BYU Studies Quarterly
Volume 1 | Issue 2
Article 4
4-1-1959
An Approach to Modernity in Art
Gerrit de-Jong Jr.
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Recommended Citation
de-Jong, Gerrit Jr. (1959) "An Approach to Modernity in Art," BYU Studies Quarterly: Vol. 1 : Iss. 2 , Article 4.
Available at: http://scholarsarchive.byu.edu/byusq/vol1/iss2/4
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de-Jong: An Approach to Modernity in Art
approach
modernity
art
GERRIT DE JONG JR
webster
credit
dictionary making fame
given
become famous
exneed
saying
espouse
work vigorously
tremely unpopular cause
promote
title
my fame assured
paper indicates clearly
fields
modernity
human endeavor
art
least even among those
always
unpopular statistically
call themselves artists
wiit
relatively small number wilt
fact
value
admit
modern art
respect
my purpose
comparatively few artists go modern
found
artist
persuade
personal way
established practices
order
give
expressing himself
might
written
hope
turn modern
paper
art
bewildered layman
field
give little help
appreciate art
reason laymen do
my belief
do
do especially modern art
art works
know what look
discussion
shall make art mean
purpose
kinds artistic expression including music painting sculpture
literature dramatics dancing architecture interior decoration
mind
shall
kinds
may come
perhaps still
varied contemporary expressions
modern art
designate
inour discussion modern music
serious art
called popular
jazz
confused
stance
abstract
refer exclusively
music modern painting
say modern architecnonobjective
non objective productions
throughdo
glass houses
mean
ture
fine piece chamber music
art
various categories
out
picasso
exbetter known paintings
ravel
ballet russe
quisite terpsichorean production presented
architectural masterpiece
wright powerful drama
modern
shall refer
products
oneill
stravinski proko
heard
generation
dr
de jong
former dean
college
fine arts
brigham young
university
33
Published by BYU ScholarsArchive, 1959
1
BYU Studies Quarterly, Vol. 1, Iss. 2 [1959], Art. 4
BRIGHAM YOUNG
34
fiev
fied de
university
STUDIES
falla debussy ravel picasso mattise grant wood
derain martha graham diaghilev eugene
oneill
moderns
faces
see
sneers
many
mentioned
works
art
critics
heard how
four inch paint
masterpiece produced
brush attached
ass received grand prize
tail
pans
paris salon
exhibited
anecdote usually told order
modern art
sort
thing typical
insinuate
heard
modern art insincere 1I
consequently
said
recognized artists even
people
paint
like
nuts crazy
bedbug
infrequently
excessive
otherwise discriminating people
suggested
addiction
often
drinking
dope
motivating causes
modern artistic expression
field
human endeavor reasonable people
almost
able
know
certain requisites
skill cisn
ideas
isn t
judge
quality
products
literature
field
art
religion
strange
judging
numerous uninitiated laymen feel perfectly capable
technical training instruct
instruc
quality without ever having
these fields van loon
excellent
tion
experience
arrs
rarely asked
book
layman
arts
hits reminds us
aits
work
favor us
expert surgeon
opinions upon
extend
asks why should
engineer then
same courtesy toward
expresses himself
quite
artist
removes our appendix
man
individual way
subways
builds our bridges
contribution
work
nature
view
comwell
serious
sincere artist
community
records made
recording instrument
pared
never like those made
artist however
artist
record
own particular way
each artist records
life
attitude
artist makes becomes reflection
individual philosophy
per
understands
sees
record means something
sonai credo
whether
van loon further
us
rest
nothing
raven too
nightingale
concern
none
do
best
hope
interested
our opinions
1
I1
http://scholarsarchive.byu.edu/byusq/vol1/iss2/4
van loon hendrick willem
arts
new york
1937
1957
p
16
2
de-Jong: An Approach to Modernity in Art
APPROACH
gain
MODERNITY
ART
35
approval
nightingale
very sad
nightingale finds himself survice versa
ravens
done
nothing
raven
rounded
122
modern art movements
premodern
pre
styles
recognized
styles every new
movements
modern
standing began
form
artistic expression
result
strongly felt
dissatisfaction
less established
current art
forms
know
ancient greeks did
forms
did
ancient
even know
using
themselves
fact
ancients
firmly believed
modern
what
digging among
old civilizations
ruins left
never yet unearthed
coin stamped 215 BC naturally
living
people
now designate BC did
era
think
day
come
what
know
terms
gone
what
before
sense
word art works produced today
modern
those
period preceding our own
find
art
today modern works
surprising
inferior
roundly denounced
unreal
insincere
lacking
art qualities generally
way
precisely
modern works
received
art
period
history rembrandt
Night watch now sometimes
nightwatch
world greatest artistic achievement
singled
clair
time
creation
considered extremely modern
obscure
characterized
highlightpaintings
ed centers
caused
disinterest
parts practically
artistic practices
entirely new among
day
appear
watch
members
picture
paid
night
nightwatch
painted
great leyden master felt
photographic
fidelity
characterize
objectivity
hoped
very uneven
spots entirely lacking even
painting
radical deconsidered
though rembrandt technique
nightwatch
Night watch
conventional methods
parture
conservative art teachers recompainted today
make
close study
students
mend
rembrandt work
saloon
instance
emile zola
zoia
writings
zoli like
2
Published by BYU ScholarsArchive, 1959
