Wednesday, February 27, 2013
The great Renaissance expert Bernard Berenson explained the sudden, virtual cult appeal of the artist in terms of an emerging modern taste for “the ineloquent in art,” by which he meant a turn away from dramatic illustration toward the aesthetics of conceptual design and candid technique. Berenson cited Impressionism and, especially, the phlegmatic, intellectually bracing method of Cézanne as spurs to the new appreciation of Piero. That’s apposite. His style also resonates in the marmoreal figures of Picasso’s neoclassical period; and his way of seeming to capture something fundamental, once and for all, reminds me of abstract paintings by Piet Mondrian. Looking at Piero’s work may impart a sense of being steadied and elevated. You might even forget momentarily that you were ever less noble, or that any other art has held more than a passing interest for you.more from Peter Schjeldahl at The New Yorker here.
Posted by Morgan Meis at 09:01 AM | Permalink