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Movements of Modernity
The Case of Glasgow and Art Nouveau
William Eadie
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eBook - ePub
Movements of Modernity
The Case of Glasgow and Art Nouveau
William Eadie
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About This Book
Originally published in 1990, acknowledges the social as well as the artistic significance of the Glasgow Art Nouveau movement by examining the history of it from its inception through to its demise. By considering the contributions of social theorists like Peter BĂŒrger, Theodor Adorno, and Walter Benjamin, the author illustrates how Art nouveau can be located within an avant-garde. The book also reveals to what extent the contract which the Glasgow group had with the Secessionists in Vienna was significant for the development of their work.
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Chapter one
The dialectics of modernity and modernism
âModernismâ is usually understood as a distinctive mentality and range of activities fundamentally preoccupied with the disruptive renewal of perception in a society which engenders routinized experience. The term âmodernityâ, historically, carries with it proliferating meanings which none the less centre around the theme of âthe deformations of a one-sidedly rationalized everyday praxisâ evoking âthe need for something equivalent to the unifying power of religionâ.1 Max Weber argued that the internal relationship which subsisted between the modes of rationality peculiar to the West, and modernity - understood as the rationalization of everyday existence and the corresponding dissolution of traditional life patterns - was a necessary one. The disintegration of religious world views which portrayed a âmeaningful cosmosâ had resulted from the emergence of new cultural spheres around empirical science, autonomous art critical of ancient classical artistic models, and secular legal and moral conceptions grounded in rationalist principles. Georg Simmel described how economic and political forces encouraged, with economic growth, technical development and a âpractical materialismâ commensurate with industrialism. These, in turn, had brought about âthe increased externalization of lifeâ.2 With everything subordinated to material interests, the technical side of life came to dominate the inner, subjective dimension of personal values. The intense desire to escape from the constant unrest, fragmentariness, and complexity of modern life lay at the heart of the modernist experience, and for many this escape assumed an aesthetic character as they sought release in âthe artistic conception of thingsâ.3 Simmel gave concrete historical and psychological content to the concept of modernity by illustrating how specific socio-cultural trends are connected with the inner needs and responses of individuals. The essence of modernity, he claimed, is psychologism, âthe experiencing [das Erleben] and interpretation of the world in terms of the reactions of our inner life and indeed as an inner worldâ.4 Simmel viewed modern art as having the potential for both the embodiment of modernity and the resolution of its contradictions. This is because modern art, unlike naturalism, overtly stylizes real life by capturing âthe impression of the supra-temporal, the timeless impressionâ.4 A significant example given by Simmel of this reaction against naturalism in art is the âScottish Schoolâ of painters (the âGlasgow Boysâ).5
Among recent theorists of modernity, Marshall Berman dates the beginnings of a modern sensibility from the sixteenth century and the advent of a world market. Berman detects three historical phases of such a sensibility: firstly, up to around 1790; secondly, throughout the nineteenth century, and thirdly, in the twentieth century with the expansion of modernization. In the second of these phases the actual experience and language of modernity gave rise to classical visions of modernism which both celebrate and denounce the unprecedented objective social transformations facilitated by the advent of the capitalist world market. Modernity, Berman informs us, is the experience undergone within the modernization process which, in turn, engenders modernism. As experience within the dynamism of capitalism - with its oscillations of construction and destruction - it is experience of an essentially contradictory nature, at once of both exhilaration and fear, elation and despair, emancipation and ordeal. The nineteenth-century public, claims Berman, âcan remember what it is like to live, materially and spiritually, in worlds that are not modern at all. From this inner dichotomy, this sense of living in two worlds simultaneously, the ideas of modernization and modernism emerge and unfold.