Undoubtedly, ideas is no foreign changes that transform what can be called "General Conditions of Visual Arts". They are trying to organize and develop from the previous determinants. There was an art of amnesia: the museum television. The cause can be briefly formulated as follows: By the middle of the 20th century, the painting of the present is made in memory of the past painting. Whether it is Ana-Zat, assimilated, challenged, paste or convicted, the first one can not forget the one the second. Giorgio de Chirico imitates Tizian, Tintoretto and Canaletto. Picasso executes free, free atitions, departing from Vlazquez's men, from Delacroix's Alger women, from Manet's grass.
He cites Rembrandt, Cranach, Poussin and David. Matisse does not disregulate that the work is over the background of a history of color that begins in Byzantia and continues in Florence and Japan. Until Pollock and Kooning's decades, a pictorial tradition that goes from Lascaux to Van Gogh makes the central artistic reference office; The same in sculpture, whose idols go from black art to rodin. The development of artistic reproductions and museums, which Andre Malraux writes a vibrant phenomenon in the imaginary museum, strengthens this phenomenon and the procurement of artists an inexhaustible mass of examples and counter-examples, a system of landmarks in the dimensions of the planet and the history of humanity. In the second half of the century and, more intensely, with the 1960s, the visual memory of any citizen of a developed nation is a little charged with other images, mechanical images, photography, cinema and television - this last way Communication inducing the diffusion - simultaneously and without distinction of the same visual representations over the increasingly vast territories. The revolution has obvious consequences in the artistic creation field. To tell things by name, the painting era follows that of "mechanical" memory - this last term not pejorative.
Making the visual work can no longer be conceived from now without taking into account the regular stream that the press and television is discharged. To convince us, it is enough to examine particular cases. Pop Art and, in France, the new realism are the first to declare unambiguous from where they are inspiration. Robert Rauschenberg and Andy Warhol in the United States, Peter Blake and Richard Hamilton in England, Sigmar Polke and Gerhard Richter in Germany, Fine Raymond Hains and Martial Raysse in France Absorb and turn photos of press, movies and advertising. The operations undergoing these documents, breaks or marriages, transpositions and coloring, overlays and deletions are all the proceed grace that the substance is revealed - or the vacuum of representations that the industrial and media society does not cease to produce and design them. At the same time, Francis Bacon works from Clisee taken from medicine or zoology cards. But also from current magazines, starting from the fonograms extracted from Eisenstein's films or photos that they command specially to feed their portraits.
As a result, this reference substitution is accepted with the generalized television triumph: a warhol or a Rayse addresses this media early, parodying their processes or pushing them beyond their waste, anticipating the subsequent searches of Vidas.
* Note: Nadeije Laneyrie day -Painting from the secrets of workshops, Rao Publishing House, 2005