ibid
p 17
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BYU Studies Quarterly, Vol. 1, Iss. 2 [1959], Art. 4
36
BRIGHAM YOUNG
university
STUDIES
very modern
day
artistic form
reduced
raised
maximum
generally felt
them
minimum while content
practical purposes zola
zold
zoid
zoia
naturalism constituted
complete reversal
sugar sweet
sugarsweet
realism current
type
turn
france before
century
naturally many patrons
literature found
zola
zoia
gone
too far
art work
indeed
called art
too modern
us today
think
beethoven later
again none
modern
symphonies
beethoven contemporaries found
method
expressing himself artistically entirely new very
erratic
execution
quite incomprehensible
beethoven compositions
demanded new technical skill
dexterity
orchestral musicians
day
fact
said
string bass player threw down
instrument
gave
beethoven
opinion
completely insane
today beethoven style
generally regarded
sane even
sedate
modern
very antithesis
artistic practices
originated former periods
short lived relatively few
them become well
enough established
regarded conventional today how
many
strike
art forms now called modern
endure
root
aspredict
gain general acceptance
su
surance
rance
modern
expected however
later
given
experiments now being tried
sooner
always
reason
thus
believe
history
run true
present modern art movements
form
justified
modernity
layman
art
really means
justifiable
recognizes rather
say
conmodern
pronounced difference between
ventional
established premodern
expression
pre modern forms
notices
left
another modern art work
way
beaten path being familiar
acestablished
modern forms
cepted forms
totally unaccustomed
does
immediately tempted
say
perplexity
understand modern work
art
already
modern interior decoration
case
new combinations
adjusting many new developments
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de-Jong: An Approach to Modernity in Art
APPROACH
MODERNITY
ART
37
color new linear design
new materials etc
use
fields
old school recomgreater ease
art
mended complete harmonization
new school suggests
times violent contrasts off shade rather
principally contrasts
preferred since
straight colors seem now
become entirely accustomed
sufficient time
yet
do
these new treatments
still say now
then
understand them particularly
field
painting
modern work seen
first time
often hear said
clear what does mean
meaning
what does
represent
among
popular questions
these
hear
situation then
often hear
fact
comment 1 I don t understand
matter
understand
least
logical sense
nothing
word
art addresses itself primarily
emotions
intellect
fine musical composition
good painting
our living room
exciting redecoration
expected
bring us knowledge
premigive us information art puts
being understandable
sense
being logical
um
awaken
even reasonable
rather stimulate intuition
made
mission art should
imagination
should
does
senses
provide feast
furnish food
try
thought
instance
popular objection modern music
unnatural now our scientific friends
harmony
unpleasurable reaction experienced
easily show us
modern harmonic progressions
heard really
nothing
do
harmony used
naturalness
unnaturalness
basis
closeness nature therecannot
explained
tenable explanation
much simpler
fore
tonal
hearing
listener
yet become accustomed
modern harmony
always
combinations used
already
established
leave him bit puzzled
tendency
listenharmony seem natural
accepted older types
become familiar
sufficiently long time
er
traditional sub dominant dominant tonic progression
them
cultured
threadbare
now seems
uninteresting
lower overtones those
lie nearest
ear
composed
hand results
fundamental modern harmony
Published by BYU ScholarsArchive, 1959
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BYU Studies Quarterly, Vol. 1, Iss. 2 [1959], Art. 4
38
BRIGHAM YOUNG
university
STUDIES
largely
combining those overtones
occur much higher
series both types
harmony
equally natural since
both
taken
component elements
same series
overtones
nature regularly produces hence
cannot
assume
laws
nature indicate
hartype
mony
preferred
analysis
reason conventional harmony
thought
pleasant
modern harmony
unpleasant
adequate
time
accustom our ears
now called conventional forms
modern forms nevertheless given time
hear
newer harmonic combinations
again
old ones
doubt learn
shall
appreciate
new harmonic effects introduced
many
modern music
learn
too
give us pleasurable reactions
physicist
octaves
explain
parallel fifths
seldom used
musical compositions
our predecessors
now rather freely employed
always present among
overtones created
bass note moves
called unnatural either
therefore
phenomenon cannot
doubted
time
too far distant
shall
learn
listen
these progressions
aesthetically lifted
sum
then
musical composition our ears accept
cord formations
harmonious
used
progressions
hearing while those chord formations
progressions
inharmonious
way unusual
said
strange
what our ear interprets harmonious gives us pleasure whatever
still think
inharmonious does
new
speak similarly
unusual rhythmic patterns
characterize contemporary compositions
established
much used rhythms give us feeling
satisfaction
new
ones do
now let us raise
age old question whether music
these two
heteronomous
autonomous art
explanation
terms
think
music
order here those
heteronomusic essentially non musi
mous believe
content
cal
music communicates reality
exists independembodiment
music
instance
ently
say
music expresses
human beings feelpassions
emotions being
