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The Appreciation of the Arts by Sinclair Gauldie; L. R. Rogers; Philip RawsonReview by: Norman NarotzkyLeonardo, Vol. 4, No. 2 (Spring, 1971), pp. 183-184Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572202 .

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something becomes experimental (as he defines the term), the less likely it is to retain the morphological characteristics associated with painting as opposed to art in general. The relationship of the experi- mental to art itself, in the sense of art objects, is another dilemma and I will consider that in a moment. But at this point one wonders why the book is just concerned with the experimental in painting, since it is so obviously a limitation.

Another problem is this: so far as even art in general is concerned, it is almost impossible to arrive at a definition of 'experimental' that is going to be commonly accepted. The overtones of the word are such that it is really not a topic of definition as such, rather it is a matter of describing certain areas of painting that may reasonably be called experimental (and for which certain other names might also apply). In this sense, the book is not attempting to define a certain kind of painting but rather it discusses 'approaches'. Hence, Bann's first chapter investigates the 'experimental approach'. He suggests that the experimental painter 'is commit- ted to a particular path of controlled activity, of which the works which he produces remain as evidence. In other words, the direction in which the artist moves is at least as important as the individual statements which record the track he has taken'.

This analysis of experimental activity raises two issues. Firstly, by stressing the 'path' rather than its end, the field called 'experimental' is widened to include things that might better be called 'explora- tory', 'continuous' or 'revisionary' painting activity, for these adjectives also contain the process impli- cations of Bann's definition. Moreover, it could be argued (as E. H. Gombrich has done) that if the word 'experiment' is to be used for art, there must be a way of testing the success or failure of the experiment. But this is a very different (almost opposite) analysis to that of the author, who surely realizes that art is not about 'proving' things and recognizes that, since there have never been exact evaluative systems, there are no easily definable 'goals' in artistic experiment.

The other issue involves the status of the art object itself in the activity of experiment. If the individual statement becomes a 'record' or remains 'as evidence' rather than itself being the 'result' of the experiment, then this dissolves the pertinence of the experimental category to the discrete object in favour of the process itself (no experimental paint- ing, only experimental painters might be one way of putting it). Bann's study is, therefore, of necessity concerned with the notion of an ideas framework against which paintings (or other art objects) might be understood rather than evaluated. It is not so much a critical study of art but an investigation of how the 'controlled activity' of making operates.

In most art theory too little attention is given to the importance of the making that leads to the final configuration of any given art work, that is, to the

something becomes experimental (as he defines the term), the less likely it is to retain the morphological characteristics associated with painting as opposed to art in general. The relationship of the experi- mental to art itself, in the sense of art objects, is another dilemma and I will consider that in a moment. But at this point one wonders why the book is just concerned with the experimental in painting, since it is so obviously a limitation.

Another problem is this: so far as even art in general is concerned, it is almost impossible to arrive at a definition of 'experimental' that is going to be commonly accepted. The overtones of the word are such that it is really not a topic of definition as such, rather it is a matter of describing certain areas of painting that may reasonably be called experimental (and for which certain other names might also apply). In this sense, the book is not attempting to define a certain kind of painting but rather it discusses 'approaches'. Hence, Bann's first chapter investigates the 'experimental approach'. He suggests that the experimental painter 'is commit- ted to a particular path of controlled activity, of which the works which he produces remain as evidence. In other words, the direction in which the artist moves is at least as important as the individual statements which record the track he has taken'.

This analysis of experimental activity raises two issues. Firstly, by stressing the 'path' rather than its end, the field called 'experimental' is widened to include things that might better be called 'explora- tory', 'continuous' or 'revisionary' painting activity, for these adjectives also contain the process impli- cations of Bann's definition. Moreover, it could be argued (as E. H. Gombrich has done) that if the word 'experiment' is to be used for art, there must be a way of testing the success or failure of the experiment. But this is a very different (almost opposite) analysis to that of the author, who surely realizes that art is not about 'proving' things and recognizes that, since there have never been exact evaluative systems, there are no easily definable 'goals' in artistic experiment.

