The multinational appropriation of Indigenous arts during the modernist period could be seen to facilitate a return to values held in Western art prior to the Renaissance. Values of decoration, design, abstraction, symbolism, storyboard narrative, spatial manipulation (and spirituality noted by Henry Adams),[1] that are highly sophisticated in 14th century Sienese painting for example, were put aside in the pursuit of perspective with the aid of equipment including the camera obscura. In my opinion art is much richer now for the reintroduction of these apparent essential human values. A case in point is the recent exhibition, Rothko / Giotto: Regarding Giotto, Staatliche Museum, Berlin, 2009. The exhibition explored Rothko’s interest in pre-Renaissance Italian painting.
Terri Brooks, 2009.
Excerpt from PhD exegesis, Makeshift, Abstraction and the Australian Patina.
© Copyright, all rights reserved. 128. Henry Adams, ‘La Chanson De Roland’, in Mont-Saint-Michel and Chartres, by Henry Adams, chapter 2, Exploration net, http://explorion.net/mont-saint-michel-and-chartres/chapter-ii-la-chanson-de-roland (accessed August, 2, 2009). Also in print form: Henry Adams, Mont-Saint-Michel and Chartres (Boston: Houghton Mifflin, 1913). Author’s note: ‘when roughness is beauty’, first cited in Bush Toys and Furniture, 8. American Historian and novelist Henry Adams documented the notion of rustic beauty in Mont-Saint-Michel and Chartres including a longing for the spiritual values of medieval art. See: ‘Henry Adams’, A dictionary of Art Historians, http://www.dictionaryofarthistorians .org/adamsh.htm (accessed July 19, 2009).
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