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Download 30 Etudes for the String Bass by Franz Simandl PDF

By Franz Simandl

Thirty Etudes

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That in the early 1970S a young Gerhardt Richter should be working on a series of grey monotone canvases and, at the same time, on a series based on colour charts, is not a surprise. Similarly, that the major international exhibition to be seen in Australia and New Zealand at this time, 'Some Recent American Art', should be virtually colourless is also unsurprising. Brice Marden, Agnes Martin and Robert Ryman were the only painters in this Minimalist/Conceptualist exhibition which, coincidentally, appeared at 32 WYSTAN CURNOW the Auckland City Art Gallery the same month McCahon painted The Shining Cuckoo.

But how could we not be suspicious of the seductive power exercised upon us by this vast picture plane which seems to have no normative element to appeal to our judgement? Are we to think that these patches of colour play the same role in the history of art as the ink blots of the Rorschach test play in the history of psychology? Would that not be in fact a way of excluding 12 MARCELIN PLEYNET Robert Motherwell, Elegy to the Spanish Republic No. 6 cm. The Metropolitan Museum of Art, New York. such pictures from the history of art and assimilating them more essentially to the history of psychology?

It is part of the discursive formation which is history of art and which comprises the lengthy evolution of the detached, framed picture from its original architectural placement (or a comparable process in the case of sculpture, as Michael Newman points out in relation to Rilke's comments on Rodin). It is part of the discursive formation which is history of philosophy, in so far as the very process of perception has been mediated by philosophical categories, from Kant and Hegel to the phenomenologists.

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