The other issue involves the status of the art object itself in the activity of experiment. If the individual statement becomes a 'record' or remains 'as evidence' rather than itself being the 'result' of the experiment, then this dissolves the pertinence of the experimental category to the discrete object in favour of the process itself (no experimental paint- ing, only experimental painters might be one way of putting it). Bann's study is, therefore, of necessity concerned with the notion of an ideas framework against which paintings (or other art objects) might be understood rather than evaluated. It is not so much a critical study of art but an investigation of how the 'controlled activity' of making operates.

In most art theory too little attention is given to the importance of the making that leads to the final configuration of any given art work, that is, to the notion that works of art are 'realized' process- products. As Richard Wollheim has stated: 'if it is true that artistic creativity can occur only in so far

notion that works of art are 'realized' process- products. As Richard Wollheim has stated: 'if it is true that artistic creativity can occur only in so far

as certain processes or stuffs are already accredited as the vehicles of art, then it becomes important to know how and why these accreditations are made.' In allied vein, what Bann is concerned with is how the artistic process as a long-term activity is depen- dent upon the artist's interpretation of his relation- ship with the outside world.

He suggests how certain approaches (paths of activity) followed by artists (categorized as Con- struction, Abstraction, Destruction and Reduction) create different kinds of artificial and illusionary sign systems as by-products of their reactions to the 'external standards' they are 'investigating'. Con- struction and Abstraction refer respectively to art working parallel to and away from nature and these two currents are seen as emerging from the 'Modern Movement' in such contrasting artists as the Constructionist Biederman and the Abstrac- tionist Vasarely. Destruction is defined as revision- ary 'psychological experimentalism', which wishes to create a truer image of the natural world by destroy- ing preconceived orientations (which links Gia- cometti to Metzger), and Reduction as an investi- gation of the relationship of the real to the painted surface, which leads to the utilization of specifically artificial conventions indicative of the absence of the real (here he refers to the American paintings of Johns, Rosenquist and Rauschenberg).

It should be noted that the book is essentially an exploratory work. There are certain topics missing that one would have expected to be particularly relevant (Action Painting and recent Process art, for example). In certain sections (notably the treatment of the early Constructionists and in the Destruction chapter), the approach seems excessively fragmented and sometimes one gets the impression that Bann approves of art in direct proportion to its provoca- tiveness for theoretical study. But the discontinuities one accepts as almost by-products of the subject itself. Not the least stimulating aspect of this work is the concluding attempt at a semi-logical classi- fication for painting.

The Appreciation of the Arts. Vol. 1. Architecture. Sinclair Gauldie. 193 pp., illus. Vol. 2. Sculpture. L. R. Rogers. 242 pp., illus. Vol. 3. Drawing. Philip Rawson. 322 pp., illus. Oxford University Press, London, 1969. Reviewed by: Norman Narotzky*

'In the first place one has to learn to perceive', writes architect Sinclair Gauldie in Volume 1, Architecture, of this new series on the appreciation of the arts published by Oxford. 'Secondly one has to learn to understand.... The more one under- stands, the more clearly one sees, and the sharpened perception which comes from understanding enables the practised eye to find all sorts of delights which escape the uninitiated.' The intention of these

as certain processes or stuffs are already accredited as the vehicles of art, then it becomes important to know how and why these accreditations are made.' In allied vein, what Bann is concerned with is how the artistic process as a long-term activity is depen- dent upon the artist's interpretation of his relation- ship with the outside world.

