Of Paintings, Languages and Galleries
The usual routine is as follows: we receive an invitation to the vernissage, we’re curious who’s going to show up, we arrive and together with a bigger or smaller crowd stroll around the exhibition space, exchanging remarks with acquaintances and friends; we sip the wine, scan the room for interesting faces. We’d sit down if there were chairs. This is the usual way of maintaining contact with fine art, through which we become relatively acquainted with the current trends and see the artists. This whole spectacle, however, is not the point. Anyone who has a similar impression will be pleased to confirm his or her views in the new issue of ARTeon [7 (51) 2004] and learn about the phenomenon of the art gallery.
our gallery
Archduke Leopold Wilhelm owned a private gallery in Brussels. The aristocrat is portrayed in his gallery in 1658 by David Teniers the Younger. The painting depicts the archduke looking benevolently at the pictures, which occupy the walls from floor to ceiling. What a collection! The duke may be buying his next masterpiece or planning investments, as he's heading in the direction of the table with a piece of paper in hand and looking at the painting, which hasn’t been yet placed on the wall. At the archduke’s table there’s a bookkeeper with book and quill. That gallery has evidently witnessed a lot of deals, quests for masterpieces and artworks. Just as the galleries of today – the only difference being that now it is hardly allowed for dogs to enter. In 1658 the archduke could be accompanied by two fashionable dogs and surely the other people did not mind their presence. The other outstanding factor of this gallery were its walls crowded with stern ancestors, merry goddesses and other interesting characters all accompanying, as it were, the noble lord. Boy, did the archduke have fun!
The picture by David Teniers the Younger illustrates the ARTeon text by Roman Kubicki "The Art of the Better God”, which does not treat of princes or of galleries, but of perceiving fine art.
our language
The author starts from linguistic considerations, which may be very useful in everyday life as much as in philosophical discussions. He notices that when we try to speak in a foreign language, we still think in the native one. Following this line of thought in the direction of Wittgenstein leads to the conclusion that "The boundaries of our language are the boundaries of our world”. Finally Kubicki argues that "The language in which we try to speak, but with which we cannot think, does not have the necessary power. This regards also the history of art”. It has to be admitted that it is indeed crucial to think in the language of art while facing the work, to know this language, or even be moderately acquainted with it. But coming back to the article - Kubicki notices that medieval art was immersed in religion, in the today’s world God is distant, but people behave as if they did not know it. People perceive the world in the language of religion. Now art itself wishes to be a religion, to be autonomous. This process isn’t simple, however; it has been going on for a long time and fascinates many scholars.
our sacrum
This process has been beautifully described by the German philosopher and art theoretician Wilhelm Wackenroder (1773 – 1798). 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 respecting a work of art in a way 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 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.
our mood
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 crucial. This may sound banal, but, - well, it is neither banal nor obvious. Wackenroder devoted a lot of attention to this problem, exaggerating at times, but only 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).
Only silence and concentration should be our companions at exhibitions. According to Kubicki, Wackenroder acutely grasps “the metaphysical side of man”, as the mood fit for absorbing art should posess divine qualities. Unquestionably. “The Art of the Better God” is therefore art worth contemplating, being noticed and experienced. Kubicki ends his story about art with a Nietzschean thought, which I will not disclose here, as - regardless of the context - it cannot be fully reflected in any descriptive text. But it is key for Kubicki’s ponderings.
Anyway, while the Archduke buys his next painting, we should learn various languages. Translators are hard to find these days, and it is best when they are not needed at all: "We are to be alone in the temple of art”, Kubicki says (and the crowd, contemplating the pictures, meditating, drifts slowly away). The end.
Miłka O. Malzahn
Translated by Marta Malina Moraczewska
Discussed journals: ARTeon