press review
Of Paintings, Languages and Galleries
First of all Wackenroder has equalled all artistic effects of human aesthetic and metaphysical inquiries, stating that “the Father of All Things in each work of art, in all pieces of the world sees heavenly sparks (…)”. As a consequnce of this, both Gregorian chants and African dances are equally admired by God. I suppose that this revolutionary truth has its opponents even today. But as regards sacrum - Wackenroder insists upon a respect for a work of art equivalent to the respect towards the church altar. Wackenroder is not in favour of treating “art galleries like a flea market (…)”, “while these should be temples, where in reassuring silence one could humbly admire works of outstanding artists (…)”. The philosopher was an idealist, but one with intuition and sensitivity. Wackenroder understood that efficient benefiting from art’s existence is possible by contemplation and the knowledge of language, with which the artwork speaks. If we are open to hear it.
The philosopher wished to underline the idea that a work of art demands a proper background. Kubicki reminds us of this idea - in order to fully absorb and experience art, a proper mood is vital. This may sound banal, but, - well, it is neither obvious nor banal. Wackenroder devoted a lot of attention to this problem, exaggerating at times, but he only did so to inspire the reader with an awareness that art moves one to a more harmonious world and it should not be mixed with trivial things. In his opinion the appreciation of a work of art resembles prayer.
(How can one sip wine or exchange trivial remarks in the presence of Masterpieces? One cannot. Unless these are masterpieces, in, well, lowercase).