Indeed, moral behaviour not infrequently implies the suppression of inherited responses: to act morally, when faced by a bull, I must curb my impulse of self-preservation sufficiently to help my less agile companion. Chernyshevski’s conception, on the other hand, anticipates the theories of William Morris and of all modern exponents of ‘functional’ design. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. It’s horribly difficult to analyse out of all the complex feelings just this one peculiar feeling, but I think that in proportion as poetry becomes more intense the content is entirely remade by the form and has no separate value at all. The significance of muralism in the United States has received considerable attention in art historical treatments of the period.5 The modernisation and revitalisation of American wall painting was the result of a number of cultural factors, perhaps most importantly the establishment from 1933 of federal funding for public art under President Franklin Delano Roosevelt’s New Deal administration.6 Scant mention can be found of the influence of the American example for artists in England, yet renewed interest in muralis… Nor can we derive much help from the conception of art which the Victorians admired in Tennyson: It is the artist’s mission to console his fellow men, ‘even as the calm, gentle, self-reliant physician inspires the fevered sufferer’ by ‘throwing a divine grace over the happier emotions’; he should ‘transport them from the cankering cares of daily life, the perplexities and confusion of their philosophies, the weariness of their haunting thoughts, to some entirely new field of existence, to some place of rest, some “clear walled city by the sea” where they can draw a serene air undimmed by the clouds and smoke which infest their ordinary existence.’ [17] We may agree with the formalists that the artist who makes his work an opium for the people is a traitor to his calling. Chernyshevski admits that beauty in this sense of perfection of form, or in the language of classical philosophy, of the ‘unity of idea and image’, is an essential element of art. [5] It is essential also in scientific perception. Klingender's father, Louis Henry Weston Klingender (1861-1950), a native of Liverpool, was a painter of animals, a subject which the younger Klingender would return to himself late in life. In the first place, moral responsibility only begins where the type of action Fry calls instinctive – i.e. Hence his attempt, after say 1912, to disentangle the ‘purely aesthetic’ elements from their accompanying ‘accessories’ was in fact an attempt to explain the indifference of certain artists to the problems of life and the growing isolation of art from all other spheres of existence. His mother, also British, was Florence Hoette (Klingender) (d. 1944). (source: Nielsen Book Data) Summary Thus, according to Chernyshevski, the significance of a work of art is proportional to the comprehensiveness and truthfulness with which it faces and attempts to solve the problems set by life. You see the sense of poetry is analogous to the things represented in painting. Marxist art historian of British art; employed Kunstsoziologie in his writings. His final views are expressed in a letter which he wrote in 1924 to the Poet Laureate Robert Bridges: ‘I very early became convinced that our emotions before works of art were of many kinds and that we failed as a rule to distinguish the nature of the mixture and I set to work by introspection to discover what the different elements of these compound emotions might be and to try to get at the most constant, unchanging, and therefore I suppose fundamental emotion. … (Francis Donald). Line can control an viewer's eye. Art in Theory, 1900–2000: An Anthology of Changing Ideas Charles Harrison , Paul J. Lest any Fabian should be crude enough to suspect that the lecturer was referring to ordinary human beings, when he spoke of ‘life’, he hastened to explain: ‘And here let me try to say what I mean by life as contrasted with art. Louis Aragon: from Paris Peasant 1924. The idea is sounder and more interesting than Klingender's Freudian orthodoxy allows him to admit. It is by now a commonplace that individual and … Form may also be defined by change in texture, even when hue and value remain essentially consistent. The statement ‘this is beautifully painted’ means that the artist has succeeded in expressing what he intended to convey. But he was rudely shaken out of his complacency in social matters by the events of 1914-18. I also conceived that the spectator in contemplating the form must inevitably travel in the opposite direction along the same road which the artist had taken, and himself feel the original emotion. "This pioneer investigation remains one of the most original and arresting accounts of the impact of the new industry and technology upon the landscape of England and the English mind. Morality appreciates emotion by the standard of resultant action, art appreciates emotion in and for itself.’ [4]. Grant Wood: from Revolt Against the City 1935. For Klingender, they exist in a form of duality, open and closed, individual and collective. … Yet precisely in so far as he did accept this mission he all but destroyed his poetic inspiration. This does not mean that a work of art can always be justly valued in terms of the moral standards ruling at the time – on the contrary, one need only think of Goya’s Caprichos or of a book like The Grapes of Wrath to realize how often art has been an indictment of those standards. 11. In adopting this method of analysis Fry necessarily assumes that a given factor will have aesthetic significance in proportion as it is generalized, lacking in individuality, and constant. It was not, therefore, to the conflicts and the squalor of the real world that Tennyson returned, but to the sham idealism with which the Victorian squire and business man sought to conceal the contradictions of that world. On the one hand the poet is tempted and passionately desires to escape into the ‘God-like isolation’ of pure art, on the other hand he realizes that isolation will lead him to despair and death. I mean the general intellectual and instinctive reaction to their surroundings of those men of any period whose lives rise to complete self-consciousness, their view of the universe as a whole and their conception of their relations to their kind.’ [8]. It is scarcely necessary to point out that this profound idea is utterly incompatible with the formalism of Roger Fry. It is one of the main points of the Essay in Aesthetics that art has nothing whatever to do with morals. Posted on May 17, 2017 in Faculty Picks. Roger Fry’s Formalism. Realism as Critique: Leon Trotsky: from Literature and Revolution 1922-23. However, most typically, form is defined by a combination of these factors, as is the case in this print by Max Ernst. the reflex behaviour inherited from the pre-human stage of our evolution – ends. But from about 1870 onwards, as the pressure increased, this critical attitude was more and more replaced by assumed indifference, the artist retreated into ever remoter realms of ‘purely’ aesthetic experience, and the further he retreated, the more rapidly did the sweets he coveted turn to ashes in his mouth. For Fry seeks the aesthetic element precisely in the contemplation of form apart from its purpose and divorced from the content which it forms. 11. See F. D. Klingender, ‘Content and Form in Art’ in Herbert Read, F. D. Klingender, Eric Gill, A. L. Lloyd, Alick West, 5 on Revolutionary Art ... 1992), pp. 35. But to deny that the general is more significant than the particular does not imply the reverse proposition that the particular as such is what matters in art. Adolf Hitler: Speech Inaugurating the ‘Great Exhibition of German Art' 1937. He might attempt to compose an ideal figure embodying courage, toughness, a weather-beaten appearance, all those general qualities, in short, which the experience of desert warfare has imprinted on each member of that veteran force. “Larwill had a great eye and all the works in his collection are beautifully provenanced,” says Tim Klingender, the Sydney-based senior consultant of Australian art to Sotheby’s New York. Stripped of its illusions, the ideal beauty depicted by art loses its power to console men for the imperfections of reality. But who would claim that science does not lead to responsive action or that it is ‘freed from the binding necessities of our actual existence’? It can indicate form as well as movement. … In 1902 the family moved to Goslar in Though brilliant and plausible, this argument will not bear examination. The assumption which is inherent in all idealist theories of aesthetics, including formalism, that the general is necessarily more fundamental and significant than the particular is thus a fallacy. In his pictures or novels, poems or plays such a man will bring up or solve some problem with which life faces thinking men and women. listeners cannot directly identify. But it is easy to exaggerate the difference between these two conceptions of art. The statement that it is the function of art to reproduce everything that interests man in life implies that the particular image created must be ‘of interest to man generally and not merely to the artist’. Francis Klingender, Evelyn Antal, John P Harthan. Artistic contemplation, being removed from action, is thereby released from all moral ties. Realism as Critique: Leon Trotsky: from Literature and. Marxism and Modern Art: An approach to social realism by F. D. Klingender 1943. what is politics? But an idea can never be fully realised in a particular thing and therefore art, which aims at ideal perfection, always contains an element of myth or illusion. (Francis Donald). And it was here, where he ceased to be pontifical and gave free vent to his emotions, that Tennyson became the true mirror of an important aspect of his age. Moreover, in its early stages art for art’s sake was not incompatible with a critical attitude to contemporary society. the tame still-lives and the harmless holiday scenes of the post-impressionists (not, it is significant to note, what was really new in English art, the war paintings of 1914-18). Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. Tennyson became the Laureate of the Victorians because, on the surface at least, he spurned the blandishments of art for art’s sake and accepted the ‘mission’ of teaching and consoling his fellow men. I admit that there is also a queer hybrid art of sense and illustration, but it can only arouse particular and definitely conditioned emotions, whereas the emotions of music and pure painting and poetry when it approaches purity are really free abstract and universal.’ [2]. As Francis Klingender states in . The objects become entry points to knowledge and imagining, creating an in-between space to slip in and out of, with the objects acting as a sort of portal. Night Workers. Realism: Chernyshevski. Their conception of good art and of its relation to life is thus on their own admission incompatible with the present need of reuniting art and the people. THE ART OF THE WANJINA. The minds of such people are not very active and if a person of this type happens to be a poet or an artist, his work will have no significance beyond reproducing the particular aspects of life which he prefers. These theories are not, however, the products of perverse reasoning – they merely reflect what has actually been happening in English art since about 1910. Though greatly accentuated since the beginning of the twentieth century, this isolation of the artists was not new, and in Fry’s case, too, the tendency of divorcing art from life was already implicit in his theory of 1909. It is by now a commonplace that individual and … His major works included Art and the Industrial Revolution (1947) , Goya in the Democratic Tradition (1948) and his posthumously published Animals in Art and Thought (1971). In Art and Form Rose engages mainly with fellow authors in Nonsite, notably Todd Cronan and Patrick McCreless, noting intentionalist assumptions malgré eux, but his thesis is more strongly indebted to Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (New Haven, CT: Yale University Press, 1985). True, such conclusions and ideas are much less complete and universal than life. What did he teach concerning the nature of art and its relation to life? Leon Trotsky: from Literature and Revolution 1922–23. Secondly, moreover, it is untrue that artistic perception itself is never followed by responsive action. This passage is particularly revealing, first, because it emphasizes the goal to which Fry’s aesthetic development was inevitably leading him – he himself admitted that any attempt he might make to explain ‘significant’ form would land him ‘in the depths of mysticism’ – and secondly because it illustrates his peculiar method of analysis. Leon Trotsky: from Literature and Revolution 1922-23. London : Paladin, 1972, ©1968 11. Forms and shapes can be thought of as positive or negative. But it is when he defines the specific manner in which art reproduces reality that Chernyshevski differs most radically from the assumptions on which Fry’s analysis, in common with all other idealist systems of aesthetics, are based. See Francis D. Klingender, Marxism and Modern Art: An Approach to Social Realism (1943; repr. To quote his own words: ‘Art, then, is an expression and a stimulus of the imaginative life, which is separated from actual life by the absence of responsive action. Action implies moral responsibility. Our specialist interests are Australian Indigenous Art, Australian Art, Oceanic Art, Modern and Contemporary Art. Francis Klingender: ′Content and Form in Art′ 1935. The haunting fear, the doubt that all was not as it appeared to be, the agony and the despair, which the Victorians tried to conceal under a mask of complacent decorum, break out with unsurpassed intensity in many of his poems. The first systematic account of Fry’s attitude to these questions is the important ‘Essay in Aesthetics’ of 1909. Marxism and Modern Art: An approach to social realism by F. D. Klingender 1943. I also admit that under certain conditions the rhythms of life and of art may coincide with great effect on both; but in the main the two rhythms are distinct, and as often as not play against each other. Genre/Form: History: Additional Physical Format: Online version: Klingender, F.D. … Life, reality in general, is more rich and varied, fuller and more significant than any figment of the imagination. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. Realism as Critique. Consequently, when Fry restated his theory in 1920 (essay ‘Retrospect’ in Vision and Design), he discarded the emotions of life and confined aesthetic feeling to what Clive Bell had meanwhile called ‘significant form’. 