|Titian, Entombment,1584, Louvre|
Cézanne, Curtain, Jug, and Compotier, 1893-94, Collection Mrs. John Hay Whitney
However, I now had a problem with Dr. Barnes’ discussion in the pages that preceded page 77. In those pages, he argued that the subject of entombment arouses very different feelings then the subject of a jug and fruit on a table.
But here is where I got confused:
Violette de Mazia told me Titian’s Entombment and Cézanne’s Curtain, Jug, and Compotier, while sharing plastic characteristics, do not share human values as those values relate to expressive meaning. They can’t. We do not “feel” the same about the burial of a person as we do about fruit on a table. And our feelings count; they factor into the objective equation.
Now that you and I have acquired the habit of objective analysis, the appeal or repulsion of the subject should not thwart our understanding of the art in the picture. In fact, the reverse is true: a work of art based on a subject of profound human significance made by a gifted artist through his re-action and re-creation of it, elicits strong feelings that we objectify as we do the work of aesthetic analysis.
Renoir, Pomegranates, c. 1910, Barnes
|Soutine, Flayed Rabbit, c. 1921, Barnes|