Great Art Doesn't Have To Be About Grand Moments
Great Art Doesn't Have To Be About Grand Moments
Exploring the differences between great works of art of various genres and debunking the archaic notion that some genres are inherently superior to others
(Assassination of Julius Caesar, Vincenzo Camuccini, 1805)
In the world of art, traditions have often placed history paintings on a pedestal, elevating them as the most revered form of artistic expression. These grand, epic canvases depict biblical, mythological, or historical scenes, aiming to capture significant universal moments in human history.
Regardless of personal beliefs, it's undeniable that these monumental artworks possess immense aesthetic power. When standing before such a masterpiece, one's natural inclination is to pause and immerse oneself in the intricate details—much like the awe inspired by monumental architectural marvels like the Empire State Building or the Pyramid of Giza.
History paintings delve into universal themes, providing a canvas for viewers to connect these larger-than-life moments to their own lives abstractly. For instance, gazing upon Vincenzo Camuccini's "Assassination of Julius Caesar" might prompt thoughts of great personal struggles. However, it's essential to acknowledge that these scenes often bear little resemblance to our daily existence. Instead, they urge us to extract broader, universal lessons from the annals of history.
Yet, despite the potential for abstracting universal wisdom from historical masterpieces, such as Camuccini's work, they often present a challenge in forging a deep personal connection. Their monumental scale and sweeping themes can create a sense of detachment. Viewers might ponder the relevance of centuries-old events to their contemporary lives, even as they admire the craftsmanship and grandeur—akin to the wonder evoked by iconic architectural landmarks.
(The Sea Hath its Pearls, William Henry Margetson, 1897)
It's in the portrayal of smaller, intimately relatable moments that art can truly resonate. These are the images that endure in memory, prompting us to cherish our own experiences. Take, for example, William Henry Margetson's "The Sea Hath its Pearls." This simple yet profound scene—a woman collecting a pearl from the sea—celebrates the beauty of life's everyday moments. It inspires us to seek such beauty in our lives, to escape the daily grind, and to immerse ourselves in the natural world.
The painter shows us how beauty can be found in our daily lives. Why do we need to see these massive imaginary scenes when we can find beauty in our own lives?
The type of pleasure that comes from a history painting is mainly derived from experiencing the overwhelming level of integration the master painter can present. The kind of pleasure that comes from a genre painting such as “The Sea Hath its Pearls” comes from the painter’s ability to identify a beautiful moment in life and heighten it to the level of a masterpiece. It touches the viewer personally, whereas the history painting touches the viewer on a broader, more universal level.
In essence, genre paintings celebrate the particular, while history paintings exalt the universal. For many, the particular is often more captivating, for it feels intimately connected to their lives, whereas the universal can appear detached.
The False Idea of a “Genere Hierarchy”
(Fruit Piece, Jan van Huysum, 1722)
Art is about metaphysical value judgments—it’s a depiction of an artist’s fundamental worldviews. When it comes to painting, there are countless different ways an artist could do that. He could spend years in the academy mastering the art of history painting and creating magnanimous masterpieces, or he could also spend years learning the art of flower painting.
One traditionally accepted view is that some painting genres are superior to others. It has been a consensus in the primary art academies around Europe since the 16th century until our very days. The hierarchy is as follows:
History painting
Portraiture
Genre Painting
Landscapes
Animal Painting
Still life
This idea is false; values cannot be divorced from the valuers. If we say that history art is better than still life, the matter of fact is that it’s false. Because there are artists who chose to spend their lives learning how to paint flowers. Many people enjoy still life more than they enjoy historical paintings.
I must emphasise that we are discussing genres here, not specific artworks. I’m saying that no painting is categorically superior because it belongs to one genre or another. The more accurate way to distinguish between genres should be formulated in terms of potential; which genres possess more aesthetic potential, i.e., the potential to evoke an aesthetic experience in their viewers? But also here, it’s highly context-dependent. And even that might not be a useful distinction at all.
What would it mean to Jan van Huysum (1682–1749), a man who dedicated his life to still life, that history painting is better? It would be utterly meaningless to him. He was obviously an exceptionally talented painter who could have, if he wanted to, created history paintings, but he chose not to. He decided to dedicate his entire career to what was considered, at the time, the lowest genre of them all. Even lower than animal painting.
To conclude, small-scale works of art can be as powerful as large-scale works. It depends on the quality of the art, how it touches the viewers, and in what way. It relies on personal taste, sense of life, and various life circumstances. And that is how we should enjoy art. We go to great museums and look for what we admire the most, while keeping an active mind and looking to expand our aesthetic realm.
Do you prefer paintings about the grand or about the small? Also, do you have a favourite painting of life's simple yet beautiful moments? Let me know in the comments.
More examples of paintings that depict the simple moment:
(The Sonnet, William Mulready, 1839)
(The Young Mother, Charles West Cope, 1845)
(Gartenterrasse, Caspar David Friedrich, 1811)
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