burden
ings
variety
precision
11
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de-Jong: An Approach to Modernity in Art
APPROACH
MODERNITY
ART
39
possible
words 3
hand those
hold music
suz
autonomous art believe
sm
genens iiee
sul generis
content
purely musical
autonomists believe
meaning
musician concerns himself
tonal rhythmic
structure
elaborates purely musical thematic material
compositional patterns
obviously persons
adhere
heteronomous theory
those
think
music represents something
music
much greater difficulty
attempt
get aesthetic satisfaction through modern music
do those
hold
autonomous explanation renato almeida
south america foremost living musicologist
following
say
new tendencies
music
music does
tell story nor make design
nor model anything
descriptive
may
plastic
must always
atmosphere
suggestion
permits
human soul freed
exalted
interpretation
experiences life through intense aesthetic enjoyment
essence
things dom
music
music hovering above
elevating itself
sound
mating them
eminence
incomprehensible
right
mysterious wagner
arts say
means music
penetrates
reality
through emotion creates sensible world
arts nietzsche insists
higher
integral
arts
dreams music
phenomena arts
appearance arts
transcends
translates
noumenon therefore being
least
absolute art
contemporary spirit
realize
must
desire
order better
freest
our sensibilities
therefore disturb music essen
must
bially
functions
tially
ascribing
fulfill
deform
them
music frees itself
becomes music parallelism
reality
arts
does
should result
musical creation
copy nature
contrary originates
part
incommensurable totality 4
word noumenon
philosophic expresquotation
sensible
extra
extrasensible
kant indicates here
sion first used
phenomenon
imponderable reality
opposition
universal essence
make noumenon
ultimate reality
3
4
david W prall aesthetic judgment new york 1929 p 216
Brasi
brasileiro
leira rio de janeiro 1942
mustra brasileira
renato almeida historia da musica
p 449
Published by BYU ScholarsArchive, 1959
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BYU Studies Quarterly, Vol. 1, Iss. 2 [1959], Art. 4
40
BRIGHAM YOUNG
university
STUDIES
thing itself das ding jut
kant called inaccessible
fur sich
fut
human comprehension
excerpt quoted above
history
brazilian music shows plainly
renato almeida
like
aesthetics sees modern
contemporary students
music definitely going
direction
autonomy rather
heteronomy
aesthetic point
view
purely
well
may
remark here
beauty
try
see
art lies principally
form
shape
work
art
appearance
great german philosopher kant argued
subcontent
ject matter
do
art work
very little
beauty
ask what picture represents
instance
what piece
music describes
what story
really beside
point although croce does
far
direction
go quite
followers even
beauty consists
kant
successful expression
simply
explanation still leaves
beauty purely matter
form hence
logical significance
ethical consideration
practical
even sensuous enjoydetracts
aesthetic object
ment adds
beauty
santayana likewise finds
formal aspects
beauty
great
thinks
sensuous pleasure caused
importance
art
should
considered fundamental
philoso07
pragmatic philoS
followers reduces beauty
cause
phy
john dewey
our aesthetic experiences
skillful adaptation means
ends taken
view erases
logical conclusion
point
entirely
distinction between fine art
applied art
layman lipps made
clear long
well
may
just
feel ourselves
objects
ago
contemplate
call natural phenomena
man
aesthetically
result
made art works beautiful
like
identify
way feels
ourselves imaginatively
them
art including modgeneral may said therefore
make sensuous appeal
rational appeal
ern art tries
far
form
creative artist
gives productions
hisroductions
content hencer
greater importance
hence follows
should look mainly
our attempts
appreciate art
what
less concerned
manner
matter
how
book
concerned
artist paints
paints
reduced version
story
review should
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de-Jong: An Approach to Modernity in Art
APPROACH
MODERNITY
ART
41
forty five minutes far
important aesthetically
philosophic
author
linguistic treatment
fundamental ideas
given
recent chamber music concert
friend
mine began
extremely modern fourth
enjoy
1I got him
soon
beia bartok immensely
bela
string quartet
comextra musical human experiences
quit guessing what extramusical
novel
describe
tried
poser
pay attention
worked
thematic musical material
manner
fascinating compositional pattern
become aware
forgreat importance
mal aspect
beauty
see
principal difference between conventional
explained
modern artistic endeavor
form
basis
difficult
see why
begin
manifesmany persons
appreciate modern art
interested
being
tat ions
tations
content itself
hands
subject matter received
treatment
artist tries conmiss
creative artist
very message
essentially
same materivey modern artists today deal
used
al
personal
preceding generations
generation
always changed
reactions
material
individual
individual these reacgeneration
individual
products
continue
tions
personal
give us significant help
our modern artists
developing
aesthetic values mainly
constantly see life
us
communicate
expression
new light using new forms
forget
trying grasp
must
new impressions
new forms
expression always difficult
meaning
rewarded here
unfortunately
time
patience
modern art forms
cease
soon
grow accustomed
become like
modern
already
then
predecessors conventional
told
Published by BYU ScholarsArchive, 1959
9