By Walter L. Adamson
This sweeping paintings, right away a breathtaking evaluate and an bold severe reinterpretation of eu modernism, presents a daring new point of view on a stream that outlined the cultural panorama of the early 20th century. Walter L. Adamson embarks on a lucid, wide-ranging exploration of the avant-garde practices in which the modernist generations after 1900 resisted the increase of commodity tradition as a hazard to real cultural expression. Taking biographical methods to varied avant-garde leaders, Adamson charts the increase and fall of modernist aspirations in pursuits and contributors as different as Ruskin, Marinetti, Kandinsky, Bauhaus, Purism, and the paintings critic Herbert learn. In end, Adamson rises to the safety of the modernists, suggesting that their principles are appropriate to present efforts to imagine via what it could actually suggest to create a colourful, aesthetically gratifying kind of cultural democracy.
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Additional resources for Embattled Avant-Gardes: Modernism's Resistance to Commodity Culture in Europe
Sample text
It is hardly a surprise that intellectuals primarily oriented to aesthetic and spiritual experience would feel uncomfortable in a world where knowledge had not only been sundered into incommunicable bits but in which the forms of it they privileged had been rendered secondary, if not altogether suspect. Yet their sense of a sundered or fragmented experience was by no means confined to epistemology. The stripping away of recognizable and expressible qualities that Arendt had noted in the world of modern scientific understanding was paralleled in the world of nineteenthcentury labor.
Such primal experiences, he tells us, had provided him with the spiritual resources that had in turn made possible all of his art, an activity that he compared to “hunting for a particular hour, which always was and remains the most beautiful hour of the Moscow day. . ”2 Despite great differences in age, background, and vocation, Benjamin and Kandinsky shared a sense that our experience of color offered special access to a kind of prereflective immediacy, that this access gave art unique value as a conduit to an absolute realm beyond finite experience, and that in such a linkage of art and spirituality lay the highest sort of happiness.
7 Looking back upon the nineteenth century from our vantage point in the twenty-first, I would suggest that with the democratic revolutions of the end of the eighteenth century came a collapse of social hierarchies whose consequences may be summarized in four points. ”8 This new normative foundation obviously did not mean that actual relationships of wealth and power were equalized or that hierarchies of class, gender, race, or nation were erased. Indeed, to many observers of modernity the opposite has seemed truer: relationships of wealth and power tend toward greater inequality, and empirical hierarchies intensify as democratization advances and system capacities expand.