Clement
Greenberg| Modernism
| Painting
| Le Corbusier
Kandinsky | Leger| Mondrian
When
the question of similarity between a Modernist plan and a modernist
painting arises, we try to measure the two between purity, uniqueness and
self-criticism through their objective peculiarities. These peculiarities may
be governed by adherence to regularity, aesthetics, free-will, flatness, color,
recognizability of objects and handling of picture frame. The answer is
affirmative in many cases and negative at the same time. For the subject matter we take the plan of the Le Corbusier who is regarded as the most eminent name in Modern architecture and measure it with multiple paintings by renowned Modern artists on the scale of Modernity in them.
SELF CRITICISM
Le Corbusier- Plan:Villa Savoye |
The
most striking feature of Modernist art, according to Clement Greenberg, is its
ability to self-criticize in order to arrive at competence, purity and
uniqueness. Regardless of it aiming at approval gained through vices like
aesthetics or free-will. This idea is exhibited splendidly in Mondrian's
paintings however Le Corbusier's drawings do not justify it. In Corbusier's
plan, aesthetic appeal comes into play to an extent that the drawing looks
carefully detailed. The staunch regularity the architect started with loses its
contest to a modernist painting when it brings into play curvature that starts
to break this regularity.
Taking the example of Leger- however the objects on display are not recognizable but the whole assembly is recognized as one chaotic regularity which is irreducible- a distinctive mark of Modern art.
Taking the example of Leger- however the objects on display are not recognizable but the whole assembly is recognized as one
Corbusier did however achieve the flatness of a
picture, modernist art aims at. The distinguishing feature in which modern art
transcended classical art is the way of depicting the picture- perfectly flat. This
flatness is again regardless of the mind that reads architecture. The mere contrast of thick lines to thin grids
distinguishes walls from flooring and inevitably creates a three dimensional
image of space. Hence taking away the flatness of the picture.
RECOGNIZABILITYAs
Greenberg states, Modernist paintings maintain the recognizability or sanctity
of objects they exhibit, but the space they inhabit lose its meaning. Le
Corbusier excelled in representing spaces in his plan as geometric
objects. Here he proves to create a
Modern painting and is very much in line with Kandinsky.
Piet Mondrian |
But concerning the picture frame, Le Corbusier is not trying to fit his geometric objects into its extents like Mondrain and Cezzane. He is more like Kandinsky in this respect, not limiting the extent of the objects to a picture frame.
The more closely the norms of a discipline are defined or fixated, the less room there is for manipulation or freedom to diverge.
Le Corbusier played a jack in presenting the plate in modernist ways with a slight touch of his free-will.
REGULARITY AND FREE-WILL
Regularity and adherence to a norm are the most pronounced characteristics in Modernism prevalent both in art and architecture. Le Corbusier tries to twist these characteristics slightly into aesthetic appeal
and free-will. Although free-will of an artist, carefully handled, generates
uniqueness in the drawing. Le Corbusier's drawing qualifies at being unique but
falls short of self-criticism. Corbusier's work is similar to Kandinsky's art
in Modernist effect but not in optical parameters.
MONOTONE AND COLORED
Kandinsky, Unbroken lines |
Paul Cezanne : Still Life with Soup Tureen |
CONCLUSION
Modern
art and architecture aimed to affix their limitations, their boundaries and
their vision to a far greater extent than their predecessor movements and
styles. The mere retention made the scrutinizing parameters so stiff and
obdurate that the object of analysis itself failed. Although Modernism flaunted
these ideals and limitations bombastically in architecture, not knowing these would soon turn out to be the cause of their collapse.
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