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The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

Book by Arnold Hauser · 3 quotes · Mannerism, Aristocracy, Art

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The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque Quotes

“Compare with Greek art, modern classical art is lacking in warmth and immediacy; it has a derived, retrospective, and, even in the Renaissance, a more or less classicistic character. It It is the reflection of a society which, filled with reminiscences of Roman heroism and medieval chivalry, tries to appear to be something which it is not, by following an artificially produced social and moral code, and which stylizes the whole pattern of its life in accordance with this fictitious scheme. Classical art describes this society as it wants to see itself and as it wants to be seen. There is hardly a feature in this art which would not, on closer examination, prove to be anything more than the translation into artistic terms of the aristocratic, conservative ideals cherished by this society striving for permanence and continuity. The whole artistic fromalism of the Cinquecento merely corresponds to the formalized system of moral conceptions and decorum which the upper class of the period imposes on itself. Just as the aristocracy and the aristocratically minded circles of society subject life to the rule of a formal code, in order to preserve it from the anarchy of the emotions, so they also submit the expression of the emotions in art to the censorship of definite, abstract, and impersonal forms.”

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“The art of the High Renaissance is absolutely secular in its outlook; even in the representations of religious subjects, it attains its ideal style not by contrasting natural with supernatural reality, but by creating a distance between the objects of natural reality itself - a distance which in the world of visual experience creates differences of value similar to those that exist between the elite and the masses in human society. Its harmony is the utopian ideal of a world from which all conflicts is excluded, and, moreover, not as a result of the rule of a democratic but of an autocratic principle. Its creations represent an enhanced, ennobled reality exempt from transitoriness and banality. Its most important stylistic principle is the restriction of the representation to the bare essentials.”

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“Tradition is here nothing but a bulwark against the all too violently approaching storms of unfamiliar, an element which is felt to be a principle of life but also of destruction. It is impossible to understand mannerism if one does not grasp the fact that its imitation of classical models is an escape from the threatening chaos, and that the subjective over-straining of its forms is the expression of the fear that form might fail the struggle with life and art fade into soul-less beauty.”

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Book:The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque
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