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367 liens privés
La meilleure source - Larges citations de l'article de 1937 sur le rôle social de l'artiste (voir partie II du texte). En voici un court résumé:
Sculptor Elizabeth Wyn Wood, herself a regular contributor to The [Canadian] Forum, assailed Underhill for the way in which he erroneously applied political theory to the function of the arts in society. (...) Wyn Wood was convinced that Canadian artists must respond contextually to the conditions of their own time and geographies. “If a great art is to grow up in Canada,” she noted, “it is likely to come from our natural lives as from hysteria.” She pointed out that Canadian artists weren’t necessarily “unaware” of the world around them and the conditions that often beset it, but chose to reside in the “deep passion for the slow and solid life this continent gives.” She reminded Underhill that “Canadian artists are mostly sons of pioneers who left the old lands with their unhappy civilizations, outworn customs, hatreds, oppressions, and prestige manias to come to a wilderness, free and hopeful, and who have found peace and some measure of fulfilment along with the half–civilization they have made.” Finally, she noted:
I proclaim the long stride, the far vision, the free spirit...let us have criticism that is sound and technical, let us have sincere, understanding receptivity. Let us not fear simplicity. Some day we may have to take in the refugees from a smouldering civilization. We may have to offer them more than bread. We may have to offer them the spiritual sustenance of an art which grows on the bare rock and bare chests.
Wyn Wood was adamant that art would survive and flourish under any conditions.
Sculptor Elizabeth Wyn Wood, herself a regular contributor to The [Canadian] Forum, assailed Underhill for the way in which he erroneously applied political theory to the function of the arts in society. (...) Wyn Wood was convinced that Canadian artists must respond contextually to the conditions of their own time and geographies. “If a great art is to grow up in Canada,” she noted, “it is likely to come from our natural lives as from hysteria.” She pointed out that Canadian artists weren’t necessarily “unaware” of the world around them and the conditions that often beset it, but chose to reside in the “deep passion for the slow and solid life this continent gives.” She reminded Underhill that “Canadian artists are mostly sons of pioneers who left the old lands with their unhappy civilizations, outworn customs, hatreds, oppressions, and prestige manias to come to a wilderness, free and hopeful, and who have found peace and some measure of fulfilment along with the half–civilization they have made.” Finally, she noted:
I proclaim the long stride, the far vision, the free spirit...let us have criticism that is sound and technical, let us have sincere, understanding receptivity. Let us not fear simplicity. Some day we may have to take in the refugees from a smouldering civilization. We may have to offer them more than bread. We may have to offer them the spiritual sustenance of an art which grows on the bare rock and bare chests.
Wyn Wood was adamant that art would survive and flourish under any conditions.
