Humanism and Art

PART 1

I

Because humanists emphasize the importance of analyzing empirical evidence rationally it is sometimes thought that they are cold and machine like. Nothing could be further from the truth. Humanism gives equal emphasis to compassion, joy and creativity. Part of the celebration of life as we know it is the appreciation of art.

Humanists are known for their commitment to rational analysis, but that does not mean that emotions are excluded.  Appreciating great artistic talent can even lead to temporary bouts of exhilaration or ecstasy resulting from exposure to great art. This state may be referred to as the “Stendhal Syndrome”. Also known as “aesthetic syndrome” or “Florence syndrome”, this is a psychosomatic condition where individuals experience physical and mental symptoms like dizziness, rapid heartbeat, and confusion when exposed to art or beauty. It is named after the 19th-century novelist Stendhal who described similar experiences. 

Art is very difficult to define. One attempt is to state that art describes a diverse range of cultural activity centered around works utilizing creative or imaginative talents, which are expected to evoke a worthwhile experience, generally through an expression of emotional power, conceptual ideas, technical proficiency, and/or beauty. That definition alone could lead to many fascinating conversations. Humanists enjoy open minded and respectful discussions.

While appreciating the skill of an artist, the beauty, the emotional impact or the deep insight of a work of art, the humanist will also be interested in the economic, political and social factors that surround its creation.

II

Looking at a painting or sculpture one might well ask, “Why would someone call this ‘art’? If on show in an art gallery, the assumption is that an “expert” has made the choice to display the object. The perhaps baffled museum visitor can always fall back on the cliché, “I don’t know much about art, but I know what I like.” When it comes to art, humanists do not insist upon any particular standard of knowledge. However, as in many cases, more familiarity may lead to greater appreciation, and can contribute to another phrase, “The more I know, the more I like.” This curiosity is in keeping with the humanist’s open minded attitude that seeks knowledge form evidence and insight.

Art may be produced not merely to please, but rather to challenge and provoke introspection. The merits of works of art cannot be measured the way that a scientist measures physical properties. Humanists, therefore, being dedicated to scientific principles, might at first reject the study of art as a no better a pursuit than that of speculating about how many angels can dance of the head of a pin. Certainly opinions about art may change over time. There is an ongoing process of discarding established values, finding again old ones, or even discovering new ones. This is natural, because art is created in the context of its time and circumstances. But every day it can open our eyes to new experiences and compel us to adapt or expand our vision. That is truly in keeping with humanism.

Art is more than mere manual skill or craftsmanship. The creative process consists of a long series of leaps of the imagination and the artist’s attempts to give them form by shaping the material accordingly. The hand tries to carry out the command of the imagination. Humanists celebrate the talent that makes us laugh, cry, doubt, or understand.

PART 2

The following discussion owes much to Janson and Stokstad, whose books are listed in PART #3.

I

Wherever you find art, it is making a statement and telling you something. Art can provoke debate or even spark outrage. Great art changes the way we see the world.

Works of art demonstrate a combination of observation, imagination, skill, and training. They may embody some of the most cherished beliefs of the culture within which they were created. They may please the eye or do much more. The artist’s intention and the viewer’s interpretation may vary drastically. Because the context for looking at art constantly changes, as society changes, our interpretations and insights into art and entire periods evolve as well. 

Absorbing the full impact of a work of art may require repeated viewings, whatever one’s first impression may have been. Before the 19^th century art was not made for museum display but to be seen in homes, churches, temples, palaces, government buildings, etc. It is important to try to imagine them outside of a museum and in their original context.

Art may have a religious and/or political agenda. Humanists, who are “ETs” (“economic thinkers”), always consider the question of patronage and audience. Saint Peter’s Basilica in Rome or the Great Buddha Statue in Nara are certainly outstanding achievements erected in the name of religion, but humanists cannot avoid pondering the question of “opportunity cost”. Could not the resources used to build these monuments have been better used for aid to needy populations?

Context is important to the look and significance of works of art, and to the ideas that they express. Works of art serve a purpose and it is impossible to make one without a point of view. Like great works of literature or music, memorable works of art tell powerful stories whose meanings become clearer when we explore the layers of context in which they were made. For example, landscape paintings may be far from simple attempts to capture the splendour and many moods of nature or to show off the artist’s finesse at creating a convincing illusion. Learning to read the symbols in them and also in portraits and historical scenes can provide great insight.

Art also has the power to evoke entire historical periods. Works of art can have value as artifacts that help us understand a particular period of history. For example, the paintings of George Catlin or Paul Kane, while deliberately dramatized, still accurately capture much of the life of North American First Peoples of the 19^th century just as well as do oral histories.

In recent years art historians, both women and men, have brought a new emphasis to female artists. Many of these women were outstanding artists, held in high esteem during their lifetimes, despite having to struggle to overcome powerful social and familial resistance against females becoming professional artists. Humanists welcome such research.

II

Here are some questions that humanists would enjoy exploring, because thoughtful discussion is productive and a pleasure in itself.

