In 1993, a psychologist, James Cutting, visited the Musée d’Orsay in Paris to see Renoir’s picture of Parisians at play, “Bal du Moulin de la Galette”, considered one of the greatest works of Impressionism. Instead, he found himself magnetically drawn to a painting in the next room: an enchanting, mysterious view of snow on Parisian rooftops. He had never seen it before, nor heard of its creator, Gustave Caillebotte.
That was what got him thinking.
Have you ever fallen for a novel and been amazed not to find it on lists of great books? Or walked around a sculpture renowned as a classic, struggling to see what the fuss is about? If so, you’ve probably pondered the question Cutting asked himself that day: how does a work of art come to be considered great?
The intuitive answer is that some works of art are just great: of intrinsically superior quality. The paintings that win prime spots in galleries, get taught in classes and reproduced in books are the ones that have proved their artistic value over time. If you can’t see they’re superior, that’s your problem. It’s an intimidatingly neat explanation. But some social scientists have been asking awkward questions of it, raising the possibility that artistic canons are little more than fossilised historical accidents.
Cutting, a professor at Cornell University, wondered if a psychological mechanism known as the “mere-exposure effect” played a role in deciding which paintings rise to the top of the cultural league. In a seminal 1968 experiment, people were shown a series of abstract shapes in rapid succession. Some shapes were repeated, but because they came and went so fast, the subjects didn’t notice. When asked which of these random shapes they found most pleasing, they chose ones that, unbeknown to them, had come around more than once. Even unconscious familiarity bred affection.
Back at Cornell, Cutting designed an experiment to test his hunch. Over a lecture course he regularly showed undergraduates works of Impressionism for two seconds at a time. Some of the paintings were canonical, included in art-history books. Others were lesser known but of comparable quality. These were exposed four times as often. Afterwards, the students preferred them to the canonical works, while a control group of students liked the canonical ones best. Cutting’s students had grown to like those paintings more simply because they had seen them more.
Cutting believes his experiment offers a clue as to how canons are formed. He points out that the most reproduced works of Impressionism today tend to have been bought by five or six wealthy and influential collectors in the late 19th century. The preferences of these men bestowed prestige on certain works, which made the works more likely to be hung in galleries and printed in anthologies. The kudos cascaded down the years, gaining momentum from mere exposure as it did so. The more people were exposed to, say, “Bal du Moulin de la Galette”, the more they liked it, and the more they liked it, the more it appeared in books, on posters and in big exhibitions. Meanwhile, academics and critics created sophisticated justifications for its pre-eminence. After all, it’s not just the masses who tend to rate what they see more often more highly. As contemporary artists like Warhol and Damien Hirst have grasped, critical acclaim is deeply entwined with publicity. “Scholars,” Cutting argues, “are no different from the public in the effects of mere exposure.”
Ian Leslie, “The Mona Lisa Effect”, The Ruffian, 2022-10-29 (originally published in Intelligent Life in 2014.
February 8, 2023
QotD: How do the “great works of art” become “great”?
January 16, 2023
QotD: The avant-garde
Of course, in certain fields the latest is inclined to be best. For example, no one would wish to be treated surgically using the methods of Sir Astley Cooper: but if we want modern treatment, it is not because it is modern but because it better as gauged by pretty obvious criteria. If it were worse (as very occasionally it is), we should not want it, however modern it were.
Alas, the idea of progress has infected important spheres in which it has no proper application, particularly the arts. It is difficult to overestimate the damage that the gimcrack notion of teleology inhering in artistic endeavour has inflicted on all the arts, exemplified by the use of the term avant-garde: as if artists were, or ought to be, soldiers marching in unison to a predetermined destination. If I had the power to expunge a single expression from the vocabulary art criticism, it would be avant-garde.
Theodore Dalrymple, “Architectural Dystopia: A Book Review”, New English Review, 2018-10-04.
January 13, 2023
The greatest conspiracy in ancient art
BBC Reel
Published 7 Sep 2022Do we have a bias against colour in classical art?
Matt Wilson explores prejudices that have built up over centuries – leading to what has been labelled ‘chromophobia’, the subject of an exhibition at New York’s Metropolitan Museum of Art.
