Petty-bourgeois
Art
LIAM: A relative
civilization will always have two sides to it, viz. a material and a spiritual,
and this no less so on the petty-bourgeois levels of, in the main,
twentieth-century art than on the preceding bourgeois stage of relative
civilization.
ALAN: You say 'levels',
which should be distinguished, I take it, from sides?
LIAM: Yes, by 'levels'
I refer to earlier and later phases, either of which will have materialist and
spiritual sides which, to further complicate things, constitute a lower and a
higher approach to art - materialist art always being lower, in any morally
objective scale of values, than its spiritual or, to speak in grammatically
parallel terms, spiritualist counterpart.
ALAN: And how would you
define those levels?
LIAM: In regard to
petty-bourgeois civilization (which is the bourgeois part, as it were, of what,
these days, one would call bourgeois/proletarian civilization), either as a
stemming from the bourgeoisie on the earlier level or as an aspiration towards
the proletariat on the later level. The
former will be more representational than abstract, the latter more abstract
than representational. Indeed, it may
even be entirely abstract.
ALAN: And yet be materialist or spiritualist, depending on the
type of art?
LIAM: Yes, on whether,
for example, the art in question is concerned with distorting the natural or,
in the case of the spiritual approach, transcending it in a kind of painterly
supernaturalism.
ALAN: Can you give me
an example of each type of art, on whatever level?
LIAM: Most
certainly! But first I would like to
point out that petty-bourgeois civilization is divisible into what may be
termed a genuine and a pseudo camp, that is to say, a camp of legitimately and
historically relevant petty-bourgeois nations on the one hand, and a camp of
traditionally bourgeois nations on the other hand that, while to some extent
changing with the times and embracing an authentic petty-bourgeois element,
remain closer to their bourgeois roots, and this in spite of exposure to
petty-bourgeois influences from without, i.e. from the more genuinely
petty-bourgeois nations.
ALAN: I presume you are
alluding, within the traditional framework of civilized painterly art, to
nations like
LIAM: Yes, I am
distinguishing between such quintessentially twentieth-century nations as
Germany, Italy, Japan, and the USA in regard to the genuinely petty-bourgeois
camp, and nations like Britain, France, Belgium, and Holland in regard to what
may be called the pseudo-petty-bourgeois camp, which is largely composed of
nations that came to world prominence in the seventeenth-nineteenth centuries
but declined, like their respective Empires, in the twentieth century.
ALAN: I see. And would there be a kind of
materialist/spiritualist division between each of these camps?
LIAM: No, each camp is
itself divisible in that way. For
example, in the traditionally bourgeois camp,
ALAN: Would one be
correct in contending that there exists, as by natural right, a friction between
the materialistic nations and their, so to speak, spiritualistic counterparts?
LIAM: Indeed, such a
friction, occasionally degenerating into open hostilities, has long existed
between nations with an ideologically antithetical constitution on the basis of
a sort of feminine/masculine distinction which is traceable,
it seems to me, to the cosmic tension between stars and planets at the roots of
evolution. Hence the traditional rivalry
between Great Britain and France in the bourgeois camp, and the more recent
rivalry, which came to a head in World War Two, between Japan and the USA in
the petty-bourgeois camp, not to mention between Nazi Germany and Fascist Italy
- Germany, though to some extent spiritualized by Hitler, fundamentally aligned
with the materialist side of things, a fact which had never escaped Italian
attention! However, not all friction
between materialists and spiritualists leads to war. It is more likely to lead to competition in
business or sport or technology or art.
ALAN: You began by
mentioning art.
LIAM: Well, it is my
firm contention that the materialistic nations tend, as a rule, to produce a
materialist art, spiritualistic nations being more given, by contrast, to the
production of a spiritualist art. But this
is relative, not absolute, since in a relativistic civilization, on whichever
class level, both types of art will be produced in any given country. It is just that a nation will be
predominantly dedicated to the production of one or other of the two types,
according to its ideological integrity, which, so I maintain, is traceable to
ethnic roots.
ALAN: So we may expect
France and the USA, for example, to be predominantly concerned with producing a
spiritualist art, Britain and, say, Germany more given, by contrast, to the production
of a materialist art.
LIAM: Yes, but one must
distinguish between the pseudo-petty-bourgeois nations and the genuinely
petty-bourgeois ones, since, as a rule, the exact type of spiritualist or
materialist art that each nation produces depends on which camp it is in, a
distinction having arisen, in the course of time, between what we may term
mainstream petty-bourgeois art, on whichever level and irrespective of which
side, and subsidiary petty-bourgeois art - the former appertaining to the genuinely
petty-bourgeois nations and the latter to those nations which retain some
allegiance to their bourgeois traditions.
ALAN: Can we take each
art one at a time, starting with the mainstream?