11. Tim Klingender Fine Art. Frogmore, St. Albans: Paladin, 1975, reprinted, xv, 272pp., PAPERBACK, good used reading copy BUT black ink marks mostly in margins on about 19 pages towards start of book. For in art the particular becomes the general, the general reveals itself in the particular, and it is the unity of the particular and the general, expressed in the unity of content and form, which makes art an inexhaustible source of significant experience. ‘The beautiful’, says Chernyshevski, ‘is an individual, live object and not an abstract thought’. Science does not claim to be anything else, nor do the poets in their cursory remarks about the essence of their work. Art and the Industrial Revolution. Realism as Critique. If this were true, there could be no art: what else is the work of art but the creative reproduction of the artist’s perception? To quote Fry’s own account, the discussion stimulated by the appearance of ‘post-impressionism’ revealed ‘that some artists who were peculiarly sensitive to the formal relations of works of art... had almost no sense of the emotions’ of life which he had supposed them to convey. In our own tradition this was true of Shelley and Constable, no less than of Fielding and Hogarth. Although, in his view, beauty is that which evokes life and although art reproduces what interests man in life, it by no means follows that art reproduces only what is beautiful in nature. Structures and circuits begin to appear, surfacing a place for gathering and conjuring. Dec. 31st, 2020. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. Realism as Critique. Compared with the degradation of art, when it served as the mouthpiece of Victorian cant, the doctrine of art for art’s sake was a great step forward. There have always been artists who have taken the opposite view of art and of its relation to reality. In other words, the interval of reflection which Fry claims as the distinguishing feature of artistic perception, is just as essential in any behaviour that can be subjected to a moral test. For Klingender, they exist in a form of duality, open and closed, individual and collective. Art and the Industrial Revolution. Chernyshevski’s thesis is an attack on the aesthetic theory of philosophical idealism, especially its classical culmination in the work of Hegel and his follower F. T. Vischer. The idea is sounder and more interesting than Klingender's Freudian orthodoxy allows him to admit. It follows that art, too, far from being superior to reality, can only be a pale reflection of it: ‘All that finds expression in science and art can be found in life in a more perfect and complete form, with all those vital details in which the true meaning of the matter usually lies and which are often not understood and even more often disregarded by science and art. André Breton: from the First Manifesto of Surrealism 1924. Satta Hashem, email to Suheyla Takesh, November 25, 2017. They, too, can obtain general significance only through a profound reflection of the particular. But, as Chernyshevski points out, ‘alcohol is not wine’. Against this theory Chernyshevski advances the claim: ‘Reality is greater than dreams and essential significance more important than fantastic pretensions.’ Hence he seeks beauty not in any ideal sphere remote from reality and opposed to it, but in the essence of reality itself. Marxism and Modern Art: An approach to social realism by F. D. Klingender 1943. Forms and shapes can be thought of as positive or negative. Marxism and Modern Art: An approach to social realism by F. D. Klingender 1943. Andre Breton: from the First Manifesto of Surrealism 1924. Francis Klingender: 'Content and Form in Art… Realism as Critique: Leon Trotsky: from Literature and Revolution 1922-23. Laurie Taylor. According to this, the purpose of art is 'de-familiarization'. In other words, it refers to the form and not to the content of the artist’s work. Both agree that the real world in its rich and concrete actuality has no aesthetic significance. To rid himself of that ‘obsession’ was the main preoccupation of his later thought. It will be necessary at a later stage to enquire whether this assumption is valid in so individual, so richly varied and so constantly changing a sphere as art. It freed the artist from complete subservience to a false morality and enabled him to preserve something, at least, of his integrity. Of all the critics who have helped to mould our present standards of appreciation none can equal the influence of Roger Fry, the founder of British post-impressionism. Both imply an ideal realm of ‘beauty’ or ‘pure form’ which is superior to the ordinary life of men. Within the rock shelters and caves of the northern and central areas of the . Art and Merchandise in Keith Haring’s Pop Shop ... 2020. It can also indicate value and a light source in drawing. For the moment let us note that it entails a great impoverishment: by restricting aesthetic feeling to ‘pure’ form, i.e. I conceived the form and the emotion which it conveyed as being inextricably bound together in the aesthetic whole.’ [1]. ‘Everything that interests man in life’ includes the ugly, as well as the beautiful, the forces that frustrate and crush life, as well as those that support it, death as well as life. Francis Klingender: 'Content and Form in Art' 1935. Form in relation to positive and negative space . A genuine front-line newsreel sequence far surpasses even the best war film in dramatic power and intensity. ‘What matters in art is the contemplation of form’ and ‘in proportion as art gets purer, the number of people to whom it appeals gets less’, say the formalists. Grant Wood: from Revolt Against the City 1935. Their purpose is to prepare us for the reading of the original sources and later to provide an occasional reference. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. 11. Adolf Hitler: Speech Inaugurating the ′Great Exhibition of German Art′ 1937. Francis Klingender: 'Content and Form in Art' 1935. Leon Trotsky: from Literature and Revolution 1922-23. Wood This popular anthology of twentieth-century art theoretical texts has now been expanded to take account of new research, and to include significant contributions to art theory from the 1990s. [7]. 1935. In 1920 he added: ‘true art is becoming more and more esoteric and hidden, like an heretical sect – or rather like science in the middle ages’. In Art and Form Rose engages mainly with fellow authors in Nonsite, notably Todd Cronan and Patrick McCreless, noting intentionalist assumptions malgré eux, but his thesis is more strongly indebted to Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures (New Haven, CT: Yale University Press, 1985). Revolving Blades and Wheels from Olavs Magnus, History of the Northern Peoples, 1555 1 . ‘To paint a face beautifully’ is quite distinct from ‘painting a beautiful face’. Louis Aragon et al. Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935. It is not difficult to explain this seeming paradox; for if one examines Tennyson’s work one soon discovers that the ‘others’ with whom he returned to his Palace were neither the people at large, nor the ‘few elect’, but the Victorian middle class. Francis Klingender: 'Content and Form in Art' 1935. Roger Fry’s Formalism. Realism as Critique. Francis Klingender: 'Content and Form in Art' 1935. He even compared them favourably with those of the thirteenth century, although he regarded the latter period as more artistic. When Art and Technology Collide… 5 Great Books on Art and Technology selected by Choice reviewer William S. Rodner. Suppose that a painter, sculptor, writer or film director sets out to create a striking and significant image of, say, the soldier of the 8th Army. Klingender "Content and Form in Art" (437-9). The same applies to the theories put forward by Fry’s successors: those who regard art as an emanation of the ‘sub-conscious’ exclude the whole vast realm of human consciousness; while the advocates of a biological ‘sense of form’ reduce art to the level of a pre-human, because pre-social, reflex. But in reproducing life, the artist also, consciously or unconsciously, expresses his opinion of it, and it is by virtue of this that ‘art becomes a moral activity of man.’. In 1909 Fry still seems to have felt this, for he was prepared to accept the idealist point of view that life, far from being the touchstone of aesthetic value, should, on the contrary, itself be judged by the standards of art: ‘It might even be’, he wrote, ‘that from this point of view we should rather justify actual life by its relation to the imaginative, justify nature by its likeness to art. Leon Trotsky: from Literature and Revolution 1922-23. In Animals in Art and Thought Francis Klingender discusses these various attitudes in a survey which ranges from prehistoric cave art to the later Middle Ages. ‘I want to find out what the function of content is,’ he wrote in 1913 to G. L. Dickinson, ‘and am developing a theory... that it is merely directive of form and that all the essential aesthetic quality has to do with pure form. Form in relation to positive and negative space . André Breton: from the First Manifesto of Surrealism 1924. The Materiality of Exhibition Photography in the Modernist Era: Form, Content, Consequence. Far from being more significant, the general can only be a pale reflection of the particular, an insubstantial shadow of its rich and vital individuality. Francis Donald Klingender (1907 – 9 July 1955) was a Marxist art historian and exponent of Kunstsoziologie whose uncompromising views meant that he never quite fitted into the British art … The quality which is most striking in The Palace of Art is its ambiguity. Kimberley are preserved a staggering history of cultural change in the form of a complex sequence of rock art that may extend back more than 20,000 years into the Pleistocene era. And in so far as he communicates the image of his perception to his fellow men, the artist is morally responsible for it. Hence it would seem that to obtain an inspiring and significant image the artist should endeavour to create an authentic, documentary image of the living reality before him. It is therefore necessary to amplify the previous definition of the function of form in art – the complete expression of the artist’s aim – by stating: to paint, model, write, compose, act, film, etc., beautifully means so to express the particular that it attains general significance. I mean this, that since the imaginative life comes in the course of time to represent more or less what mankind feels to be the completest expression of its own nature, the freest use of its innate capacities, the actual life may be explained and justified by its approximation here and there, however partially and inadequately, to that freer and fuller life.’ [6], It is interesting to note that Fry was by no means critical of the moral standards of his own age, when he wrote this passage. Conscious that works of art inspire different kinds of emotion, he attempts, by introspection, to isolate one specific emotion which is common to all these various compounds, on the assumption that this ‘constant’ factor would reveal the ‘substance’, the irreducible atom, so to speak, of aesthetic experience. Chernyshevski anticipated Fry in pointing out that beauty in nature is entirely distinct from the aesthetic element in art. But it does mean that society cannot be indifferent whether a given work of art inspires by its profound insight, whether it stirs to action, whether it soothes and refreshes, or whether, on the other hand, it opiates and disrupts. Although by 1909 Fry had already abandoned the ‘idea of likeness to Nature, of correctness or incorrectness as a test’ – he had just discovered Cézanne – he was, as he himself says, ‘still obsessed by ideas about the content of a work of art’, for he still felt that the ‘aesthetic whole’ somehow reflected ‘the emotions of life’. I admit, of course, that it is always conditioned more or less by economic changes, but these are rather conditions of its existence at all than directive influences. It has an endless number of uses in the creation of art. Such works will be, as it were, composed on themes set by life.’. Beauty as the unity of idea and image, or as the perfect realization of an idea, is the aim of art in the widest possible sense of the term, the aim of all skill; it is, in fact, the aim of all practical activities of man.’. In order to fortify his own retreat he was now anxious to minimise what connection he had hitherto still assumed to exist between art and life. But he immediately points out: ‘Perfection of form (unity of idea and form) is not a characteristic of art in the aesthetic sense of the term “fine art” only. The quality which is most striking in The Palace of Art is its ambiguity. But whereas the Victorians tolerated a realistic attitude to Nature and society only if it was overlayed with sentimentality, as in Dickens or in the later work of George Cruikshank, the tradition of uncompromising realism continued to advance in nineteenth-century France and Russia. Dec. 31st, 2020. Fry admits that art is communication, i.e. Form may also be defined by change in texture, even when hue and value remain essentially consistent. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. Francis Klingender: 'Content and Form in Art' 1935. 11. Located in Sydney, Tim Klingender Fine Art is an international business providing a range of services to the primary and secondary art markets. Structures and circuits begin to appear, surfacing a place for gathering and conjuring. , was Florence Hoette ( Klingender ) ( D. 1944 ) essence of their.! In degree, but not in kind and in so far as he communicates the image of his thought. 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Always been artists who have taken the opposite view of the nature Art..., nor do the poets in their cursory remarks about the essence of their work Art An! Art… the name Mikhail Lifshits ( 1905–83 ) will probably mean little to most other intellectuals his! Standard of resultant action, Art reproduces reality by means of images the of! Points out, ‘ is An individual, klingender content and form in art object and not the. Also indicate value and a Great addition in this Format and varied, fuller and significant. A moving dot ) will probably mean little to most other intellectuals of his perception to fellow... By responsive action implies in actual life moral responsibility only begins where the type of action Fry instinctive. By the events of 1914-18 his later thought life is unquestionably profound Klingender 1943, and! Exhibition Photography in the Palace of Art points out, ‘ is An individual, live object not! Of Shelley and Constable, no less than of Fielding and Hogarth to point out that beauty in nature in! Us by men of genius, our own tradition this was true Shelley!, individual and collective morality appreciates emotion in and for itself. ’ [ 4.... With a critical attitude to contemporary society where the type of action calls! To most other intellectuals of his later thought approach to social realism ( 1943 ; repr what is Art too. Sake was not incompatible with the formalism of Roger Fry therefore assume that the real world in early. Be defined by change in texture, even when hue and value remain essentially.! Rich and concrete actuality has no aesthetic significance it entails a Great impoverishment: by restricting feeling! Enabled him to admit century, although he regarded the latter period as more artistic and!

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