He suggests how certain approaches (paths of activity) followed by artists (categorized as Con- struction, Abstraction, Destruction and Reduction) create different kinds of artificial and illusionary sign systems as by-products of their reactions to the 'external standards' they are 'investigating'. Con- struction and Abstraction refer respectively to art working parallel to and away from nature and these two currents are seen as emerging from the 'Modern Movement' in such contrasting artists as the Constructionist Biederman and the Abstrac- tionist Vasarely. Destruction is defined as revision- ary 'psychological experimentalism', which wishes to create a truer image of the natural world by destroy- ing preconceived orientations (which links Gia- cometti to Metzger), and Reduction as an investi- gation of the relationship of the real to the painted surface, which leads to the utilization of specifically artificial conventions indicative of the absence of the real (here he refers to the American paintings of Johns, Rosenquist and Rauschenberg).

It should be noted that the book is essentially an exploratory work. There are certain topics missing that one would have expected to be particularly relevant (Action Painting and recent Process art, for example). In certain sections (notably the treatment of the early Constructionists and in the Destruction chapter), the approach seems excessively fragmented and sometimes one gets the impression that Bann approves of art in direct proportion to its provoca- tiveness for theoretical study. But the discontinuities one accepts as almost by-products of the subject itself. Not the least stimulating aspect of this work is the concluding attempt at a semi-logical classi- fication for painting.

The Appreciation of the Arts. Vol. 1. Architecture. Sinclair Gauldie. 193 pp., illus. Vol. 2. Sculpture. L. R. Rogers. 242 pp., illus. Vol. 3. Drawing. Philip Rawson. 322 pp., illus. Oxford University Press, London, 1969. Reviewed by: Norman Narotzky*

'In the first place one has to learn to perceive', writes architect Sinclair Gauldie in Volume 1, Architecture, of this new series on the appreciation of the arts published by Oxford. 'Secondly one has to learn to understand.... The more one under- stands, the more clearly one sees, and the sharpened perception which comes from understanding enables the practised eye to find all sorts of delights which escape the uninitiated.' The intention of these

* Instituto de Estudios Norteamericanos, C6rcega 196, Barcelona 11, Spain.

* Instituto de Estudios Norteamericanos, C6rcega 196, Barcelona 11, Spain.

183 183

This content downloaded from 91.229.229.111 on Mon, 16 Jun 2014 04:13:38 AMAll use subject to JSTOR Terms and Conditions

volumes is to provide practical illustrated guides towards understanding the various arts and develop- ing the perceptual skills and intellectual attitudes that will make art more meaningful to the spectator.

The approach here is not an historical one of describing a progression of styles, though this and other information is included where it aids under- standing. Rather emphasis is on analyzing the elements that form the structure of art to help one to know what to look for and to sharpen ones sense of feeling and perception.

In Architecture, Gauldie makes the important observation that our reaction to a building relates to our bodily sense of movement, balance, measure and rhythm. This, of course, is also true for our reaction to the other arts but perhaps not as much as for our enjoyment of architecture that the author per- spicaciously likens to simultaneously viewing and participating in a performance.

In various chapters he discusses: scale, order and rhythm; weight, force and mass; space; shape; decoration; light. Architecture is seen as the reso- lution of a dialogue between the demands of space and structure, the eloquence with which this is achieved determining a building's artistic value. The vital role of architecture in creating an environ- ment that can either enrich man's life or, on the contrary, diminish him as a human being, is indi- cated, and, consequently, the importance of developing our critical faculties so that we can intelligently demand the kind of environment that enhances rather than diminishes life.

The appreciation of sculpture is a theme that has rarely been treated and so this volume by L. R. Rogers, sculptor and head of the Department of 3-Dimensional Design at Loughborough College of Art, is especially welcome. His point of view is similar to Gauldie's in emphasizing the importance of understanding, on the one hand, and a fuller sensory perception of sculptural form, on the other. Texture, contours, space, volume, surfaces and their relationships are investigated. The many ways in which drapery is used in figurative sculpture takes up one very enlightening chapter. Another explains The Materials and Processes of Sculpture. Here the author shows the influence of materials and technique on form. Both Rogers and Gauldie conclude with the warning that the viewer must approach a work of art without preconceptions and endeavor to perceive fully and comprehensively what is there. They both manage to elucidate complex ideas in a clear and orderly manner.