â6 Economic âdevelopmentâ has operated to transform the subjective life of individuals. As well as providing the means towards the emancipation of the individual self from the rigidities of fixed social status, narrow morality, and restricted imaginative range, economic development also engendered, at one and the same time, insecurity, disorientation, frustration and despair. For Berman, modernisms are characterized by their ability to appropriate the ambiguities and contradictions of modern life as fostered by capitalist âdevelopmentâ, and give expression to the dramatic tensions which such processes create within individuals. The classic examples of such modernisms are to be found with thinkers such as Marx and Nietzsche in the nineteenth century, whose âself-ironies and inner tensions were a primary source of their creative powerâ.7 The dialectical nature of the experience of modernity has, with their twentieth-century successors, increasingly given way to a shrinking of imaginative range with ârigid polarities and flat totalizationsâ.8 Modernist art, despite its manifesting brilliant creativity, no longer connects with any common life, since it is not capable of being adequately incorporated via thought. However, it is possible, Berman believes, that âgoing back can be a way to go forward: that remembering the modernisms of the nineteenth century can provide the vision and courage to create the modernisms of the twenty-firstâ.9
When claiming that Bermanâs book had reopened the contemporary debate on modernity, Perry Anderson outlined a number of difficulties with Bermanâs position. Fundamentally, Anderson considers modernism as a notion to be âthe emptiest of all cultural categoriesâ10 designating no describable object in its own right at all and completely lacking in positive content. Modernism, says Anderson, as a specific set of aesthetic forms,
is generally dated precisely from the 20th. century, is indeed typically construed by way of contrast with realist and other classical forms of the 19th, 18th or earlier centuries ⊠modernism too needs to be framed within some more differential conception of historical time.11
If modernism is treated in this way, that is, periodized within the history of capitalism, it becomes strikingly apparent that its geographical and spatial distribution is uneven, with major areas of the world having failed to generate any significant modernist momentum. Bermanâs reading of modernism as a whole, according to Anderson, âestablishes no distinctions either between very contrasted aesthetic tendencies, or within the range of aesthetic practices that comprise the arts themselvesâ.12 Because the âdecisiveâ currents of modernism in the first decades of the twentieth century - symbolism, expressionism, cubism, futurism or constructivism, surrealism - engendered doctrines and practices peculiar to themselves, but which were antithetical to each other, the possibility of defining the classical modernist bearing towards modernity in terms of one characteristic disposition or sensibility is precluded. âMuch of the art produced from within this range of positions already contained the makings of those very polarities decried by Berman in contemporary or subsequent theorizations of modern culture as a whole.â13 This range of incompatible aesthetic practices from the beginning of the twentieth century was unified post hoc into âa portmanteau concept whose only referent is the blank passage of time itself.14
Such criticisms do not, however, lead Anderson to reject the possibility of establishing a meaningful category for the analysis of modernism as an historical phenomenon. He concedes that European modernism in the early twentieth century manifests certain unifying characteristics. A common adversary for modernist movements was found in the official academicism which reflected the persistence of the anciens régimes. This gave unity to a wide span of new aesthetic practices: insurgent art forms could measure themselves against the cultural values represented by academicism, but they were at the same time able to articulate themselves in terms of the latter:
The classical stocks of high culture still preserved - even if deformed and deadened - in late 19th-century academicism, could be redeemed and released against it, as also against the commercial spirit of the age as many of these movements saw it.15
The latter points to a further unifying dimension, namely, the uniform detestation of the capitalist market as an organizing socio-cultural principle by âevery species of modernismâ. It was âin the space between a still usable classical past, a still indeterminate technical present, and a still unpredictable political futureâ that European modernism flowered at the beginning of the twentieth century. Cubism, futurism, constructivism were to derive a powerful imaginative stimulus from âthe energies and attractions of a new machine ageâ, but the interest here reflected a conception which was conditioned by âthe abstraction of techniques and artefacts from the social relations of production that were generating themâ.16
Anderson argues that âa conjunctural explanation of the set of aesthetic practices and doctrines subsequently grouped together as âmodernistââ should be attempted, which âwould involve the intersection of different historical temporalities, to compose a typically overdetermined configurationâ. âModernismâ is thus to be understood as âa cultural field of force triangulated by three decisive coordinatesâ: the codification of a highly formalized academicism in the (visual and other) arts leading to the emergence of oppositional cultural forms; the still incipient emergence within official regimes of state and society of the key technologies or inventions of the second industrial revolution and the lack of mass consumption industries founded on these; and thirdly the imaginative proximity of social revolution and utopian cultural radicalism.
