Clement Greenberg

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 Clement Greenberg remained a leading opponent and winner of the American avant-garde that had succeeded since World War II. Critic Clement Greenberg did not consider abstraction to be merely an artistic style, but an actual medium itself. By 1940s, Greenberg was promoting the work of many artists who were supporting their work as a pure concept. The portrait that represents some form of narrative content or typical procedures remains impure by the fact that two mediums are combined. In his article, Greenberg’s says that there stands a logic to the growth of modern art and, in particular, modernist painting. He classifies the core of novelty as the strengthening of a self-critical trend that initiated with the eighteenth-century German theorist Kant. According to Greenberg (1968), there must be a purpose given to defend a particular action. Without this defense, he says the precise action will then be humiliated and declined. Greenberg reasoned that modernism consists of the two dimension on the image surface. The viewer is forced to see the painting first as painted surface, and finally, see a picture. Greenberg argues that this is the best way to perceive and recognize any portrait.  “The unique and suitable area of skill of each art accorded with all that was unique to its medium.” Greenberg debated that the distinctiveness and individuality of art and uniqueness of a structure fundamentally depend on the particularity of the structure and the feature share with no other system of art. After the discovery of these features, Greenberg disputed that the development modernist then removes all unnecessary and unspecific element from the medium. In his view, nothing borrowed from the medium of a different art can be permitted. Therefore, under modernism, each art pursues purity, and purity implies that there should be total independence from other progressive art forms and also from everyday life (Greenberg, 1989). Therefore, in this logic, modernist image causes a problem in that it covers the aspect of the medium and the cleanliness of the print. For this reason, practicality inspires the viewer to interchange over the surface and into space of the picture…

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