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1、Notetostudents:KirkVarnedoe(US1946-2003)wasaninfluentialarthistorianandchiefcuratorofpaintingattheMuseumofModernArt,NewYork.Thisselectionfromhisbookabout“whatmakesmodernartmodern”asksustocomparetheuseoffragmentationandrepetition–formalelementsconsideredessentiallymodern–bymotionphotogra
2、phersEtienne-JulesMareyandEadweardMuybridgewithEdgarDegas’useoftheminpaintingandAugusteRodin’sinsculpture.WhatisVarnedoe’sthesisandhowdoesheestablishit?Beabletocomparetheworksillustratedhereonthebasisofthemeaningoffragmentationandrepetition.Whatisso“modern”aboutthewaytheseartistsdeploye
3、dtheseforms?From:Varnedoe,AFineDisregard:WhatMakesModernArtModern(NewYork:Abrams,1990)pp.102-143.FragmentationandRepetition(The19thCentury)KirkVarnedoe97.EdgarDegas,AtTheMilliner’s,pastelongraypaper,188299.AugusteRodin,TheThreeShades,bronze,188098.PietMondrian,Composition,Red,Blue,Yello
4、w,1930Modernartisoftentakentobeamatterofform.Inthelatenineteenthcentury,theformsofpaintingsandsculpturesbecomeindependentlyassertive,andcontent—inthetraditionalsenseofrecognizablethingsandfigurescomposedinorderedscenesorlegiblestories—seemstobecomesecondary.Wemayadmireartistsofthattimef
5、ortheirincisivenessaboutsocialfacts,ortheirexpandedrangeofemotion,butstudyingthemaspioneermodernists,weoftenfocusinsteadoninnovativeaspectsoftheirspatialstructureorcomposition:thewayDegas'sfiguresarecutinhalf,forexample,orthewayRodinreusesidenticalcastsofthesamefiguretoformatriad(figs.9
6、7and99).Theseformalinnovationsprovidepointsofcomparisonbetweenmodernart'sbeginningsanditslaterdevelopments—affinitiesbetweenMondrianandDegas,forexample,inregardtosegmentationofmotifs(figs.97and98),orbetweenMinimalistsculptorsandRodin,becauseoftheuseofmodularparts.101.ConstantinBrancusi,
7、EndlessColumn,Version1,oak,6’9”H,1918Suchlineagesofresemblanceappeartohaveevolved,moreorlessindependentofsubjectmatter,acrossthedecades.Andacertainvisionofmodernart'sprogresscanevenbemeasuredintermsofthewaytheformsinquestionsloughoffvestigialdescriptiveorsymbolicfunctions,andap