Wilson finds out why we don’t value colour, questioning a centuries-old misunderstanding. As Chroma’s curator Sarah Lepinski tells him: “It’s important that audiences come to understand the way they see ancient Greek and Roman sculpture isn’t the way it was first created.”
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December 12, 2022
“The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism’
Elizabeth Nickson on the parasitic world of official “Canadian culture” with its gatekeepers, subsidies, and luxury beliefs:
When I say society, I don’t mean the upper reaches of the wealthy. While we do have the very rich in Canada, they are rigorous in their hiddenness because we have the worst lefties on the continent and that is saying something. The safe thing for any wealthy family is give $ to socialists, bow and scrape to the harpies at the CBC and hope they don’t notice your bank balance. Anyway, these dreadful people arrived post WW2 with their hideous Frankfurt School ideas and just preyed on the simplest most innocent well-meaning good white people you could ever imagine, and literally ate, ravenous and braying all the while, the country’s potential.
So the scandal took place among them, or rather the world they created, which is basically a clutch of 150,000 grifters located between Ottawa, Toronto and Quebec City, whose only mission is to divest the government of as much public money as possible. This is particularly true of their defensive line which consists of the arts and journalism. Theirs is a world where no stone is left unsubsidized by taxes on the hidden rich, waitresses at truck stops in Kamloops and anyone who dares to make money unapproved by the CBC. They are, as a former editor swore to me, the gatekeepers. That was before her circulation collapsed by 65%., but no doubt she still believes it.
The arts and media in Canada are constructed entirely for the 5%, consumed by those who live the lush subsidized life — or those who want to — whether in government or in semi-independent corporations or businesses who require government help and “seed” money etc. (There are a hundred terms for the grift.)
Books, if you look at their sales, are tragic. There have been a handful of impressive films, despite the literal billions thrown at filmmakers over the past 20 years. Most of them are catastrophically depressing, the books make you want to cut out your heart with a grapefruit spoon. Painters paint, if you subtract all the hectoring from minor artists, from forced inclusion, some of them are very good. We can create good art. But not with our current curators.
The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism. They describe humans and human life as they either believe it to have been (dark and in need of enlightened beings like themselves) or as they feel it must be in the future (filled with people expressing their oppression and being paid for it). It’s basically fantasy, and no one likes it, watches it, reads it.
The rest of Canada is a centre-right country, a gut-it-out-and-build-it-kind of place. I know that is the exact opposite of the propaganda, but Conservatives win a majority of the votes in every election, yet still only amount to 40%. We have five parties, and four of them are leftie — their platforms are all “more money for us” — but the big party, the one that receives about 30% of the vote is so crafty, so embedded in our vast vast bureaucracy that fixing the game is child’s play. Informed by their Frankfurt School gurus, they have been in power 100 years, with brief Conservative interludes.
We take in about half a million immigrants a year, and most of them are from desperate places. Vote harvesting in those neighborhoods is done by leaders in each immigrant community. These men and women are the strongest, most educated and frankly from the ones I’ve met, thuggish, and through them comes all access to government programs, housing and education. Therefore, when they collect your vote, you know for whom your vote is meant. The thing about immigrants though is that they were coming for the old Canada, not the new Commie police state.
But for now? Easy. No one investigates this. Why not? Our media is subsidized. ALL of it.
November 10, 2022
QotD: Sarah’s rules of art
And why was this a bad idea, Sarah?
Mostly because I’m married to a mathematician. There is a certain … ah … compulsiveness that comes with it. If there’s something that’s numbered and has a route, we OF COURSE have to follow the route and see every single statue, even if that’s not what we set out to do.
This made things very interesting, since the wedding parties were blocking some of the statues, and others we could see from a distance were the sort of modern art that your kids could do with a backyard forge, meaning the actual level of artistry was about the level of a kindergartner, only they used metal instead of playdough.
This leads us to Sarah’s first rule of art: if people viewing it have trouble telling it from accidental formations, it’s probably not art.
The second corollary of this is: if you need an elaborate card pointing out to you that it’s art, it’s probably not art.
