Page 68 - Studio International - February 1967
P. 68

The discoveries of modern medicine played a part.
      Art prices                               be comprehended mathematically, and its con-  Population densities started to increase at a
                                               crete existence was even doubted. Space, formerly
      current                                  the distance between discrete objects, became in-  frightening rate, and it became harder to get away
                                                                                        from the crowd. All the old disciplines were being
                                               extricably mixed with time. Euclid became out-
                                               dated, and Einstein showed that all kinds of con-  progressively abandoned, and cultural deteriora-
                                               cepts previously regarded as absolute were in   tion was alarming long before the beginning of the
                                               reality relative. New and unsuspected kinds of  Second World War. Some psychologists, more per-
                                               radiation were detected, and light became a series   cipient than others, began to be apprehensive that
                                               of electromagnetic waves, with colour as a property   intelligence among the masses was deteriorating,
                                               of wave-length. Light-waves were found to possess   and it would not be difficult to find evidence to
                                               some of the properties of particles, and particles  support this view.
                                               some of the properties of waves. Max Planck   Art, encouraged by such technical innovations as
                                               elaborated his theory of the quantum of energy.   oil-colour in collapsible tubes, began to be experi-
      Looking for permanent values             The messages brought in by the five senses were   mental in the nineteenth century. Following the
      by George Savage                         shown to be an interpretation by the brain of  vision of Turner, the Impressionists created a new
                                               phenomena quite unlike what they seemed to be,
                                                                                        world of light and colour. The Expressionists
                                               and the physical world, from being a comparatively   turned to the emotions, and others began to
                                               logical and straightforward kind of place, became,   theorize about the nature of art, sometimes basing
                                               quite suddenly, bewilderingly complex.   their ideas on evanescent scientific theories which
      Never at any time since the beginning of civiliza-  In the field of psychology all kinds of wildly   were usually misunderstood and, in any case, had
      tion has it been so difficult to exercise judgment   improbable theories were propounded and solemnly   often been abandoned before they became an
      in the acquisition of works of art. That art, always   discussed, and ancient wisdom was tricked out in a   object of interest to the artist.
      a mirror of its time, should fail to reflect the revolu-  brand new terminology. Politics became increas-  The Romantic movement of the eighteenth cen-
      tion of the past century or so in our approach to the   ingly doctrinaire, and such new sciences as soci-  tury largely petered out in a slough into which
      world is hardly conceivable, but it is sometimes   ology, which lacked the discipline of the natural   nineteenth-century official art found its way, and
      difficult to realize how great this revolution has  sciences, jockeyed for public attention and money.   the so-called industrial arts, once predominant,
      been.                                    Religions, based on historical improbabilities and   decayed under the malign influence of machine
       Until the middle of the nineteenth century no one   indefensible dogmas, no longer seemed a feasible   manufacture. In former times a single style had
      would have thought Dr Johnson odd for refuting   explanation of the problem of human existence,   marked the art of every age; now there was
      Berkeley's idealism by striking his stick on the   nor of the universe in which we live. In a world of   nothing worth calling a style. Eclecticism was an
      ground. If anyone thought about the ultimate   curved space-time heaven was not up nor hell   article of faith. The anarchy of the twentieth century
      structure of matter at all, they assumed atoms to be   below. Moral sanctions, based on the needs of a   has been promoted by all the resources of modern
      solid building units, rather like billiard balls or   society far removed from that of urbanized man,   publicity. Urban man, irked by the increasingly
      microscopic bricks. Then, in a matter of decades,   were seen to be irrational, although no one ad-  restrictive nature of government, has sought free-
      the atom became a mysterious system of electric   vanced anything to replace them which achieved   dom elsewhere, and every trivial quirk of fashion
      charges poised in empty space. Soon it could only   widespread acceptance.        has been inflated to a size out of all proportion to


                                                                                                            Part of the exhibition at
                                                                                                            Christie's to mark the 200th
                                                                                                            anniversary of the day on
                                                                                                            which James Christie held
                                                                                                            his first sale at premises in
                                                                                                            Pall Mall, London-the
                                                                                                            exhibition brought together
                                                                                                            paintings and drawings from
                                                                                                            collections on both sides of
                                                                                                           the Atlantic, with an extensive
                                                                                                            selection of photographs of
                                                                                                            pictures and works of art, all
                                                                                                            of which at one time or
                                                                                                            another have passed
                                                                                                           through Christie's hands.
                                                                                                            For the exhibition design,
                                                                                                            carried out by John
                                                                                                            Bruckland A.R.I.B.A. and
                                                                                                            Ronald Sandiford, all natural
                                                                                                            daylight was excluded, and
                                                                                                            a carefully controlled flexible
                                                                                                            system of flood and
                                                                                                            spotlighting was suspended
                                                                                                            below light canvas false
                                                                                                            ceilings in white and varying
                                                                                                            subtle colours stretched
                                                                                                           from wall to wall, to reduce
                                                                                                            drastically the normal height
                                                                                                            of the galleries and create a
                                                                                                            more intimate scale.
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