Philip Rawson, Curator of the Gulbenkian Museum of Oriental Art in the Universityof Durham, treats 'Drawing' from the maker's view-point instead of the spectators.' His admirable intention is to discuss, without the need for mystical jargon, the general structural principles by which drawings are done, eliminating 'all words that refer to sub- jective, unformulated emotional impressions .. .',

volumes is to provide practical illustrated guides towards understanding the various arts and develop- ing the perceptual skills and intellectual attitudes that will make art more meaningful to the spectator.

The approach here is not an historical one of describing a progression of styles, though this and other information is included where it aids under- standing. Rather emphasis is on analyzing the elements that form the structure of art to help one to know what to look for and to sharpen ones sense of feeling and perception.

In Architecture, Gauldie makes the important observation that our reaction to a building relates to our bodily sense of movement, balance, measure and rhythm. This, of course, is also true for our reaction to the other arts but perhaps not as much as for our enjoyment of architecture that the author per- spicaciously likens to simultaneously viewing and participating in a performance.

In various chapters he discusses: scale, order and rhythm; weight, force and mass; space; shape; decoration; light. Architecture is seen as the reso- lution of a dialogue between the demands of space and structure, the eloquence with which this is achieved determining a building's artistic value. The vital role of architecture in creating an environ- ment that can either enrich man's life or, on the contrary, diminish him as a human being, is indi- cated, and, consequently, the importance of developing our critical faculties so that we can intelligently demand the kind of environment that enhances rather than diminishes life.

The appreciation of sculpture is a theme that has rarely been treated and so this volume by L. R. Rogers, sculptor and head of the Department of 3-Dimensional Design at Loughborough College of Art, is especially welcome. His point of view is similar to Gauldie's in emphasizing the importance of understanding, on the one hand, and a fuller sensory perception of sculptural form, on the other. Texture, contours, space, volume, surfaces and their relationships are investigated. The many ways in which drapery is used in figurative sculpture takes up one very enlightening chapter. Another explains The Materials and Processes of Sculpture. Here the author shows the influence of materials and technique on form. Both Rogers and Gauldie conclude with the warning that the viewer must approach a work of art without preconceptions and endeavor to perceive fully and comprehensively what is there. They both manage to elucidate complex ideas in a clear and orderly manner.

Philip Rawson, Curator of the Gulbenkian Museum of Oriental Art in the Universityof Durham, treats 'Drawing' from the maker's view-point instead of the spectators.' His admirable intention is to discuss, without the need for mystical jargon, the general structural principles by which drawings are done, eliminating 'all words that refer to sub- jective, unformulated emotional impressions .. .', choosing terms that '. . . designate things that can actually be found in drawings by looking .. .' Though he does not completely succeed in this, (is

choosing terms that '. . . designate things that can actually be found in drawings by looking .. .' Though he does not completely succeed in this, (is

numen a thing that can actually be found in a drawing by looking?), he presents a wealth of material that will be of enormous interest to both spectators and artists. About half of the book consists of a clear analysis of the materials and techniques used in drawing, their significance and effect on the results. His re-creation of Direr's procedure in drawing 'A Women's Bath-House' is illuminating; his analysis of the order in which the artist drew the figures is logical and convincing. Less so is that of Poussin's drawing for the 'Rape of the Sabines'. The woman's left arm does not seem a reasonable starting point for the drawing. I think it more probable that the artist would begin with her captor's back, shoulder and arm that grasps and supports her and is a pivotal area in the composition. Though the text is sometimes dense and overly philosophical, with an occasional tendency to lapse into 'mystical jargon', at other times it reads clearly and fluently, and is always thought pro- voking.