How do we recognize art? Art is not simply a physical form. It involves aesthetics, the philosophical study of beauty, its origins and meanings. Aesthetics theories about what is true, good, or beautiful may stress the relative nature of aesthetic concepts rather than seeing them as eternal and unchangeable. Comparing European art with East Asian art can be instructive here.

Terms such as beauty, quality and originality are often used. Does skill matter? Does a work done by a master but with the input of assistants have less value than one done exclusively by a single individual?

Can complex ideas and unexpected presentations make a work beautiful, e.g., Picasso’s GUERNICA (1937)? Some of the most memorable paintings do not depict pretty scenes or well formed bodies but rather scenes of horror, e.g., Goya’s THE THIRD OF MAY 1808 (1814).

Is art a luxury? For many it is an integral part of life. It may have a major impact on us, even when we are not aware of it. We sometimes feel better about ourselves when we are in environments that are visually enriching and exciting. Most important, art stimulates us to think. Even when it provokes us, it broadens our experiences by making us question our values, attitudes, and worldview.

Should an artist attempt to capture the inner life, energy, or power of the subject rather than just the outward appearance? Is the mode or representation that seeks lifelike descriptions of the visual appearance of the natural world the highest accomplishment in art? Or is that even relevant since the invention of photography?

It has been stated that underlying all of our assumptions about art is the belief that art carries a message, that it can inform, challenge, and/or persuade viewers. Does that notion apply to social media posts, advertising, or propaganda? Surely humanists would make a distinction.

Do we need art? Is it because our brains demand stimulation? We are naturally curious, active and inventive. We constantly explore and also invent things that stimulate our senses. Through making art and viewing art, we become more fully alive here and now. From a humanistic point of view, that is a positive experience.

PART 3: RESOURCES

CIVILISATION: A PERSONAL VIEW

Kenneth Clark (1969)

This book is made up of the scripts of television programs presented on the BBC in 1969. Clark himself noted that a better title would have been “Speculations on the Nature of Civilisation as illustrated by the Changing Phases of Civilised Life in Western Europe from the Dark Ages to the Present Day”, but such unwieldy titles went out of style in the 18^th century. Despite that limitation and the use of black and white photographs to illustrate some of the brightly coloured images, this deeply personal and perhaps idiosyncratic presentation still makes good reading today. (The TV series may be available on YouTube or through the BBC.)  In brief, Clark makes the case that, among other factors, great art is essential to civilisation.

JAPANESE CULTURE

Paul Varley (fourth edition, 1984)

A distinguished scholar offers a survey of Japanese political and economic history mixed with a strong emphasis on various aspects of culture such as literature, painting, and sculpture. This helps to provide important context, a key element in the  appreciation of art and also in clear thinking.

ART IN FOCUS

Gene A. Mitler (second edition, 1989)

This book is intended for use by college students in art history, art criticism, or art appreciation. It is an excellent introduction to how to think about art. Its primary focus is painting in the western European tradition but it also has good sections on other forms of art and other parts of the world. Background information on social conditions, patrons, and the personal lives of artists provide important context. Creative exercises are included for those who want to get their hands dirty.

HOMAGE TO HEAVEN, HOMAGE TO EARTH

Barbara Stephen and others (1992)

This visually stunning book illustrates and describes the Chinese treasures of the Royal Ontario Museum. It does so by topic such as jade, bronze, etc., rather than strictly chronologically. It also offers insights into the role of museums in collecting, preserving, studying, and displaying works of art and other artifacts.

HOW TO LOOK AT JAPANESE ART

Stephen Addiss (1996)

This is an excellent introduction to the topic, especially for those unfamiliar with the art of East Asia. Addiss assumes that the reader needs some help in understanding how Japanese aesthetics differ from those of the West.

THE ART AND CULTURE OF JAPAN

Nelly Delay (1999)

This is a brief but well written and beautifully illustrated introduction by a renowned scholar.

CLASSICAL ART: FROM GREECE TO ROME

Mary Beard and John Henderson (2001)

The masterpieces of ancient Greece and Rome are fundamental to the story of art in Western culture and to the origins of art history as an academic discipline. This scholarly look at Classical Art starts with the excavation of the buried city of Pompeii, investigates the grandiose monuments of ancient tyrants, and describes the re-discovery of Classical Art in the modern world. More than just a description of the selected works, it also delves into the origins of art history and tells many stories about collecting that display a wide variety of attitudes toward art.

Though well illustrated and clearly written, it may not be for the beginner because it presumes some prior knowledge of ancient Greece and Rome and a passion to learn more.

It includes a list of museums and their useful websites.

EUROPE 101: HISTORY AND ART FOR THE TRAVELER

Rick Steves and Gene Openshaw (2004)

This book may drive the experts crazy, but it offers a delightful survey for those who wish to enhance their trip to Europe or even to a local museum. It summarizes the political history in a brief and clear manner and also offers an introduction to the art that was produced in each era. It might inspire the reader to seek out more scholarly analyses or just to have a greater appreciation of the role of art in society.

