Art as Music, Music as Poetry, Poetry as Art, from Whistler to Stravinsky and Beyond
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A01=Peter Dayan
apollinaire
Associates Music
Author_Peter Dayan
avant-garde movements
Braque
Braque's Paintings
Braque's Work
Braque’s Paintings
Braque’s Work
Category=AB
Category=AVA
Category=AVC
Ce Ne
Ce Rationalisme
Cello Solo
cross-disciplinary art theory
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
erik
Erik Satie
georges
Georges Braque
guillaume
Guillaume Apollinaire
interartistic relationships in twentieth century
intermedial aesthetics
Je Ne
La Cruche
Le Blanc
Liliane Louvel
medium transposition
modernist Paris culture
Music Writing Literature
Mute World
ornella
Perpetual Custom
Pierre Soulages
Prix De Rome
rag
red
Robert Craft
satie
synaesthetic perception
Violin Cadenza
volta
Whistler's Time
Whistler’s Time
Wild Men
Wright's Work
Wright’s Work
YMSM.
Product details
- ISBN 9781138276253
- Weight: 360g
- Dimensions: 156 x 234mm
- Publication Date: 16 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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In 1877, Ruskin accused Whistler of ’flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of ’great art’, why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.
Peter Dayan is Professor of Word and Music Studies at the University of Edinburgh, UK. His influential book Music Writing Literature, from Sand via Debussy to Derrida (Ashgate, 2006) showed how, since the time of the Romantics, poetry has been creating a space which music needs, and vice versa. All his more recent work, on 20th-century writers, painters and composers from Julio Cortazar to Igor Stravinsky, has revolved around the question of why art in any given medium so compulsively defines itself as if it were in a different medium - and how this intermedial round actually provides a surprisingly resilient definition of art itself.