As well as Berman and Anderson, a significant contribution to the recent debate on modernity has been made by Habermas. The context for Habermasâs analysis of Nietzscheâs articulation of aesthetic modernity lies with his acknowledgement of âthe autonomous art that emerged in modern Europe (together with art criticism institutionalized since the eighteenth century) as the product of a [cultural] disintegration and the result of a process of rationalizationâ.17 Eighteenth-century Kantian idealist aesthetics, in separating aesthetic pleasure (founded on perception of the beautiful and the sublime) from other âempiricalâ forms of satisfaction involving the useful and the desirable, allows art to emerge âwith its own proper claim, along with science and technology, law and moralityâ. The result is an institutional differentiation of art within âthree cultural value spheres, which are also separated from each other institutionally in the form of functionally specified systems of actionâ.18 Forms of argumentation have developed with Western art criticism which âspecifically differentiate it from the forms of theoretical and moral-practical discourseâ. However, Habermas stresses, the âlocus of directed and cumulative transformationsâ is not to be found with the discourses about works of art, but rather with the works of art themselves which, through their inner logical differentiation of specifically aesthetic content, radically uncouple the potential for non-routinized, unconventional modes of experience which can elicit the decentring and unbounding of subjectivity and transform relations between self and world:
The ever more radical uncoupling of this potential for experience, the purification of the aesthetic from admixtures of the cognitive, the useful, and the moral is mirrored in the reflections of the early Romantic period (especially in Friedrich Schlegel), in the aestheticism of Baudelaire and the symbolists, in the programme of Iâart pour Iâart, in the surrealistic celebration of illumination through shock effectsâŠ19
With the decentring of subjectivity comes a heightened sensitivity towards
what remains unassimilated in the interpretive achievements of pragmatic, epistemic, and moral mastery of the demands and challenges of everyday situations; it effects an openness to the expurgated elements of the unconscious, the fantastic, and the mad, the material and the bodily â thus to everything in our speechless contact with reality which is so fleeting, so contingent, so immediate, so individualized, simultaneously so far and so near that it escapes our normal categorical grasp.20
Two relevant questions to raise at this stage would be (1) to what extent does the decentring of subjectivity, as facilitated by the experiences made possible with such movements as symbolism and aestheticism, lead to evidence of the heightened sensitivity which Habermas describes, manifesting itself with Art Nouveau? And (2) what might an empirical study of Art Nouveau reveal about the attempt actively to apply such a heightened sensitivity to the integration of the artistic with the cognitive, the useful, and the ethical? German Jugendstil certainly reflected the need for a surrender to unconscious powers; late Art Nouveau, with its form-language of geometric abstraction, appeared against a background of innovative theorizing about psychology and aesthetics. In opposing eclectic-historicism and the demarcations separating the various styles, and in seeking out the âmotivesâ behind architectural appearances, Art Nouveau elicited reflection upon the fundamental conditions of architecture and its relationships with the political, social, and ethical infrastructures.
In his critique of Habermasâs position, Peter Burger21 argues that the increasing differentiation of the separate cultural spheres - science, morality, art - and the contrary drive for the reintegration of these spheres with the âlife-worldâ, is more contradictory than Habermasâs theory of modernism concedes. In Burgerâs view, Habermas, in claiming parallel developments towards autonomy and specialization by the three spheres, misconstrues their relative structural and social differences. Cognitive-instrumental rationalization has a primary position in the modernization process. Autonomous art carries with it the idea of its self-transcendence, writes Burger, but this is not true of science in the same way because science betrays no impulse for its reintegration with everyday life. Again, an empirically grounded examination of Art Nouveau - as an artistic movement which attempted to confront the separated spheres of art and rationality with a view to achieving their integration on the level of the practical - can surely prove its value for the illumination of the kind of issues covered by these debates. In setting the scene for such an analysis, let us begin by examining Nietzsche in connection with Habermasâs critique: the latter has the virtue of elucidating what Nietzsche himself owed to rationality. Importantly, we find in Nietzsc...