The planarity in Greenberg's modernist theory and its parallelism with the artistic production of Piet Mondrian and Lygia Clark
According to Clement Greenberg (1960), it is inherent to modernity to carry out self-criticism from the inside, using the very means of what is being criticized. The main objective of the essay is to correlate the concepts developed in the article “Modernist Painting”, by Greenberg, with the work of...
| Autor: | |
|---|---|
| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2022 |
| País: | Brasil |
| Recursos: | Universidade Estadual de Campinas (UNICAMP) |
| Repositório: | Revista Visuais |
| Idioma: | português |
| OAI Identifier: | oai:inpec.econtents.bc.unicamp.br:article/16157 |
| Acesso em linha: | https://econtents.bc.unicamp.br/inpec/index.php/visuais/article/view/16157 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Teoria modernista Planaridade Greenberg Piet Mondrian Lygia Clark Planitud Modernist Theory Flatness |
| Resumo: | According to Clement Greenberg (1960), it is inherent to modernity to carry out self-criticism from the inside, using the very means of what is being criticized. The main objective of the essay is to correlate the concepts developed in the article “Modernist Painting”, by Greenberg, with the work of Piet Mondrian and its reverberation in the works of the first phase of Lygia Clark. Through the emphasis on flatness, present both in Mondrian's neoplastic paintings and theories and in Clark's concrete paintings, pictorial art used its own mechanisms to achieve universal “purity” and reflect on its reason for existing. |
|---|