"All modern art is distinguished by a relatively greater freedom from the oppression of the subject. Impressionism emphasized the impression of reality more than its representation. After the impressionists, all art shows a relative negation of nature's aspects; the cubists delivered a further blow; the surrealists transformed it; the abstract artists excluded it."
Freedom of expression, then, with respect to the subject, this is the common denominator of art in our time, in our century. But this does not mean that the artist has ceased to express the shifting yet permanent sum of features and factors that go to make up the human situation in all its complexity. The fallacy of superficial detractors of non-figurative art is to suppose that it signifies a more or less complete abandonment of reality; on the contrary, it probes into reality more deeply than ever before. This is as it should be. The artist cannot divorce himself from a state of society which, on the one hand, is profoundly disturbed by doubts and anxieties, but which, on the other, hasachieved a great deal in the way of technical advances and social betterment. Why should painting reject new conceptions of time, space, matter and energy (and the new sensibility perforce bound up with those conceptions) when the other forms of artistic expression accept them?
Already in Proust we read of the painter Elstir, that his "effort to exhibit things, not as he knew them to be, but in accordance with those optical illusions of which our first glimpse of a thing is compounded, had led him to emphasize certain laws of perspective, thus rendered peculiarly striking, for his art was the first to disclose them." And what is "le temps retrouvé" of the final volume of Proust's masterwork, but a new dimension of the mind, a new sensibility, transcending the measurable, chronological lapse of years, days and hours? Here, then, is the subtly modified approach to reality with which all the painting of our century has swung into line, for, as Apollinaire said, "the plastic virtues, purity, unity and truth, hold nature vanquished underfoot."
1994 year, Oil x Canvas, 81x100 centimeters, St. Petersburg, signed as Y. Gribanovsky
Artist’s possession 2011
George Grie, January 1994
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CommentsArtwork has 3 comments Your opinion is important, please be considered while expressing your view. We have zero tolerance to profane and curse language.
Jurgen / Sep 22nd
I showed my girlfriend your pictures, she was very impressed, and her favorite picture was Gone with the Wind. So i have a question about the resolution of the picture. What is the hires resolution of the picture? Can you tell me please, if I wanted to..
Drukwerk Digitaal / Denmark / Jun 11th
Would it be possible to ask for a link exchange with our advertising & printing related site?
Bryan / Mar 11th
I found one of your pictures online and am interested in possibly using it for a jersey design. We don't care about have exclusive rights or anything. But we are curious about getting permission to use and cost etc.
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