POWER OF ART

Simon Schama (2006)

“Great art has dreadful manners. The hushed reverence of the gallery can fool you into believing masterpieces are polite things, visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure and then proceed in short order to rearrange your sense of reality.”  (p.6)

From that opening salvo Schama proceeds to discuss in detail the works of several prominent artists whose works go beyond the delivery of beauty to the disruption of the banal as they themselves experienced their own personal dramas.

Beautifully illustrated, written with insight and passion, this book challenges humanists to wrestle with the question of the relationship between artists’ behaviours, their cultural context (often religious), and their achievements. No one curious about the role of art in the world should miss the pleasure of reading this book.

THE PARTHENON

Mary Beard (revised edition 2010)

From the publisher: “At once an entrancing cultural history and a congenial guide for tourists, armchair travelers, and amateur archaeologists alike, this book conducts readers through the storied past and towering presence of the most famous building in the world.”

Distinguished scholar Mary Beard writes with authority and gentle humour as she describes the Temple of Athena the Virgin on the Acropolis in Athens, its admirers and detractors, and the controversies surrounding the building and its sculptures. She brings the humanist’s dedication to evidence and discussion along with an admiration for past achievements that enrich our lives today.

Perhaps not for the beginner, this well illustrated book may require some previous knowledge of ancient Greece and its art.

THE LIMITS OF ART: TWO ESSAYS

Tzvetan Todorov (translated from the French by Gila Walker) (2010)

Exploring art is an example of how, despite being committed to reason and evidence, there is for the humanist also a commitment to beauty in a fulfilled life. This book is very helpful in the exploration of art and its role in society. Todorov presents a brief but thoughtful survey of views on the nature and purpose of the arts. It is quite stimulating and challenges many assumptions about art criticism.

Here is a summary of a few of his key points.

First essay: Artists and Dictators

Mussolini and Hitler both thought of themselves as artists. They conceived of a whole empire as a work of art in their perverse image of society. Radical writers, painters, etc., often politically naïve, are not responsible for totalitarianism but their extremist theories can contribute to sinister realities.

Aestheticism and radicalism share an attitude that springs from intoxication with dreams of a romanticized world as conceived of by artists or other utopians. And utopian projects often mask ominous designs such as those of Joseph Stalin or Mao Zedong.

Second Essay: Art and Ethics

Some philosophers, at least as far back as Plato, have emphasized that art must be moral and should be judged by ethical standards. The ancient Roman poet Horace diverged somewhat when he stated the purpose of art is to delight and instruct. Christianity supported moralistic art: Italian poet Dante described his “Divine Comedy” as moral philosophy. Later, the French writer Jean Chapelain asserted that the purpose of poetry is utility, even though it is obtained through pleasurable means. Enlightenment philosopher Denis Diderot wrote: “To make virtue desirable, vice odious—that is the aim of any honest man who takes up the pen, brush or chisel.”

By the 19^th century in Europe there arose an objection to the subordination of art to morality: art was simply to embody beauty and nothing else. This change was in part due to the fact that some artists were no longer subject to royalty, aristocracy or the Church. Art was being produced more for the general public, principally wealthy non-nobles.

Great art stems from artists going beyond their self-absorption and trying to create out of love for the world and the people in it. That is why great art is not merely a source of pleasure or an enjoyable distraction but something worthy of respect.

PAUL KANE/THE ARTIST/WILDERNESS TO STUDIO

Kenneth R. Lister (2010)

Royal Ontario Museum anthropologist Ken Lister produces an insightful study of sketches and paintings by Paul Kane. In the 1850s Kane travelled across Canada from Toronto. His skilled illustrations and contemporary notes are valuable in studying various groups. While he did commercialize his art to some extent, it remains an important source of historical knowledge.

GREEK ART

John Boardman (fifth edition 2016)

Distinguished scholar John Boardman knowledgably and enthusiastically surveys all aspects of ancient Greek art in a highly informative manner. He encourages the reader to consider the examples offered in their original context, and not just as they appear in modern art galleries.

This is a beautifully illustrated study of artistic achievement in within a broader look at the various historical periods the produced such carried works.

While written for the general audience, the book requires real enthusiasm from the reader.

ART: A BRIEF HISTORY

Marilyn Stokstad and Michael W. Cothern (sixth edition, 2017)

This is essentially a textbook for post-secondary art history courses. It is global in scope and inclusive in its coverage. The Sixth Edition has been revised to reflect new discoveries, recent research, and fresh interpretive perspectives that challenge humanists to examine their views of art in society. Earlier editions are also good and much less expensive.

THE ARTS OF CHINA

Michael Sullivan (sixth edition, 2018)

When asked the names of famous artists, “Michelangelo” and “Picasso” often come to mind, and deservedly so. However, China too has a great artistic tradition. Sullivan provides a fine survey of various art forms and considerable context of Chinese history and culture. The impact of ancient Greek art on China may come as a surprise to some readers.

EUROPE’S TOP 100 MASTERPIECES: ART FOR THE TRAVELLER

Rick Steves and Gene Openshaw (2019)

This is a great starter for those interested in European art but not eager to be bogged down in scholarly detail. It is beautifully illustrated. The text is lively and clear. Experts may not be in accord with the writers’ interpretations, but readers can decide for themselves if they agree with the authors’ selections.