Clement Greenberg Citas

• Where the Old Masters created an illusion of space into which one could imagine walking, the illusion created by a Modernist is one into which one can look, can travel through, only with the eye.

  Clemente Greenberg

  Art, Travel, Eye

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• El arte realista y naturalista había disimulado el medio, utilizando el arte para ocultar el arte; el Modernismo utilizaba el arte para llamar la atención sobre el arte.

  Clemente Greenberg

  Art, Attention, Realistic

  Clement Greenberg, John O'Brian (1995). “The Collected Essays and Criticism, Volume 4: Modernism with a Vengeance, 1957-1969”, p.86, University of Chicago Press

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• All profoundly original art looks ugly at first.

  Clemente Greenberg

  Art, Work, Looks

  Thierry de Duve, Clement Greenberg (1996). “Clement Greenberg Between the Lines: Including a Previously Unpublished Debate with Clement Greenberg”, Dis Voir Editions

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• Art is a matter strictly of experience, not of principles and what counts first and last in art is quality, all other things are secondary.

  Clemente Greenberg

  Art, Quality, Principles

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.133, Beacon Press

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• The reality of art is disclosed only in experience, not in reflection upon experience.

  Clemente Greenberg

  Arte, Reflexión, Realidad

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.243, Beacon Press

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• The dissolution of the pictorial into sheer texture, into apparently sheer sensation, into an accumulation of repetitions, seems to speak for and answer something profound in contemporary sensibility.

  Clemente Greenberg

  Profound, Texture, Answers

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.157, Beacon Press

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• You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.

  Clemente Greenberg

  Art, Eye, Sculpture

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• The peasant finds no "natural" urgency within himself that will drive him toward Picasso in spite of all difficulties. In the end the peasant will go back to kitsch when he feels like looking at pictures, for he can enjoy kitsch without effort

  Clemente Greenberg

  Effort, Kitsch, Natural

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.18, Beacon Press

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• The superior artist is the one who knows how to be influenced.

  Clemente Greenberg

  Artist, Influence, Strong Person

  Clement Greenberg, Robert C. Morgan (2007). “Clement Greenberg, Late Writings”, Univ Of Minnesota Press

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• A poor life is lived by any one who doesn't regularly take time out to stand and gaze, or sit and listen, or touch, or smell, or brood, without any further end in mind, simply for the satisfaction gotten from what is gazed at, listened to, touched, smelled, or brooded upon.

  Clemente Greenberg

  Smell, Mind, Satisfaction

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• La fotografía es el más transparente de los medios artísticos ideados o descubiertos por el hombre. Probablemente por este motivo resulta tan difícil hacer que la fotografía trascienda su función casi inevitable de documento y actúe también como obra de arte.

  Clemente Greenberg

  Photography, Art, Men

  Clement Greenberg, John O'Brian (1988). “The Collected Essays and Criticism, Volume 2: Arrogant Purpose, 1945-1949”, p.60, University of Chicago Press

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• Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and provides a short cut to the pleasure of art that is necessarily difficult in genuine art. Repin, or kitsch, is synthetic art.

  Clemente Greenberg

  Art, Cutting, Kitsch

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.15, Beacon Press

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• If you want to change your art, change your habits.

  Clemente Greenberg

  Art, Want, Habit

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• El principal problema con el arte y la literatura de vanguardia, desde el punto de vista de fascistas y estalinistas, no es que sean demasiado críticos, sino que son demasiado "inocentes", que es demasiado difícil inyectar propaganda eficaz, que el kitsch es más dúctil para este fin.

  Clemente Greenberg

  Art, Views, Avant Garde

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.19, Beacon Press

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• Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is - among other things - continuity, and unthinkable without it.

  Clemente Greenberg

  Arte, Realidad, Ideas

  Clement Greenberg, John O'Brian (1995). “The Collected Essays and Criticism, Volume 4: Modernism with a Vengeance, 1957-1969”, p.93, University of Chicago Press

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• The avant-garde poet or artist tries in effect to imitate God by creating something valid solely on its own terms.

  Clemente Greenberg

  Artist, Creating, Trying

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.6, Beacon Press

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• A la decoración se le pide que sea "meramente" agradable, "meramente" embellecedora, y la lógica "funcional" del Modernismo no deja espacio, aparentemente, para esa "merced". Esto es parte de la lástima del Modernismo, uno de los sacrificios que impone.

  Clemente Greenberg

  Sacrifice, Rooms, Logic

  Clement Greenberg, Robert C. Morgan (2007). “Clement Greenberg, Late Writings”, Univ Of Minnesota Press

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• Art solves nothing, either for the artist himself or for those who receive his art.

  Clemente Greenberg

  Art, Artist, Solve

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• El arte de la fotografía es arte literario antes que cualquier otra cosa: sus triunfos y monumentos son históricos, anecdóticos, informativos, observacionales antes que puramente pictóricos... La fotografía tiene que contar una historia si quiere funcionar como arte.

  Clemente Greenberg

  Photography, Art, Historical

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• Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.

  Clemente Greenberg

  Art, Sacrifice, Successful

  "Art and Culture: Critical Essays". Book by Clement Greenberg, "T.S. Eliot: A Book Review" (1950/1956), p. 244, 1961.

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• I don't get into 'becauses.' When you come into a studio you see a number of works. My habit is to go to the one I like most. If you start to say, 'because,' you get into art jargon.

  Clemente Greenberg

  Art, Numbers, Jargon

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• When you don't like something the words come more readily.

  Clemente Greenberg

  Como algo

  1991 Aged 82, on the relative ease of negative criticism over positive. In the NewYork Times, 3 Oct.

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• Once efficiency is universally accepted as a rule, it becomes an inner compulsion and weighs like a sense of sin, simply because no one can ever be efficient enough, just as no one can ever be virtuous enough. And this new sense of sin only contributes further to the enervation of leisure, for the rich as well as the poor. The difficulty of carrying on a leisure-oriented tradition of culture in a work-oriented society is enough in itself to keep the present crisis in our culture unresolved.

  Clemente Greenberg

  Culture, Carrying On, Leisure

  "Art and Culture: Critical Essays". Book by Clement Greenberg, pp. 31-32: "The Plight of Culture" (1953), 1961.

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• The difficulty of carrying on a leisure-oriented tradition of culture in a work-oriented society is enough in itself to keep the present crisis in our culture unresolved.

  Clemente Greenberg

  Culture, Carrying On, Leisure

  Clement Greenberg (1971). “Art and Culture: Critical Essays”, p.32, Beacon Press

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• It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste.

  Clemente Greenberg

  Art, Character, Impact

  Clement Greenberg (1969). “Avant-garde Attitudes: New Art in the Sixties”

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