Karin V. Maur

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The Sound of Painting: Music in Modern Art

Karin V. Maur; Karin Von Maur

Synopsis:
Runge and Richard Wagner recognized the interdependency of music and art in the creation of an abstract, symbolic language. However, as in the work of Matisse, the figurative representation of musicians or instruments soon developed into a structural relationship between sound and color. Wassily Kandinsky's and Franz Marc's encounter with Arnold Schoenberg's music in 1911 brought the challenge of atonal composition to modern art, the abandonment of the classical ideals of harmony and proportion and the pursuit of a new, modern obsession-time. Early 20th-century artists, such as the Vorticists and the Cubists, also conceived of their work in terms of cadence, rhythm, dissonance, and polyphony. By the 1960s the two arts -- represented in particular by Jackson Pollock and John Cage -- converged in the Fluxus "happenings" where participants such as Joseph Beuys and Yves Klein sought to push back the boundaries of modern art. In the 1990s the sculpture of Pol Bury or Takis continues the quest to make sound tangible, and new digital technologies have introduced even further possibilities.

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