Jonathan Loesberg
Jonathan Loesberg
If this happened (or happened again, as Claude points out), art criticism would be denied the ability to tell stories of development and response based on received works (or if you prefer objectively great works). Since artists tell themselves these stories when they make art, there would be some loss in comprehension no doubt (except to the extent that artists could no longer tell themselves those stories because they didn't have access either). And art criticism would of necessity look different. I don't know whether it would look better or worse, though.originally posted by Steven Spielmann:
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Imagine a community of students of painting who had some access to most of the history of the subject, but only the very wealthy ones could ever look at say Titian, Rembrandt, Caravaggio, Monet, Picasso, and Pollock. Now, there is a hell of a lot of good painting outside these folks; plenty of people who were rich enough to afford the special museum where they were exhibited wouldn't really get the benefit of what they were looking at, and plenty of people who weren't but really paid attention to the works that were more commonly available would develop a keen critical sense. But there's no doubt that the latter would be missing something even so, and that more in the latter group would rise to a higher level of critical understanding if they had access to the omitted masters.
With regard to Claude's response, Steven might argue accurately that when access to art was limited in that way, the only art critics came from the class of the people who had access. And that might also happen--and again it would be again--to wine appreciation.