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In the face of a great work of art, we so often stand mute, struck dumb. Is this a function—perhaps the first and foremost—of aesthetic experience? Or do we lack the words to say what we feel? Countering current assumptions that art is valued only according to taste or ideology, Peter de Bolla gives a voice—and vocabulary—to the wonder art can inspire. Working toward a better understanding of what it is to be profoundly moved by a work of art, he forces us to reconsider the importance of art works and the singular nature and value of our experience of them.
In many ways a "practical aesthetics," Art Matters proceeds by way of example. Through chapters attending to three works of art—Barnett Newman's painting Vir Heroicus Sublimis, pianist Glenn Gould's second recording of Bach's Goldberg Variations, and William Wordsworth's poem "We Are Seven"—de Bolla plots a personal history of aesthetic experience that opens up the general forms of art appreciation. His book invites us to a closer encounter with art, and to a deeper appreciation and clearer expression of what such an encounter might hold.
- Sales Rank: #3429597 in Books
- Published on: 2003-03-30
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: .55" h x 5.30" w x 8.20" l, .45 pounds
- Binding: Paperback
- 190 pages
From Publishers Weekly
In four short chapters and an introduction, Cambridge University Fellow de Bolla (The Discourse of the Sublime) mulls over his reactions to art, especially what he calls "mutism: being struck dumb" by a work. Among the cases he examines in detail are a painting by American modernist Barnett Newman ("Vir Heroicus Sublimus"), Canadian pianist Glenn Gould's second recording of Bach's "Goldberg Variations" and a poem by Wordsworth, "We Are Seven." Although most of the text is in dense philosophical-speak, rife with references to Kant and other names familiar to readers who have taken a course or two in philosophy, a wry pragmatism peeps through, such as when de Bolla states that some students "refuse to talk about" their aesthetic responses, either out of "fear of losing something valuable to them" or else because of the "mundane mechanics" of the Cambridge University grading system. Elsewhere, de Bolla cannily refuses to consider Newman's abstract canvas separately from its context and location, New York's Museum of Modern Art. On Glenn Gould, de Bolla mixes references to jazz and classical performance, which are intrinsically different art forms, with some biographical errors, such as the false notion that Gould lived "in almost complete physical seclusion." On Wordsworth the author is more secure, making folksy observations such as, "Reading is a far more risky business than is often assumed, or than we care to admit, but it is said that there is often scant reward where there is no risk." There are plenty of both here. 10 color illustrations not seen by PW. (Nov.) Forecast: Despite the challenging writing style, there is enough donnish Brit charm here to appeal to readers with a cursory acquaintance with philosophy and the arts. Good for larger collections on the arts, although the desultory chapter on Gould can be safely skipped by music fans. Readers looking for unsentimental paths to art-based solace might be pointed here.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
De Bolla (Cambridge Univ.; The Discourse of the Sublime) analyzes three works a painting by Barnett Newman, pianist Glenn Gould's second recording of Bach's Goldberg Variations, and Wordsworth's poem "We Are Seven" to tease out the essential nature of what makes each "art." In searching for the nature of the artistic "self," he uses Marc Quinn's eerie self-portrait, "Self," which is molded from the artist's own blood, to tie together these disparate modes of expression. Writing in a passionate yet always informative style, de Bolla makes a convincing case that "art matters."
Copyright 2001 Reed Business Information, Inc.
Review
Peter de Bolla's book is a series of meditations on certain works of art ("fragments from an aesthetic education"). He writes with originality and his prose is notable for its clarity--the matter is too serious to be spoiled by false rhetorical flourishes. The subtlety and honesty of his book is extremely impressive; his success may be, as he himself remarks, "hard won," but to the reader the book is a source of unmixed pleasure.
--Sir Frank Kermode
Art Matters is an impressive tour de force that de Bolla can successfully deal with works in such varied media (painting, music, and poetry), and that he can make parallel claims about all three (in terms of their presentation of a kind of presence on the part both of the work and the person contemplating the work), even though in each case his reading is especially attentive to the materiality of the particular medium in question.
--Steven Shaviro, Professor of English, University of Washington
This is a book which offers to return aesthetics to the encounter with the work of art, rather than the girds and programmes art is often supposed to fit. There are people, on the right and left, who argue that art is simply politics or ideology in disguise, and there are all kinds of (despairing or indifferent) people who think art is just entertainment hoisted into some kind of pantheon by professors and pundits. De Bolla wants to say, rightly, that art is far more than this, and far more intimate, interesting, and valuable than these caricatures would suggest. What he does is prove by example that speculative criticism can be personal and passionate, and by implication that only close encounters with particular works of any art will give us anything to talk about.
--Michael Wood, Professor of English, Princeton University
Art Matters is against intimidation. De Bolla's ambition in this book is to show us just how generous art objects are, given a chance; and just how difficult it has become to experience our experience of them in the language available. There are stories to be told about the eloquence of being mute, and de Bolla has used his own aesthetic experiences to tell them. Art Matters is writing about art at its most telling. It is a remarkable book.
--Adam Phillips, Principal Child Psychotherapist, Wolverton Gardens Child and Family Consultation Centre, London
Peter de Bolla's Art Matters is an extraordinary description of and argument for the uniqueness of the aesthetic experience. Despite the inherent difficulty and complexity of this enterprise (in which aspects of musical performance, lyric poetry, and contemporary painting are described with great attentiveness) de Bolla has produced a grippingly refined and persuasive text, utterly free of sentimentality or cant, true, direct, original.
--Edward Said
De Bolla analyzes three works--a painting by Barnett Newman, pianist Glenn Gould's second recording of Bach's Goldberg Variations, and Wordsworth's poem 'We Are Seven'--to tease out the essential nature of what makes each 'art'...Writing in a passionate yet always informative style, de Bolla makes a convincing case that 'art matters.'
--Martin R. Kalfatovic (Library Journal 2001-11-01)
This book is of special interest because it shows a person of great sensitivity and intelligence experiencing some very difficult works of visual art, music, and literature...De Bolla is a sensitive listener. [This book is] challenging but appealing.
--R. E. Palmer (Choice 2002-06-01)
As both a preparation for aesthetic experience and as a defense of art, Art Matters is unique--and uniquely good. De Bolla not only talks about art's wonder, he makes us feel it.
--Tom D'Evelyn (Providence Journal 2002-05-26)
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