of the denseness, structure and complexity of moral experience – that is, of life itself, but life lived as few are inclined to live it: in a state of continuous intellectual and moral alertness.

The formal critic of modernist painting, then, is also a moral critic: not because all art is at bottom a criticism of life, but because modernist painting is at least a criticism of itself. And because this is so, criticism that shares the basic premises of modernist painting finds itself compelled to play a role in its development closely akin to, and potentially only somewhat less important than, that of new paintings themselves. Not only will such a critic expound the significance of new painting that strikes him as being genuinely exploratory, and distinguish between this and work that does not attempt to challenge or to go beyond the achievements of prior modernists; but in discussing the work of painters he admires he will have occasion to point out what seem to him flaws in putative solutions to particular formal problems; and, more rarely, he may even presume to call the attention of modernist painters to formal issues that, in his opinion, demand to be grappled with. Finally just as a modernist painter may be mistaken in his assessment of a particular situation, or having grasped the situation may fail to cope with it successfully, the formal critic who shares the basic premises of modernist painting runs the analogous risk of being wrong. And in fact it is inconceivable that he will not be wrong a fair amount of the time. But being wrong is preferable to being irrelevant; and the recognition that everyone involved with contemporary art must work without certainty can only be beneficial in its effects. For example, it points up the difficulty of trying to decide whose opinions on the subject among the many put forward deserve to be taken seriously – a decision about as hard to make as value-judgments in front of specific paintings.

It may be argued that this is an intolerably arrogant conception of the critic’s job of work, and perhaps it is. But it has the virtue of forcing the critic who takes it up to run the same risks as the artist whose work he criticizes. In view of this last point it is not surprising that so few critics have chosen to assume its burdens.

1 Although Manet is probably the first painter whom one would term ‘modernist,’ some of the problems and crises to which his paintings constitute a decisive and unexpected response are present in the work of David, Gericault, Ingres, Delacroix and Courbet. Any account of the genesis of modernism would have to deal with these men.

2 This is more than just a figure of speech: it is a capsule description of what may be seen to take place in Manet’s paintings. Manet’s ambitions are fundamentally realistic. He starts out aspiring to the objective transcription of reality, of a world to which one wholly belongs, such as he finds in the work of Velasquez and Hals. But where Velasquez and Hals took for granted their relation to the worlds they belonged to and observed and painted, Manet is sharply conscious that his own relation to reality is far more problematic. And to paint his world with the same fullness of response, the same passion for truth, that he finds in the work of Velasquez and Hals, means that he is forced to paint not merely his world but his problematic relation to it: his own awareness of himself as in and yet not of the world. In this sense Manet is the first post-Kantian painter: the first painter whose awareness of himself raises problems of extreme difficulty that cannot be ignored: the first painter for whom consciousness itself is the great subject of his art.

Almost from the first – surely as early as the Dejeuner sur Vherbe – Manet seems to have striven hard to make this awareness function as an essential part of his paintings, an essential aspect of their content. This accounts for the situational character of Manet’s paintings of the 1860s: the painting itself is conceived as a kind of tableau vivant (in this respect Manet relates back to David), but a tableau vivant constructed so as to dramatize not a particular event so much as the beholder’s alienation from that event. Moreover, in paintings like the Dejeuner and the Olympia, for example, the inhibiting, estranging quality of self-awareness is literally depicted within the painting: in the Dejeuner by the unintelligible gesture of the man on the right and the bird frozen in flight at the top of the painting; in the Olympia above all by the hostile, almost schematic cat; and in both by the distancing calm stare of Victorine Meurend.

But Manet’s desire to make the estranging quality of self-awareness an essential part of the content of his work – a desire which, as we have seen, is at bottom realistic – has an important consequence: namely, that self-awareness in this particular situation necessarily entails the awareness that what one is looking at is, after all, merely a painting. And this awareness too must be made an essential part of the work itself. That is, there must be no question but that the painter intended it to be felt; and if necessary the spectator must be compelled to feel it. Otherwise the self-awareness (and the alienation) Manet is after would remain incomplete and equivocal.

For this reason Manet emphasizes certain characteristics which have nothing to do with verisimilitude but which assert that the painting in question is exactly that: a painting. For example, Manet emphasizes the flatness of the picture-surface by eschewing modelling and (as in the Dejeuner) refusing to depict depth convincingly, calls attention to the limits of the canvas by truncating extended forms with the framing-edge, and underscores the rectangular shape of the picture-support by aligning with it, more or less conspicuously, various elements within the painting. (The notions of emphasis and assertion are important here. David and Ingres rely on rectangular composition far more than Manet; and some of Ingres’ forms have as little modelling as Manet’s. But David and Ingres are not concerned to emphasize the rectangularity or the flatness of the canvas, but rather they make use of these to insure the stability of their compositions and the Tightness of their drawing.)

No wonder Manet’s art has always been open to contradictory interpretations: the contradictions reside in the conflict between his ambitions and his actual situation. (What one takes to be the salient features of his situation is open to argument; an uncharacteristically subtle Marxist could, I think, make a good case for focussing on the economic and political situation in France after 1848. In this note, however, I have stressed Manet’s recognition of consciousness as a problem for art, as well as the estranging quality of his own consciousness of himself.) Manet’s art represents the last attempt in Western painting to achieve a full equivalent to the great realistic painting of the past: an attempt which led, in quick inexorable steps, to the founding of modernism through the emphasis on pictorial qualities and problems in their own right. This is why Manet was so easily thrown off stride by the advent of impressionism around 1870: because his pictorial and formal innovations of the preceding decade had not been made for their own sakes, but in the service of a phenomenology that had already been worked out in philosophy, and had been objectified in some poetry (e.g. Blake), but which had not yet made itself felt in the visual arts. It was only at the end of his life that Manet at last succeeded in using what he had learned from Impressionism to objectify his own much more profound phenomenology, in the Bar aux Folies-Bergere. I intend to deal with all this elsewhere as soon as possible.

This is dangerously over-simplified. I am convinced that something of the sort did in fact occur, and that it makes sense to speak of painting itself having become increasingly self-aware, both formally and historically, during the past century or more. But a lot of careful work would be required to give this notion the substance it requires. Moreover, the notion that there are problems ‘intrinsic’ to the art of painting is, so far as I can see, the most important question begged in this essay. It has to do with the concept of a ‘medium,’ and is one of the points philosophy and art criticism might discuss most fruitfully, if a dialogue between them could be established. Similarly, an examination of the ‘grammar’ (in the sense Wittgenstein gives to this word in the Philosophical Investigations) of a family of concepts essential to this essay – e.g., problem, solution, advance, logic, validity – would be more than welcome.

From Modernist Painting and Formal Criticism’ in The American Scholar, Autumn 1964.

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