The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox; a painter as well as critic; revealed a steadfast devotion to the ideals of a high art tradition; derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history; surveyed the current art scene in many reviews and analytical essays; and wrote with careful attention to the canons of scholarship. Royals Cartissoz; the art editor of the New York Tribune for over fifty years; was an appreciator and connoisseur. His belief in beauty in a well-done and recognizable form left him open to more innovation than was the case with Cox. He based his views on a self-confessed ideal of common sense that left the art experience open to any sensitive person. He was well suited to speak to and for the growing middle class in the Progressive era. This viewpoint was equally adaptable; if more debatable intellectually; when modernism triumphed. The fact that he remained a significant figure in art circles long after his tastes ceased to be dominant; testified to the nature of the audience for whom and to whom he spoke. Frank Jewett Mather; Jr.; was the most realistic of these critics in estimating how art appealed in society. He knew a lot about many things and was concerned to see that the arts remained integrated in public esteem and thought. Mather took comfort from the history of art; which revealed to him that great works and their creators could survive time and criticism. This sense of historical process and his great need for the unifying power of art experience let Mather escape the bitterness that so affected Cox; and to a lesser extent Cortissoz; as tastes changed. The artists mission was to maintain and extend forms of art that promoted order and integration in society and in individual personalities. Society in turn had to see the artist as a harbinger of an intensified emotional life; but which accommodated changed perception in constructive ways. The chief fear of the traditionalists was that the new art; which seemed shocking in form and disruptive in intent; would separate artist and public to the detriment of both.
#1585522 in eBooks 2013-08-08 2013-08-08File Name: B00DR20L7A
Review
3 of 3 people found the following review helpful. Book does an excellent analysis of the content of The MessiahBy CERBook does an excellent analysis of the content of The Messiah; where it came from and what its theological agenda was. Its great to have someone explain what these oratorios and other choral works of the period contain. The analysis of the text is lined up point by point with paraphrases of the theological intent and the original Biblical text to show the anti-Jewish Christian theological agenda of the subject content that Handel did such a beautiful job putting to music.This is a good book for anyone who wants to see in practice the assumptions of Christian triumphalist theology over Judaism. Its not antisemitic theology as such but when utilized out of the Jewish historical context by modern Christian readers these New Testament texts utilized by Handel arrange a complete narrative of Jewish rejection and Christian replacement theology. This is one of a few texts that have recently focused on the music and artistic libel against Jews.3 of 4 people found the following review helpful. then youll love this bookBy JBFowlerAs usual; Michael Marissens book is convincing; thorough; and well written. It is a must read for any musician who performs Messiah. After reading this book; Handel/Jennens somewhat baffling choice of texts and their orderings given the full context of the oratorio make sense; especially in regards to the placement of the Hallelujah Chorus. If youre one who likes scholarship that reveals uncomfortable truth which upsets the status quo; then youll love this book. Is this new knowledge sufficient to derail Messiah as a vehicle for worship from its tracks? Get real. Its 2014. I doubt it.5 of 5 people found the following review helpful. Good research; but biased against Christian orthodoxy.By BookloverIn Tainted Glory in Handelrsquo;s Messiah; Michael Marissen seeks to illuminate ldquo;Christian triumphalismrdquo; and ldquo;schadenfreuderdquo; towards Jews in Handelrsquo;s Messiah. Marissen documents evidence that Messiah shows anti-Judaism in its construction.What I found helpful about Marissenrsquo;s research is that he exposes the poor exegesis and uncharitable attitudes towards Jews among commentators who were Handels contemporaries. And Marissens work is also a much-needed balance to the romantic worship and divinifying of Handels Messiah.But the more I read in his book the more I could feel his bias; which seemed one-sided against Christian orthodoxy. Marissen selects only information that supports his thesis; rather than looking at the whole picture and acknowledging the exceptions. For instance; he vaguely references ldquo;traditional Christian beliefsrdquo; without citing church authorities such as Augustine or Calvin. Many of his interpretations of passages do not reflect long-held beliefs within Christian orthodoxy such as mans sinful nature. His thesis also runs against much of what scholars know about Handelrsquo;s personality; his compassionate spirit and his generous religious inclinations.I also felt that Marissen dismisses his detractors; many of them scholars who have invested much research of their own into the topic of Messiah; too quickly. He could afford a more charitable sense toward those who disagree; since a lack of charity is a part of the unseemly history he has exposed.Also; his thesis of the Hallelujah Chorus is really not tenable given the evidence he submits. There is at least as much evidence against his thesis as for it; including the fact that the chorus is placed in a difference "scene" from the previous aria; thus providing a conclusion to the entire Part 2; not just the preceding aria. The New York Times printed rebuttals from Handel scholar Ruth Smith and Princeton professor Wendy Heller that detail other reasons. This is not to say this topic is to be ignored. Marissens work is important to consider; especially now that we have seen the consequences of anti-Judaism and anti-Semitism in the 20th century.But I would maintain that the message of Gods grace and mercy; along with truth and justice; is an antidote to such evil treatment of others; and that this is gloriously portrayed in Handels Messiah. While it may show signs of being a work of its time; it also transcends that; being the first real musical "classic" that has withstood the test of time.