The third would be that if you need a placard explaining to you how daring and courageous this art is, and how it defied some tyrannical regime at great peril to the artist’s life, it’s not only not art, you’re in the presence of a self-aggrandizing conman.
Sarah Hoyt, “Art and Revolution”, According to Hoyt, 2019-05-31.
November 8, 2022
“Just Stop Oil” and other nihilistic doomsday cults
In Spiked, Tom Slater says we have to accurately label groups like the Extinction Rebellion spin-off “Just Stop Oil” rather than giving them the rather anodyne label of “protest groups”:
We need to stop calling Just Stop Oil a protest group. Protesters is far too positive a word to describe this strange assemblage of middle-class agitators, with their cut-glass accents and self-parodying bohemian names (shouts out to Indigo Rumbelow), who have been gluing themselves to roads and throwing soup at great works of art in an attempt to end oil and gas production. This thing is a doomsday cult, masquerading as a political campaign. There’s really no denying it any longer.
Take the case of that 24-year-old woman who climbed up one of the gantries over the M25 this morning, in order to bring all the ignorant, carbon-spewing plebs to a standstill. She posted an unnerving video online. In it, she is fighting back tears. She gives vent to a seemingly sincere apocalyptic terror. “I’m here because I don’t have a future!”, she says, in between sobs. She accuses the government of murder, of fuelling a “climate crisis” she seems to be convinced is killing millions, for having the temerity to exploit oil and gas to keep the UK’s lights on.
That what she’s saying is alarmist nonsense should be obvious to anyone. The truth is almost the inverse of what she is saying. Thanks to economic development, fuelled by cheap and reliable energy, annual deaths worldwide from climate-related disasters have plunged by more than 95 per cent over the past century. She also implies that the floods in Pakistan are the fault of fossil fuels, even though those feted IPCC reports say there is insufficient evidence to show that climate change is making floods more frequent, lengthy or intense. What would be considerably more murderous would be for our government to shun reliable oil and gas supplies as the nation’s pensioners head into a harsh winter, amid sky-high energy prices and talk of blackouts.
Such blithe disregard for the details reminds us that these people don’t really care about climate change. They’re hysterical about climate change. They’re apocalyptic about climate change. They aren’t taking to the streets, motorways and art galleries because they are convinced of a particular scientific view with regards to the environment and think something really ought to be done about it. They are in the grip of a fact-lite and doom-laden narrative that insists literally billions will die in short order, that the twentysomethings of today might not live to see their dotage, because of our damnable desire to live comfortable and free lives.
All of this is why environmental protest – with Just Stop Oil and the various other Extinction Rebellion offshoots to the fore – has become so much weirder in recent years. And that’s saying something. Beyond all the crying and talk of having no future, there’s also the setting of arms on fire, the pouring of human shit over memorials to Captain Sir Tom Moore, the throwing of soup over great works of art … it’s all become rather visceral, iconoclastic, scatological. In a word, it’s all become rather creepy. These are the acts not of future-oriented protesters keen to shape and change the world, but of cultists convinced that doomsday is almost upon us.
As someone else pointed out recently, there’s more than a bit of a resemblance between the kind of actions taken by protest groups like “Just Stop Oil” and the tantrums of very small children.
October 19, 2022
Luxury beliefs in action
In The Critic, Sebastian Milbank looks at the young vandals, er “activists” who decided that throwing soup on a famous painting was a totally sensible and reasonable thing to do in order to direct our attention to their luxury beliefs:
On Friday Phoebe Plummer, a 21-year-old graduate student and activist, threw a tin of soup over a Van Gogh painting in the National Gallery, before proceeding to glue herself to the wall. “What is worth more, art or life?” she shouted in a manner reminiscent of an especially tiresome student at the Oxford Union. Whilst Phoebe didn’t exactly make it to Oxford, she was the beneficiary of a £15,000 a year boarding school education. Having rich parents probably helps if your lifestyle involves dying your hair pink, covering yourself in glitter and getting glued to a succession of defaced public monuments. The legal fees alone must be a headache.