LIAM: Of course! And on the spiritualist side, as mainly
pertaining to the USA, we may note a progression from Impressionism on the
earlier level to Abstract Impressionism or, as it is better known,
Post-Painterly Abstraction on the later level; a progression, in other words,
from an Impressionism stemming from the natural in semi-representational form
to an Impressionism aspiring towards the supernatural from an abstract base - a
distinction between, for example, Whistler and Rothko. The essence of Impressionism, on whichever level,
is to transcend the natural, to create an impression that, negating optical
focus on the earlier level and transcending it on the later one, relates to
awareness and thus to the visionary. The
earlier Impressionism, stemming from the bourgeois stage of relativistic
civilization, will be apparent, as reflecting an external impression; the later
Impressionism, aspiring towards a proletarian absolutism, will be essential, as
reflecting an internal impression.
ALAN: You mention the
USA, and yet most of the earlier kind of Impressionism, the concrete kind, so
to speak, was created in spiritualistic France, apparently beneath the orbit of
mainstream petty-bourgeois civilization.
LIAM: That is true,
though it was created by petty-bourgeois artists who, like Monet and Pissarro, existed within the confines of an essentially
bourgeois civilization. Hence the opposition among traditional and naturalist painters
which Impressionism initially aroused in
ALAN: An art which
presumably had a mainstream materialist counterpart in ...?
LIAM: Expressionism, as
pioneered by the Dutchman Van Gogh, and its offspring
Abstract Expressionism, the progression from the one to the other largely
taking place in
ALAN: In what way is
Expressionism materialist?
LIAM: By distorting the
natural world rather than transcending it on the earlier level, in accordance
with subjective expression of the artist's emotions vis-à-vis his external
environment, and by taking the same distorting process to a point where it
turns in upon itself, so to speak, and expresses distorted emotions
independently of external stimuli on the later level. Expressionism is the subconscious expression
of the external natural world, Abstract Expressionism the subconscious
expression of itself - the former being the converse of Impressionism, which is
the impression of the external natural world on the superconscious,
the latter being the converse of Abstract Impressionism, which is the superconscious impression of itself. Just as Van Gogh and Monet are largely
painting the external environment from different minds - the emotional mind and
the awareness mind respectively, the one extrovert and the other introvert, so
Pollock and Rothko are delineating, in their separate abstract approaches to
the internal environment of the psyche, different minds - the distorted
subconscious and the transcendent superconscious
respectively. Although they are both
late petty-bourgeois artists, the one is romantic, the other classic.
ALAN: Thus Abstract
Expressionism is romantic petty-bourgeois art, Abstract Impressionism its
classical counterpart.
LIAM: Precisely! Though one shouldn't make
the mistake of assuming that romanticism is necessarily materialist and
classicism, by contrast, always spiritual - as I hope to demonstrate shortly. To be sure, there is certainly a romantic
approach to the spiritual life or art.... However, now that we have discussed
mainstream petty-bourgeois art, we can proceed to the subsidiary variety, which
will mainly pertain to the traditionally more bourgeois nations like
ALAN: A distinction, no
doubt, between classical order and romantic disorder, the strictly governed and
the anarchic - as between Braque and Nolde on the
earlier level, and Mondrian and Pollock on the later
one.
LIAM: Precisely! A distinction which is reversed on the
spiritual side of this subsidiary petty-bourgeois art, where we find
Pre-Raphaelitism and Symbolism on the earlier level, but Metaphysical Painting
and Surrealism on the later one, both levels romantic to the extent that they
rely heavily on appearance, which is taken from concrete representational
symbolism to abstract representational symbolism with the development from the
one to the other, particularly from Symbolism to Surrealism, as from Redon to Dali. The
use of appearance necessarily limits the transcendental potential of each
level, since Symbolism is the result, in many ways unfortunate, of applying a
romantic technique to a spiritual art, or what is intended to be so, and such a
contradictory use of appearances toward essential ends simply mirrors the
limitations of a bourgeois or pseudo-petty-bourgeois approach to this art, just
as the contradictory application of a classical technique to a materialist art,
rigid and abstract ... such as one finds in Cubism, paradoxically enhances its
materialistic integrity. And this is the
main reason why such art as has been produced by the pseudo-petty-bourgeois nations
like Britain and France is subsidiary to mainstream petty-bourgeois art, since
the latter, whether on its material or spiritual sides, employs the best
possible technique for the art in question.
In the case of (materialistic) Expressionism and
Abstract Expressionism - a subjective romantic technique. In the case of
(spiritualistic) Impressionism and Abstract Impressionism - an objective
classical technique. Thus the
approach to materialist art is negative, the approach to spiritualist art
positive, appropriately so in each case, since the contraction of materialism
and the expansion of spirituality is particularly relevant to a petty-bourgeois
age and civilization. Where, however,
the traditionally bourgeois nations are concerned, we find a positive, or
classical, approach to materialist art and, by contrast, a negative, or
romantic, approach to its spiritualist counterpart, approaches which mirror a
relativistic duality favouring the materialistic, in accordance with bourgeois
criteria. Only with genuine
petty-bourgeois art does dualism lean towards the absolute, as technique and
subject matter interrelate on a homogenous plane - one necessarily favouring
the spiritual.