“Opponents of the New Art fall back on this calculation, rejecting its self-sufficient meaning and, having declared it 'Transitional,' being unable even to understand properly the conception of this Art, lumping together Cubism, Futurism, and other phenomena of artistic life, not ascertaining for themselves either their essential differences or the shared tenets that link them.”

—  Olga Rozanova

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), p. 18; as quoted by Svetlana Dzhafarova, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932 (transl. Jane Bobko); Guggenheim Museum, New York, 1992, p. 477
Olga Rozanova accused the critics and their brethren of bad faith, citing as a prime example Aleksandr Benua's "Kubizm ili Kukishizm" ("Cubism or Je-m'en-foutisme"), a scathing 1912 review

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Opponents of the New Art fall back on this calculation, rejecting its self-sufficient meaning and, having declared it '…" by Olga Rozanova?
Olga Rozanova photo
Olga Rozanova 4
Russian artist 1886–1918

Related quotes

“An art mode, new or old, is for the creative mind essentially a point of beginning. Content is brought into being by the activity through which the artist translates the movement into himself. In such an appropriation, there is no difference between an ongoing movement and one that is finished. During the reign of Minimalism, a painter might realize the new through Impressionism. That art history has a schedule of continuous advances en masse is a fantasy of the historian. The shared syntax of art movements is constantly replaced by the sensibility and practice of individuals. The avant-garde art of yesterday is the only modern equivalent of an aesthetic tradition. The fading of the ideas of a movement does not mean that it can no longer be a stimulus to creation. At the very dawn of a movement, the work of its artists commences to replace the concept; instead of Cubism there appear Picasso, Braque, Gris. Compared to the activities to which they give rise, ideas in art have a brief life. In the last analysis, the vitality of art in our time depends on works produced by movements after they have died.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), p. 230, Art on the Edge (1975) "Shall These Bones Live?: Art Movement Ghosts"

Pablo Picasso photo

“Many think that Cubism is an art of transition, an experiment which is to bring ulterior results. Those who think that way have not understood it. Cubism is not either a seed or a foetus, but an art dealing primarily with forms, and when a form is realized it is there to live its own life. A mineral substance, having geometric formation, is not made so for transitory purposes, it is to remain what it is and will always have its own form.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Source: 1920s, "Picasso Speaks" (1923), p. 323.

Václav Havel photo

“Our civilization has essentially globalized only the surfaces of our lives. But our inner self continues to have a life of its own. And the fewer answers the era of rational knowledge provides to the basic questions of human Being, the more deeply it would seem that people, behind its back as it were, cling to the ancient certainties of their tribe. Because of this, individual cultures, increasingly lumped together by contemporary civilization, are realizing with new urgency their own inner autonomy and the inner differences of others.”

Václav Havel (1936–2011) playwright, essayist, poet, dissident and 1st President of the Czech Republic

The Need for Transcendence in the Postmodern World (1994)

Henry Moore photo

“The distinguishing quality of most primitive art is the intense vitality which it possesses, because it has been made by a people in close touch with life, who felt simply and strongly, and whose art was a means of expressing vitally important beliefs, hopes and fears. Negro sculpture is essentially religious and cannot be detached from the tribal gods, priests and ancient rituals. When civilization destroyed these things, it also destroyed their Art. These carvings have a serious and pathetic power – a bigness and monumental simplicity born of the racial patience in bearing life with all its terror and mystery....(But as always, it was the artist who was the first to see in them a new thing – a new plastic conception – an artistic worth – a value as art – their importance as art).”

Henry Moore (1898–1986) English artist

1925 - 1940
Source: Primitive African Sculpture, Foreword, Lefevre Galleries, London 1933, p. ?

Marianne von Werefkin photo

“A man with taste is the same as a woman with taste. Man invents his home, woman - her dress. Being an artist means having an individual, distinct from all other people's perception and concept of every single thing. Being an artist does not mean possessing a faculty of combining lines and paints, being artful in this or that sort of art, but having a world inside oneself and individual forms to express it.”

Marianne von Werefkin (1860–1938) expressionist painter

1895 - 1905
Source: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 106

Franz Marc photo

“The art of the future will give form to our scientific convictions; this is our religion and our truth, and it is profound and weighty enough to produce the greatest style and the greatest revaluation of form that the world has ever seen. Today, instead of using the laws of nature as a means of artistic expression, we pose the religious problems of a new content. The art of our time will surely have profound analogies with the art of primitive periods long past, without of course, the formalistic similarities now senselessly sought by many archaist artists [Marc rejects abstraction of Cubism, among others]. And our time will just as surely be followed in some distant, ripe, late European future by another period of cool maturity, which in its turn will again set up its own formal laws and traditions. [written at the front of World War 1.”

Franz Marc (1880–1916) German painter

near Verdun, 1915]
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 446

Leo Tolstoy photo

“Science may fall back on its stupid excuse that science works for science, and that when it has been developed by the scientists it will become accessible to the people also; but art, if it be art, should be accessible to all, and particularly to those for whom it is produced. And the position of our art strikingly arraigns the producers of art for not wishing, not knowing how, and being unable, to serve the people.”

Leo Tolstoy (1828–1910) Russian writer

What then must we do? (1886)

“Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 273, "Being Outside"

“What is video art? How does it differ from commercial television? Is video art linked to such traditional art forms as painting and sculpture? Is it a totally new phenomenon?”

Gregory Battcock (1937–1980)

Gregory Battcock. New Artists’ Video, an anthology, (1978) p. xiii. Introduction:
Listing of the several general questions to which video art gave rise to in those days.

Henry Fielding photo

“Life may as properly be called an art as any other.”

Henry Fielding book Amelia

Book I, Ch. 1
Amelia (1751)

Related topics