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Art in Crisis: The Lost Center (Library of Conservative Thought), by Hans Sedlmayr
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The history of art from the early nineteenth century on- ward is commonly viewed as a succession of conflicts between innovatory and established styles that culminated in the formalism and aesthetic autonomy of high modernism. In Art and Crisis, first published in 1948, Hans Sedlmayr argues that the aesthetic disjunctures of modern art signify more than matters of style and point to much deeper processes of cultural and religious disintegration. As Roger Kimball observes in his informative new introduction, Art in Crisis is as much an exercise in cultural or spiritual analysis as it is a work of art history. Sedlmayr's reads the art of the last two centuries as a fever chart of the modern age in its greatness and its decay. He discusses the advent of Romanticism with its freeing of the imagination as a conscious sundering of art from humanist and religious traditions with the aesthetic treated as a category independent of human need. Looking at the social purposes of architecture, Sedlmayr shows how the landscape garden, the architectural monument, and the industrial exhibition testified to a new relationship not only between man and his handiwork but also between man and the forces that transcend him. In these institutions man deifies his inventive powers with which he hopes to master and supersede nature. Likewise, the art museum denies transcendence through a cultural leveling in which "Heracles and Christ become brothers" as objects of aesthetic contemplation. At the center of Art in Crisis is the insight that, in art as in life, the pursuit of unqualified autonomy is in the end a prescription for disaster, aesthetic as well as existential. Sedlmayr writes as an Augustinian Catholic. For him, the underlying motive for the pursuit of autonomy is pride. The "lost center" of his subtitle is God. The dream of autonomy, Sedlmayr argues, is for finite, mortal creatures, a dangerous illusion. The book invites serious analysis from art critics and theological thinkers alike.
- Sales Rank: #410523 in Books
- Brand: Roger Kimball
- Published on: 2006-11-17
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .73" w x 5.98" l, 1.15 pounds
- Binding: Paperback
- 324 pages
- Art in Crisis The Lost Center
About the Author
Hans Sedlmayr (1896-1984) was a founding member of the New Vienna School of art historians. His books include The Architecture of Borromini, The Revolution of Modern Art, and Austrian Baroque Architecture.
Roger Kimball is co-editor and publisher of The New Criterion, president and publisher of Encounter Books, and an art critic for the London Spectator and National Review.
Most helpful customer reviews
1 of 1 people found the following review helpful.
A scathing critique of radical autonomy in the arts
By Michael M.
Sedlmayr contrasts autonomous art with what he calls "composite" works of art. For example, a cathedral as a composite work of art is necessarily a group effort on behalf of many people. The project can only be carried out successfully when all of the various mediums used (architecture, sculpture, painting etc) remain cohesive through the application of shared formal elements. On the contrary, an autonomous work of art attempts to shed the elements that would unite it with other works and radically reduces to "pure" form or even no form at all. Unfortunately, many people that comment on Sedlmayr falsely claim that he advocates a solution to the problems associated with radical autonomy by making a conservative return to a previous time and era within the arts (like the neo-classical movement etc) This couldn't be further from the case and he actually ridicules several "historical" attempts of this type that were mistakenly made in the past.
6 of 8 people found the following review helpful.
Art as a symptom of spiritual crisis
By Patrick Stenberg
All art is an expression of the orientation towards or away from God. This perspective gives Sedlmayr's account immense explanatory power. Tracing the evolution of the arts from the Baroque to the Modern era, Sedlmayr shows how the movements of today diagnose a profound crisis in Man's relationship with the divine. The Baroque produced composite works of art that expressed an essentially unitary vision of Man as a creature of God. The Nineteenth and Twentieth Centuries saw the separation of reason and heart and the development of increasingly isolated and specialized forms, an architecture governed by the cold laws of geometry rather than human needs, styles of 'pure' drawing that incorporated the techniques of draughtsmanship, purist attempts in painting to capture perception without contamination from mental constructs (e.g. Cézanne). The movement is thus inexorably toward a denial of God and an exaltation of human autonomy that ultimately denies the integrity and inviolability of the human person, as borne out by the emergence of movements such as Dadaism and Surrealism in the Twentieth Century. I would recommend reading this in conjunction with Philip Rieff's Sacred Order/Social Order trilogy.
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