(Artikulli i plotë bashkëngjitur.)
http://www.newcriterion.com/archives...art-in-crisis/
Sedlmayr certainly did believe that modern art was in crisis. But in his view the artistic crisis was only a coefficient or manifestation of a much deeper cultural and religious disintegration. In an important sense, Verlust der Mitte is not an exercise in art history at all. It uses art, not to make an aesthetic case but in order to illustrate a moral diagnosis. His epigraph—from Yeats’s poem “The Second Coming”—presages the book’s governing mood: “Things fall apart; the center cannot hold …”
“The fact is,” he argues, “that art cannot be assessed by a measure that is purely artistic and nothing else. Indeed, such a purely artistic measure, which ignored the human element, the element which alone gives art its justification, would actually not be an artistic measure at all. It would merely be an aesthetic, and actually the application of purely aesthetic standards is one of the peculiarly inhuman features of the age, for it proclaims by implication the autonomy of the work of art, an autonomy that has no regard to men—the principle of l’art pour l’art.” Art has its own aesthetic canons of legitimacy and achievement; but those canons are themselves nugatory unless grounded in a measure beyond art. That is the ultimate, indispensable, lesson of Art in Crisis.
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