All three of these well-designed volumes are copiously illustrated with good quality repro- ductions, drawings and diagrams. A fourth volume, The Art of Appreciation, has just been published and a fifth one on Painting will probably have appeared by the time this review is printed. If they maintain the high level of the first three, the series-useful to artist and historians as well as laymen-will be a very valuable contribution to the literature of that highly maligned term 'art apprecia- tion'.

The Decorative Twenties. Martin Battersby. Lon- don, Studio Vista, 1969, 216 pp., illus. ?5.10. Reviewed by: Gabriel P. Weisberg*

The decorative arts of the 1920's have been coming back into favor during recent yeats so that Martin Battersby's volume, The Decorative Twenties, is both timely and useful. In presenting a wide spectrum of work in France, England and America during the 1920's, Battersby ably develops numerous areas of decorative innovation and tries to show how the new designs were used. The author has re-examined exhibitions in Paris and London around 1925 that helped crystallize a new style in decoration, demon- strating that the '. . . twenties had been an exciting period, with an atmosphere all its own. It was a time of reassessment and discovery. There were at the beginning many traces of the pre-war style, luxury and elegance ...'. In the process of perusing this volume, a reader is left with a vivid impression of many approaches in interior decoration, ceramics, furniture, glass, textile and posters by such artists as Andre Groult, Jean Dunand, Rene Lalique, Raoul Dufy and Jean Dupas.

Since little has been written about the decorative art of this era and many art works are buried in the

numen a thing that can actually be found in a drawing by looking?), he presents a wealth of material that will be of enormous interest to both spectators and artists. About half of the book consists of a clear analysis of the materials and techniques used in drawing, their significance and effect on the results. His re-creation of Direr's procedure in drawing 'A Women's Bath-House' is illuminating; his analysis of the order in which the artist drew the figures is logical and convincing. Less so is that of Poussin's drawing for the 'Rape of the Sabines'. The woman's left arm does not seem a reasonable starting point for the drawing. I think it more probable that the artist would begin with her captor's back, shoulder and arm that grasps and supports her and is a pivotal area in the composition. Though the text is sometimes dense and overly philosophical, with an occasional tendency to lapse into 'mystical jargon', at other times it reads clearly and fluently, and is always thought pro- voking.

All three of these well-designed volumes are copiously illustrated with good quality repro- ductions, drawings and diagrams. A fourth volume, The Art of Appreciation, has just been published and a fifth one on Painting will probably have appeared by the time this review is printed. If they maintain the high level of the first three, the series-useful to artist and historians as well as laymen-will be a very valuable contribution to the literature of that highly maligned term 'art apprecia- tion'.

The Decorative Twenties. Martin Battersby. Lon- don, Studio Vista, 1969, 216 pp., illus. ?5.10. Reviewed by: Gabriel P. Weisberg*

The decorative arts of the 1920's have been coming back into favor during recent yeats so that Martin Battersby's volume, The Decorative Twenties, is both timely and useful. In presenting a wide spectrum of work in France, England and America during the 1920's, Battersby ably develops numerous areas of decorative innovation and tries to show how the new designs were used. The author has re-examined exhibitions in Paris and London around 1925 that helped crystallize a new style in decoration, demon- strating that the '. . . twenties had been an exciting period, with an atmosphere all its own. It was a time of reassessment and discovery. There were at the beginning many traces of the pre-war style, luxury and elegance ...'. In the process of perusing this volume, a reader is left with a vivid impression of many approaches in interior decoration, ceramics, furniture, glass, textile and posters by such artists as Andre Groult, Jean Dunand, Rene Lalique, Raoul Dufy and Jean Dupas.

Since little has been written about the decorative art of this era and many art works are buried in the

* Department of Art History, University of Cincinnati, Cincinnati, Ohio 45221, U.S.A.

* Department of Art History, University of Cincinnati, Cincinnati, Ohio 45221, U.S.A.

184 184 Books Books

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