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#realism

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Tombe la pluie - Theespookje

Would you do that meme with an artistic semi| abstract photo of a woman vs one of a full portrait from your Lidl catalogue because there's more details, colours?
There has been a huge resurgence of people deeming art>beauty, accuracy as a criteria, common since modern art appeared on the art scene, but is worrying as an absolute and a society level of art, media and global literacy.
#art #artdiscussion #modernart #abstract #abstractart #realism #degenerateart #arttaste #creation

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Tombe la pluie - Theespookje

Just like digital art is not easier than traditional art (I find it the other way round for instance). Would you say writing a book on word and not by hand is cheating? Bfr. If technical, frame by frame, apparent complexity was the only goal of art, we would have stopped long ago... Being realistic stopped being the goal long ago, if it were ever the sole goal (spoiler alert: no)

#aiart#artdiscussion#art
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Hotspur🏳️‍🌈🇺🇦

"Caesar at the Rubicon," Wilhelm Trübner, 1878.

Trübner (1851-1917) was a German Realist painter. Although never a major name (many of his paintings were too somber to really be popular) he did achieve a few humorous paintings with his dog, Caesar, that have endured.

He also did a lot to advance the idea of "art for art's sake," that is that a work of art should not just depict something beautiful, but be beautiful in and of itself, and that art should be free of utilitarian and didactic concerns. This was a reaction to a generation of artists who felt their art had to have a message and make a stand.

Eh...there's more than enough room for both, I say.

From the Österreichische Galerie Belvedere, Vienna.

A Realist painting. We see a tabletop, with a white cloth covering most of it, and a plate of sausages in the foreground. In the background, a dog (a mastiff) has his head on the tabletop, looking yearningly at the sausages, but also aware that if he takes them, that would be Bad.
#Art#GermanArt#Realism
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Miguel Afonso Caetano

"While Balzac chronicled the rise of the bourgeoisie after the revolution of 1789, Houellebecq has canvassed the social void created by the so-called second revolution of 1989, where a newly global capitalism achieved its uneasy triumph worldwide. As literary critic Peter Brooks noted in 1999 about the “monarchist Marxists could love,” Balzac also “had the advantage of living in an age of revolution, which made the passing of the old order starkly perceptible.” Both were vitriolic critics of the new society with unending fondness for the old one. For Balzac, it was the ancient aristocracy and kings; for Houellebecq, the communist parties, country priests, and Gaullist politicians. “It’s true that the Communist Party isn’t what it used to be,” the latter could still claim in 1994, even though “a country whose population is becoming impoverished, senses that it’s going to become more and more impoverished, and is also convinced that all its misfortunes come from international economic competition” deserved better. Both were also from relatively modest backgrounds — the aristocratic particle “de” was Balzac’s own confection, while Houellebecq prides himself on not sharing the credentials of the Parisian citadel he now inhabits.

The analogies hardly end there. In the 1830s and ’40s, when Balzac wrote, the dominant repertoire of social action was the petition, the riot, and the street march, in a left-wing political culture not yet organized around unions, parties, or large membership organizations, as Daniel Zamora has noted. Confusion and fear of place characterize his novels through and through, with a breakdown of social order and frenzied groping for status. Yet for Balzac at least, the world was suffused with a sense of sociological color; this was a world of individuals as members of classes, not the isolated “elementary particles” of Houellebecq’s early novels."

jacobin.com/2024/10/michel-hou

#Literature #France #Liberalism #Realism #Balzaq #Houellebecq
#Marxism

jacobin.comMichel Houellebecq: The Unhappy OracleMichel Houellebecq’s chronicles of modern discontent have made him one of the most renowned writers of the century as well as a far-right prophet. Yet liberalism’s fiercest critic still hasn’t found his alternative future.
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