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- W2337865566 abstract "When one thinks of the qualities that placed Pound and Lewis at the centre of the Modernist ‘vortex’, it is hard to see how the massively influential thought of Ruskin could not have played a significant part in their intellectual formation. Both men were keen critics of their time (capable of producing rousing jeremiads in the Ruskinian vein), and both were, in their different ways, preoccupied with the relations between great art and social justice. Ruskin had in a sense laid the ground for both men: ‘The art of any country,’ he wrote in Modern Painters, ‘is the exponent of its social and political virtues. The art, or general productive and formative energy, of any country, is an exact exponent of its ethical life.’1 Pound formulates this essential proposition in many ways; for example: ‘I suggest that finer and future critics of art will be able to tell from the quality of a painting the degree of tolerance or intolerance of usury extant in the age and milieu that produced it.’2 Lewis’s position is rather more ambiguous because of his wariness of any complicity between artistic production and the Zeitgeist, but in The Demon of Progress in the Arts, a work which refers to Ruskin several times, he cautions that ‘The absurd things which are happening in the visual arts at present are what must happen when an art becomes almost totally disconnected from society, when it no longer has any direct function in life, and can only exist as the plaything of the intellect.’3KeywordsParallel DesignPolitical VirtueModern PainterMarshall McLuhanComparative Literature StudyThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves." @default.
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- W2337865566 date "2001-01-01" @default.
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- W2337865566 title "Ruskin’s Grotesque and the Modernism of Ezra Pound and Wyndham Lewis" @default.
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- W2337865566 doi "https://doi.org/10.1057/9781403913609_11" @default.
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