The New Criterion
Critical schools rise and fall, academic trends shuffle at an accelerating pace, celebrities are made and forgotten, but Hegel’s master-slave sequence, Wordsworth’s “and, oh,/ The difference to me!” O’Keeffe’s blossoms, Parker’s riffs . . . they endure and they impress no matter how much the professors unmask, demystify, politicize, and otherwise play with them. We are far enough removed and in bad enough shape to judge the denial of the greatness and priority of High Art a terrible miscalculation.
Unless the professorate reasserts its subservient role and foregrounds actual genius, all the solemn committee reports and importunate op-eds in the world won’t slow the steady deterioration of the fields.
|Pierre-Narcisse Guérin, Aeneas tells Dido the misfortunes of the Trojan city, 1815|
Read the full article here: http://www.newcriterion.com/articles.cfm/What-Dido-did–Satan-saw—O-Keeffe-painted—7728