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Against Affective Formalism: Matisse, Bergson, Modernism, by Todd Cronan
PDF Download Against Affective Formalism: Matisse, Bergson, Modernism, by Todd Cronan
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For nearly fifty years the humanities have been defined by a series of critiques: of the subject, of representation, of the visual, of modernism, of autonomy, of intention, of art itself. In their place various "materialities" have appeared: signs, identities, bodies, history, and works. Against Affective Formalism challenges these orthodoxies.
"What I am after, above all, is expression," Henri Matisse declared. Matisse believed that through the careful arrangement of line and color he could transmit his feelings directly to the minds and bodies of his viewers. Yet Matisse continually struggled with the reality that his feelings were misunderstood--or simply ignored--by viewers of his art. Matisse oscillates between a desire for expressive command over the viewer and a sense of the impossibility of making himself known.
Against Affective Formalism confronts modernism's dissatisfactions with representation. As Todd Cronan explains, a central tenet of modernist thought turns on the effort to overcome representation in the name of something more explicit in its capacity to generate bodily or affective experience. Henri Bergson was one of the most influential advocates of the antirepresentational impulse; his novel theories of memory and freedom gripped a generation of writers, philosophers, psychologists, and artists. Matisse and Bergson worked within and against the context of form and expression that remains in force today.
Writing in opposition to prevailing theories and assumptions about the relation of intention and form--most of which accept the "death of the author" as a basic fact of interpretation--Cronan argues that the beholder's response to art, outside a framework of intentionality, is irrelevant to a work's meaning. Intentions are not a matter of method at all: no letter, biography, document, archive, or key will recover an intention. What matters is that intentions make works of art different from objects in the world.
Contents
Acknowledgments
List of Illustrations
Introduction: Modernism against Representation
1. Painting as Affect Machine
2. Freedom and Memory: Bergson's Theory of Hypnotic Agency
3. The Influence of Others: Matisse and Personnalité
4. Matisse and Mimesis
Conclusion. From Art to Object: The Case of Paul Valéry
Notes
Index
- Sales Rank: #333112 in Books
- Published on: 2014-04-01
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.10" w x 7.00" l, .0 pounds
- Binding: Paperback
- 336 pages
Review
Suffice it to say, if other works of scholarship were only half as contentious, exuberant, and full of life, academic writing would be a joy to read. Thank God for Todd Cronan. -Art Journal Cronan is against affective formalism because it leaves interpretation and thus evaluation up to the viewer...In place of response...he offers an approach, which he insists is not a method, that combines phenomenology and psychology. This has enabled him to write a book which is delightful twice over: once in proving everyone else wrong about Matisse without that being his main point; again in his strong response to a question that has lain out there, repressed in plain view for decades.
-Jeremy Gilbert-Rolfe, The Los Angeles Review of Books
Cronan demonstrates his mastery [of the..] dense philosophical abstractions layered across recent thinking...about mimesis. But what this book is really 'about' is Matisse....And its analyses of individual pictures make this essential reading for Matisse specialists as well as for art-historians with wider interests...Thanks to Cronan's sensitive and subtle reading of the pictures themselves, Matisse's place in the history of modernism has been intellectually and aesthetically redefined.
-Robert Lethbridge, Journal of European Studies
Cronan's book is an important contribution to the enormous corpus of Matisse studies and a bold counterclaim to the dominant affective strand of aesthetic theory. -Lee Hallmann, The Burlington Magazine Cronan's postpoststructuralist advocacy of the profoundly unfashionable concept of artistic intentionality is an attempt to draw collective attention to the almost invisible theoretical privilege we now award the reader and the text: an effort to speak truth to power that strives to model a more self-conscious middle way. -Michelle Menzies, Theory & Event
Cronan's masterful history of affective modernism demonstrates surprising continuities between modernism and postmodernism. He effectively challenges Bois and company's auto-parodic interpretations of Matisse's painting...[and] Cronan replaces this kind of analysis with a brilliantly original reading of Matisse's career in terms of an oscillation between absorptive and autonomous form, which he interprets in terms of a rigorous exploration of the nature of expression. -Michael W. Clune, nonsite.org
Against Affective Formalism is a challenging and rewarding read, necessary for any scholar interested in the state of art history today. -Charlotte de Mille, Art History Chapters three and four...are to my mind tours de force: significant contributions to our understanding of the artist that ought, by all rights, to have a real impact on the field. -Lisa Florman, nonsite.org
"Todd Cronan’s juggernaut is several books in one. In the first place, it historicizes a crucial question in contemporary esthetics, whether or not a beholder’s experience of a work of art can properly be understood as affective rather than as cognitive. Second, it offers a strong rereading of various writings by Henri Bergson—whose philosophy has often been associated with the art of Matisse—with respect to that and related issues, showing in the end that although Bergson was continually tempted by the affective position, he never quite definitely succumbed to it. Third and most important, Cronan tracks the interplay between the affective and cognitivist viewpoints in the theory and practice of one of the great painters of the twentieth century, Henri Matisse; this sets Cronan on a collision course—from which he does not flinch —with the almost uniformly affective bias of recent Matisse criticism. Against Affective Formalism is a major achievement, and I look forward with fascination to its reception by a field that is likely to be transformed by it." —Michael Fried, Johns Hopkins University
"Matisse knows that sensations belong to - or alas have been detached from - particular human occasions, ways of being, forms of life. But the exacerbation of colour in Matisse speaks, dialectically, to the lack of particularity that makes us 'modern'. This to and fro of contraries is dealt with powerfully in a new book by Todd Cronan, Against Affective Formalism: Matisse, Bergson, Modernism. Colour, for Matisse - pure sensation, the stuff of the senses - will make, will be, a form of life. And at the same time it will enact the extremity - the uncanniness - of the wish."
- T. J. Clark, "The Urge to Strangle," The London Review of Books
From the Back Cover
Todd Cronan's juggernaut is several books in one. In the first place, it historicizes a crucial question in contemporary esthetics, whether or not a beholder's experience of a work of art can properly be understood as affective rather than as cognitive. Second, it offers a strong rereading of various writings by Henri Bergson - whose philosophy has often between associated with the art of Matisse - with respect to that and related issues, showing in the end that although Bergson was continually tempted by the affective position, he never quite definitely succumbed to it (to his credit, Cronan suggests). Third and most important, Cronan tracks the interplay between the affective and cognitivist viewpoints in the theory and practice of one of the great painters of the twentieth century, Henri Matisse; this involves close looking at a wide range of paintings that have never before been considered in this light, and it also sets Cronan on a collision course - from which he does not flinch - with the almost uniformly affective bias of recent Matisse criticism. The book concludes with a brilliant chapter on Paul Valéry, in whose writings the conflict between cognitivism (or intentionalism) and affect emerges in a manner that remains paradigmatic for developments to come. I have no hesitation in stating that Against Affective Formalism is a major achievement, and I look forward with fascination to its reception by a field that is likely to be transformed by it.
-Michael Fried, Johns Hopkins University
About the Author
Todd Cronan is Associate Professor of art history at Emory University. He has published articles on Bertolt Brecht, Paul Valéry, T. W. Adorno, Maurice Merleau-Ponty, George Santayana, Georg Simmel, Richard Neutra and on the problem of photographic previsualization.
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