That said, perhaps the organisation she cheerfully acts in the name of — Just Stop Oil — can foot the bills. After all, it’s a registered charity funded by the US-based organisation The Climate Emergency Fund. The Fund boasts on its website that “We provide a safe and legal means for donors to support disruptive protest that wakes up the public and puts intense pressure on lawmakers”, not to mention “Our robust legal team”. The charity comes with endorsements by high profile organisations such as fashion magazine Marie Claire and the backing of donors like the group’s co-founder, oil heiress Aileen Getty who is quoted as saying, “Don’t we have responsibility to take every means to protect the Earth”.
I can think of other organisations that provide “A safe harbour for donors” and put “intense pressure on lawmakers”, not to mention having “robust legal teams” — though they generally feature rather more Italian accents and bodies dumped in the river, and rather fewer celebrity endorsements (Frank Sinatra could not be reached for comment).
The Just Stop Oil organisation itself is even more explicit about its willingness to countenance potentially illegal means. In its FAQ section it calls for people to “use tactics such as strikes, boycotts, mass protests and disruption to withdraw their cooperation from the state”, and announces that they “are willing to take part in Nonviolent direct action targeting the UK’s oil and gas infrastructure should the Government fail to meet our demand by 14 March 2022”. Well the date has past. “Will there be arrests?” the next section asks. The answer? “Probably”.
Quite why organisations that openly fund illegal — sorry “disruptive” — protest, and hire teams of lawyers to avoid the legal consequences, are allowed to enjoy charitable status, let alone avoid investigation by the authorities, is beyond me. Nor is it clear to me how attacks on works of art, or stopping traffic in the road, can attract support for environmental causes, or challenge those who profit from ecological destruction.
The answer lies with the nature of the radical environmental movement, which is often starkly at odds with many of the finest traditions of ecological and anti-industrial thought. Early critics of industrial capitalism like Ruskin and Morris were as concerned with the protection of traditional culture as they were with the destruction of the natural world. Their humanist challenge to industrialism was to call for the return of craft, the embrace of localism, a built environment on a human scale, and an economy that fed the spiritual as well as material needs of mankind.
Theodore Dalrymple on the mindset of the perps:
Youth is often said to be an age of idealism, but if my recollection of my own youth is accurate, it could also be characterized as an age of self-righteousness liberally dosed with hypocrisy, at least when it has known no real hardship that isn’t of its own making.
The two girls who threw a tin of soup at a Van Gogh in the National Gallery in London and then glued themselves to the wall certainly evinced a humorless self-righteousness and self-importance: indeed, they seemed almost to secrete it as a physiological product. They were part of a movement of dogmatic and indoctrinated young people called Just Stop Oil that’s currently making a public nuisance of itself in this fashion in Britain, holding up traffic and causing misery to thousands, in what it believes to be the best of all good causes, saving the planet.
[…]
Youth suffers from both fevered over-imagination and a complete absence of imagination. This is the natural consequence of a lack of experience of life, in which limited experience is taken as the total of all possible human experience. Youth accepts uncritically its own wildest projections and doesn’t know the limitations of its own knowledge. It believes itself endowed with moral purity and allows for no ambiguity, let alone tragic choice. It’s sure of itself.
The young women who threw soup at the Van Gogh probably didn’t know that, even if the man-made climate change hypothesis were wholly correct, they lived in a country that produced about 1 to 2 percent of the alleged greenhouse gases in the world, so that even if their action put a complete end to that contribution (a most unlikely outcome) it would make absolutely no difference whatever to the fate of the planet. Their action certainly caused the public irritation and expense, and its most likely long-term outcome is a costly increase in surveillance and security at the gallery because the two of them were able to do what they did with such ease.
However, they were probably dimly aware, or had the good sense to know, that it would have been inadvisable for them to make their gesture in some country responsible for a far greater proportion of the alleged causation of climate change than their own—China, for example. Cowardice, after all, is the better part of self-righteousness.
August 21, 2022
History Summarized: The Acropolis
Overly Sarcastic Productions
Published 29 Apr 2022They say of the Acropolis, where the Parthenon is …
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July 21, 2022
QotD: The history of the self-portrait
Severian, “As I Can”, Founding Questions, 2022-04-18.
