Clive Bell's formalism ~ slide 1 Clive Bell’s formalist theory of art zClive Bell –English, –Critic & aesthetician –Together with Roger Fry largely responsible for introducing the Post- Impressionists, especially Cézanne, to the English public

Clive Bell's formalism ~ slide 2 Clive Bell’s formalist theory of art zArt-historical movements which influenced the development of Bell’s formalist theory –Post-Impressionism (ca ) yTerm was invented by Roger Fry & adopted by Clive Bell yNot a unified movement except that all the artists in the movement extended and reshaped Impressionists ideas

Clive Bell's formalism ~ slide 3 Clive Bell’s formalist theory of art äRetained the bright Impressionist colors äCriticized Impressionist paintings for being too fleeting in its visual effect. The Post-Impressionists sought to restore some of the classical “permanence” into paintings. äTurned to more serious subject matter

Clive Bell's formalism ~ slide 4 Clive Bell’s formalist theory of art –Other movements current at the turn of the century. They may have had only minimal influence on Bell, but he must have been aware of them. yFauvism (fl ) äEmphasized expression through the use of pure colors & exaggerated & distorted perspective

Clive Bell's formalism ~ slide 5 Clive Bell’s formalist theory of art äHenri Matisse, André Derain, Maurice Vlaminck yCubism (ca ) äThe movement was ushered in by Picasso’s Les Demoiselles d’Avignon in äThe 2 creators of Cubism -- Pablo Picasso & Georges Braque

Clive Bell's formalism ~ slide 6 Clive Bell’s formalist theory of art äRejection of single-viewpoint perspective; breaking a scene down & then reconstructing from many viewpoints yThe beginning of purely abstract art äWassily Kandinsky (Russian, German, French, ) åFirst purely abstract painting -- Abstract Watercolor, 1910

Clive Bell's formalism ~ slide 7 Clive Bell’s formalist theory of art zClive Bell’s formalist theory –Presented in Art, published in 1914 –A work of art is one which evokes a special kind of emotional experience –This special emotion evoked by art is the “aesthetic emotion” –Notice that Bell does not talk about what happens in the artist in the process of creation (Cf. Collingwood & Tolstoy)

Clive Bell's formalism ~ slide 8 Clive Bell’s formalist theory of art –What is this aesthetic emotion? äNo association with everyday emotions (92). äAn etherial, almost other-worldly experience (94). –What is it in a work of art which evokes this special emotion? y“Significant form” (88) äWhat is this?

Clive Bell's formalism ~ slide 9 Clive Bell’s formalist theory of art –Tacit position on evaluation yThe more formal, the better äSee Bell’s judgment on Byzantine & Renaissance paintings (96) –A theory of art appreciation yProvenance & historical background are not important yTo appreciate a work of art all one needs is a sense of form & color & space

Clive Bell's formalism ~ slide 10 Clive Bell’s formalist theory of art –The metaphysical hypothesis yPerhaps form in art uncovers the “God in everything... the all- pervading rhythm” behind the appearances of things, the “echo of some more ultimate harmony” (98-99)

Clive Bell's formalism ~ slide 11 Clive Bell’s formalist theory of art zCritique of Bell’s formalist theory –Problem of universality –Devaluation of representation (note Lyas’s position on the expressive power of representational art) –Appreciation

Clive Bell's formalism ~ slide 12 Clive Bell’s formalist theory of art zMitigation –The theory was very important in shaping public taste in the early 20th century –The theory draws attention to the importance of form in works of art. yCf. Ancient, Medieval, & Renaissance art