André Malraux: Working

“On this earth of ours where everything is subject to the passing of time, one thing only is both subject to time and yet victorious over it: the work of art.”

André Malraux

André Malraux, TV program: Promenades imaginaires dans Florence, 1975.

Art , Time , Victory

“Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it.”

André Malraux

Part III, Chapter VI
Les voix du silence [Voices of Silence] (1951)
Context: Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it. It is not a scene that has come alive, but a latent potentiality that has materialized. Suppose that one of the world's masterpieces were to disappear, leaving no trace behind it, not even a reproduction; even the completest knowledge of its maker's other works would not enable the next generation to visualize it. All the rest of Leonardo's oeuvre would not enable us to visualize the Mona Lisa; all Rembrandt's, the Three Crosses or The Prodigal Son; all Vermeer's, The Love Letter; all Titian's, the Venice Pietà; all medieval sculpture, the Chartres Kings or the Naumburg Uta. What would another picture by the Master of Villeneuve look like? How could even the most careful study of The Embarkation for Cythera, or indeed that of all Watteau's other works conjure up L'Enseigne de Gersaint, had it disappeared?

“Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.”

André Malraux

Part IV, Chapter VII
Les voix du silence [Voices of Silence] (1951)
Context: Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.

Art , Time , Parting

“Each form of the sacrosanct was regarded by members of the culture which gave rise to it as a revelation of the Truth; at Byzantium it was not a mere hypothesis that was sponsored by the majesty of the Byzantine style. To us, however, these forms make their appeal as forms alone — in other words, as they would be were they the work of a contemporary (and, since this actually is unthinkable, they affect us in a puzzling manner); or else as so many grandiose vestiges of a faith that has died out. We look at them from outside; they are still emotive, but they are no longer true. Thus we deprive them of what was their most vital element; for a religious civilization that regarded what it revered as a mere hypothesis is inconceivable.”

André Malraux

Part IV, Chapter V
Les voix du silence [Voices of Silence] (1951)

Truth , Faith

“Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art.”

André Malraux

Part I, Chapter III
Les voix du silence [Voices of Silence] (1951)

Art , Feeling , Knowledge , Gauge

“History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.”

André Malraux

Part IV, Chapter VI
Les voix du silence [Voices of Silence] (1951)