June 21, 2022
History of Rome in 15 Buildings 14. Sant’Andrea al Quirinale
toldinstone
Published 2 Oct 2018Coke vs. Pepsi. Kramer vs. Kramer. Alien vs. Predator. Everyone loves a rivalry – and so, discussions of art and architecture in Baroque Rome never fail to mention the antagonism between the ebullient Gianlorenzo Bernini and grim Francesco Borromini. This fourteenth episode in our History of Rome follows suit.
To see the story and photo essay associated with this video, go to:
https://toldinstone.com/santandrea-al…
June 14, 2022
History of Rome in 15 Buildings 13. San Pietro in Vincoli
toldinstone
Published 2 Oct 2018Speech stands at the threshold of the compressed lips. Righteous indignation is written in the lines of the set jaw. The presence of God blazes forth from the eyes. As a work of art, Michelangelo’s Moses is nothing short of awe-inspiring. It sits, however, in the cramped central niche of a rather underwhelming wall tomb, ringed by smaller statues ranging in quality from mediocre to incompetent. This thirteenth episode in our History of Rome discusses the creation of the Moses, and the circumstances that brought it to the church of San Pietro in Vincoli.
To see the story and photo essay associated with this video, go to:
https://toldinstone.com/san-pietro-in…
June 12, 2022
History Re-Summarized: Egypt
Overly Sarcastic Productions
Published 18 Feb 2022I for one was shocked to learn the Egyptians actually buried their kings in a giant Millennium Puzzle.
We’ve covered Egypt on this channel in previous videos, but this History Re-Summarized is the Definitive Edition, redone from the ground up to present the best possible account — starting at the beginning for a full chronology of Ancient Egypt, from the very first Pharaohs to the Muslim Conquest.
(Observant Egyptologists and D&D players might note the Pyramids are actually D-*Fives*, but technically they’re D-*Nines* since each face is actually two right triangles at a slight angle to each other and not a single flat isosceles triangle, so shhh, we can pretend it’s a D4.)
Sources & Further Reading: The Oxford History of Ancient Egypt & Ancient Egypt: A Very Short Introduction by Ian Shaw, World History Encyclopedia entries on “Ancient Egypt”, “Old Kingdom of Egypt”, “First Intermediate Period of Egypt”, “Middle Kingdom of Egypt”, “Second Intermediate Period of Egypt”, “New Kingdom of Egypt” https://www.worldhistory.org/egypt/, The Great Courses’ lecture series “History of Ancient Egypt” by Bob Brier. Additionally, I have an undergraduate degree in classical studies (re: Persia, Ptolemies and Rome). Extra special thanks to our OSP Discord server moderator & Egyptology connoisseur Billy, for his assistance and guidance for this video!
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May 24, 2022
QotD: Portuguese art and creative genius
Then the economy recovered, they got jobs, a lot of them connected to or linked to government and all of that stopped. And of course with the EU there are no illegal stalls. I mean Papiere, bitte and all that.
And somehow, perhaps because the new generation knows they have all sorts of “benefits” and “support” coming to them and have never felt the bite of chaos, the crafts and arts in the stores are either startlingly mundane or bizarre. I’m still rather puzzled by entire “scenes from life” (including one that was an operating room) sculpted with penises instead of humans. I mean … who even buys that? Okay. We know who buys that. But do the German tourists and their nostalgie de la boue think they’re tapping into something uniquely “uninhibited and free”, some kind of wild Portuguese sexuality? Raises eyebrow. The Portuguese have been civilized land long before the Germans traded their furs for a place as Roman soldiers. And sure, the Romans could be startlingly and inappropriately sexual (I call to mind a mural, not out of place in a Roman middle class home that had monkeys copulating with children) but it didn’t mean that the culture was “free”, rather that they had different rules. Frankly, the sixties attempt to erase history has corrupted real art and … well, everything else.
Which is kind of the college student thing. Chaos and free time allows you to be very creative, but then you’re not organized enough to parlay that into a career. (I mean, if they’re destined to be the touristic “warm port” of Europe, perhaps they should consider letting real art flourish. Or even encouraging it. Grants for small businesses and young people. It beats the jobs that don’t exist. Just demand they be actually creative and accomplished, instead of giving grants for art that my kids could do at age two and about as interesting.
Sarah Hoyt, “The Ancient Enemy”, According to Hoyt, 2019-04-05.
