In The Rhetoric of Purity, Mark Cheetham explores the historical
and theoretical relations between early abstract painting in Europe
and the notion of purity. For Gauguin, Serusier, Mondrian and
Kandinsky - the pioneering abstractionists whose written and visual
works Cheetham discusses in detail - purity is the crucial quality
that painting must possess. Purity, however, was itself only a
password for what Cheetham defines as an 'essentialist' philosophy
inaugurated by Plato's vision of a perfect, non-mimetic art form
and practised by the founders of abstraction. The essentialism of
late nineteenth-century French discussion of 'abstraction',
Cheetham argues, also infects the work of Mondrian and Kandinsky.
These visions of abstraction are central to the development of
Modernism and are closely tied to the philosophical traditions of
Plato, Hegel and Schopenhauer. As a conclusion, Cheetham provides a
postmodern reading of Klee's rejection of the rhetoric of purity
and claims that Klee's refusal speaks to contemporary concerns in
visual theory and culture. By acting as an antidote to the
seductive appeal of purity in art and society, Cheetham's final
critique of the trope of purity seeks to preserve the possibility
of visual discourse itself.
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