The Philosophy of Modern Art

It was a white canvas. That was all. I read the trademark issued by the San Francisco Museum of Modern Art: Robert Rauschenberg, White Painting (Three Panel). Shouldn't symbolization mean something? Where is the ability? The procedure? While aged Masters toiled in the studio for a considerable length of time immaculate the sparkle on a vessel of fruits and exact the eyebrows of a picture, this gentleman recently plunged a canvas in white paint and tacked it on a divider around pieces worth a huge number of dollars. I battle with this piece for well over twenty minutes, bewildered and bothered by the conventionality of this exposed white canvas.

Before long, then again, I legitimately started to see; the polish covering reflected each other painting in the display. I looked as shapes moved over the canvas: each light on the roof, renowned worldwide magnum opuses in the show, and wafting shadows of individuals passing by all liquefied into a puddle of quieted structures and shades. I had battled to comprehend this piece, yet I had over-investigated the immaculate nature of the work. I might never see this correct painting in this correct way again. The White Painting reflected this present reality as I encountered it at each given minute. Rauschenberg once said, "A canvas is never void." It was my burden, as the recognize to watch the painting as well as to experience it at a deeper level. Rauschenberg demonstrated that craftsmanship isn't an unimportant picture; its a special experience that advancement with the earth.

It took a clearly white canvas to help me improve my particular theory of craftsmanship. I accept that workmanship is not just an article; it is a particular experience. We are affected by our past encounters at whatever point we discover a bit of work of art. It is not the piece itself that makes it important the procedure, the size, the excellence however the accurate delightfulness of workmanship rests in the common uniqueness of every piece; we will never experience a Mona Lisa or a David in literally the same minute we first did. Some may differ that if workmanship is characterized by its imagination, then all homo sapiens might be acknowledged gems. I accept that we are.