May 8, 2022
“It’s like these guys watched Anne Hathaway on WeCrashed and convinced themselves they can ‘elevate the world’s consciousness’ through arts grants. “
In the latest SHuSH newsletter, Kenneth Whyte brings us up to date on the latest adventures of the Canada Council for the Arts:
The Canada Council for the Arts held its annual public meeting March 30 and a video of it is now up on YouTube where, as of Thursday night, 321 people had tuned in to see CEO Simon Brault’s new shoelaces.
It’s not time for another deep dive into the ameliorative ambitions of Canada’s leading arts funding agency. We’ll just note that everything I observed in SHuSH 139 is on abundant display in this video, from the exhaustive land grant acknowledgment to non-stop discussion of equity, climate change, and Ukraine to a (mercifully short) speech by council chairman Jesse Wente, most of it dedicated to his usual one-note Indigenous activism (you’re supposed to rep all artists, Jesse).
Cheque-mailer-in-chief Brault, who obviously finds the real work of his position boring as fuck, says his immediate and long-term priorities (at a time when most of the nation’s artists and arts organizations have been economically devastated by the pandemic) are “elimination of racism and discrimination … and focusing on decolonization in people’s minds, in systems, and in institutions.”
Every square on the bureaucratic buzzword bingo card is covered: “intentionality”, “innovation”, “risk-taking”, “sustainability”, “inclusivity”, etc.
It’s like these guys watched Anne Hathaway on WeCrashed and convinced themselves they can “elevate the world’s consciousness” through arts grants.
Will they succeed? Given that they can’t match the production values of local cable despite a half-billion budget, odds are long.
Anyway, their not-quite-viral symphony of sanctimony is an experience. Give it a watch.
March 25, 2022
Jordan Peterson — noted collector of early Soviet art
Jordan Peterson is probably the second-most polarizing living Canadian — after Justin the Lesser, of course — but his collection of early Soviet art and propaganda posters is perhaps one of the more surprising things about him:
“Mother Russia” by topsafari is licensed under CC BY-NC-ND 2.0
I’ve been in homes that have displayed unusual artwork, including one house decorated in African-themed pieces that many would consider pornographic. But I don’t believe I’ve ever seen anything quite as unusual and unique as the art in Jordan Peterson’s home.
To be clear, I’ve never actually visited Peterson’s house. But his home and its artwork are described in some detail by Norman Doidge, who wrote the foreword to Peterson’s best-selling book 12 Rules for Life.
Doidge met Peterson in 2004 at a gathering hosted by mutual friends, a pair of Polish emigres who came of age during the days of the Soviet empire. At the time, Peterson was a professor at the University of Toronto, and he and Doidge — a psychiatrist and psychoanalyst — soon became friends. (Apart from their scientific interests, it seems the men shared a passion for the great books, particularly “soulful Russian novels”.)
Doidge visited Peterson on more than one occasion, and he describes the Peterson house as “the most fascinating and shocking middle-class home I had seen.” Among the fascinations was an impressive collection of unusual artwork.
“They had art, some carved masks, and abstract portraits, but they were overwhelmed by a huge collection of original Socialist Realist paintings of Lenin and the early Communists commissioned by the USSR,” writes Doidge. “Paintings lionizing the Soviet revolutionary spirit completely filled every single wall, the ceilings, even the bathrooms.”
Books and art can tell you a great deal about people, as I said, but one must be careful to not draw the wrong conclusions. Which invites an important question: Why was Peterson’s home covered in Soviet era artwork?
One might assume that Peterson was a socialist. Yet, this is not the case. Or maybe, one might guess, Peterson began gobbling up Soviet propaganda pieces following the fall of the Soviet Union simply as investment. (I wish I had possessed the foresight to buy up a bunch of vintage Soviet art following the fall of the Soviet empire; alas, I was only 12.) Perhaps, but this wouldn’t explain why it’s displayed throughout his home.
Fortunately, Doidge offers us an answer.
“The paintings were not there because Jordan had any totalitarian sympathies, but because he wanted to remind himself of something he knew he and everyone else would rather forget: that over a hundred million people were murdered in the name of utopia,” Doidge writes.
