What Is a Masterpiece? by Kenneth Clark (review)

252 Books is often impossible to distinguish causes from effects, and its complexity has been underestimated regularly. It is easily forgotton that even with highly accuratetechnology forecasting techniques, in the ultimate analysis, according to Rondo Cameron, ‘Control of technology dependson people and our imperfect political institution’. The serious limits of political institutions are well known and the authors in the book, with its profuse bibliography, documentation and assessment case studies, still fail to grapple with them. is deeply resisted by many citizens who are interested in art. If such accounts are correct, then those who believe in such surrender have a very good reason to be thankful to Gombrich for his account of artistic value. Styles In Art. Heribert Hutter (in collaboration with Irmgard Hutter). Universe Books, New York, 1978. 189 pp.. illus. $8.95. Reviewed by S. I. Clerk* Ideals and Idols: Essays on Values in History and in Art. E. H. Gombrich. Phaidon, Oxford, England, 1979. 224 pp.. illus. €9.95. Reviewed by David Carrier. In this collection of papers Gombrich exhibits his customary skill at asking apparently simple but central questions about art history. With his usual subtlety, he refuses to give them oversimplified answers. What kind of values do artworks possess, and what is the connection between artistic value and how is cultural history viewed? Criticizing Hegelian historicism for asserting that ‘whatever is right’(p. 56). he offers the outline of an un-Hegelian account of artistic value. Hegel’s historicism has two implications that Gombrich wishes to deny. One cannot really understand earlier art, since it expresses a world view different from ours. And one cannot critically appraise contemporary art, since it is the latest mode of spirit’s development. Ironically, Hegel’s rationalism leads to an irrationalism about artistic values. Art has no autonomous value, but only value derived from being an expression of spirit. Gombrich’s counterargument for the objectivity of value emphasizes the role of canons. European representational art since Giotto has such a canon, as does Chinese calligraphy and Muslim decoration. ‘There is no developed culture which lacks a canon of achievements handed down in tradition as a touchstone of excellence, though cultures differ in the kind of mastery they value’ (p. 156). Given such traditions, individual artists pursue goals not merely defined by their personal interests. In some ways, being an artist is like playing a game. To play requires following the established rules, though from time to time these rules may change. Comparing canons may be difficult. Tennis is a more interesting game than hopscotch and chess more interesting than tic-tac-toe. because they use the relevant skills, athletic or intellectual, in deeper ways. But comparing tennis with chess is more difficult. Is athletic dexterity more important than mental agility? A further question is why the long continuation of a canon guarantees the objective validity of that tradition. In science,that a theory survives long testing may be reason to believe it true. But that the Catholic Church is longliveddoes not by itselfshow that Catholic dogmas are true, though it may suggest that these dogmas are well adapted to human nature. Gombrich, I believe, wants to claim that some artists and artworks are called greot, because they are great, not that they are great because they are called great. Here some recent philosophers suggest that objectivity of judgments is ultimately dependent only on such social agreement. But I do not believe Gombrich will find such an argument for his position acceptable. One might seek to separate these general arguments for the objectivity of artistic value from Gombrich’s particular critique of contemporary art. Some persuasive accounts of this art describe artistic value in terms strikingly like Gombrich’s. Clement Greenberg sees recent painting in the U.S.A. as part of a tradition going back to Giotto. Such other critics as Michael Fried, Robert Rosenblum, Joseph Masheck and Arthur Danto place recent painting within the canons of European art in different, perhaps opposed ways. In one important passage Gombrich draws an analogy between appreciation of art and love. ‘It includes a willingnessto suspend criticism and to surrenderto the work of art in exploring its complexities and its finesse...