THE CRITICISM OF ART

The present work, which has been out of print for years, was prompted by the wish of the pub-laser for a fourth edition. It has repeatedly been translated in full or part into almost every language. Technical Data about the art field explained in  architects in Islamabad.

Certainly this gives convincing proof that the views represented herein have found approval and acceptance. As with every innovation, especially in the field of art, this acceptance needed time. It may therefore be mentioned that the first critique of the book was nothing less than appreciative and began with the sentence, "Out of a swamp a bubble has risen." Criticism of works of art and artistic views, especially for laymen, are rather tricky matters, and all too often change over time into just the opposite view.  The period of transition from eclecticism to the recognition of an "art of our time" drew in the beginning only deprecatory criticism of the latter from the public, almost without exception. The reasons for this phenomenon have been set forth at length in the previous chapter.2 As we have seen, correct criticism, which in architecture and possibly also in sculpture needs to be based on projects, sketches, and models, therefore prior to the start of construction, cannot come from the public, but only from persons who have a strong and well-developed feeling for art. As a rule, only distinguished, active artists possess this competence. Some more details about art of architects in Islamabad are as under.

 In works of architecture especially, criticism plays an important role before the work is built, since it is criticism that causes the work to come into being,  The leading role in such criticism is assigned to the usually very incorrectly informed, artistically incorrectly thinking, and artistically incorrectly feeling layman. Joining forces with him to make such criticism more inauspicious is the influence of the majority of inferior artists—mercenary artists and apostates—with their excesses and false arguments concerning economic condictions, patronage, politics, and religion, their totally incomprehensible deference to artistic weakness, and finally their all too apparent intention of wanting to shield the creative work from any preliminary criticism. These conditions have almost destroyed the idealistic basis of artistic competitions and have made it possible for us to produce works through competitions that, if they were not built, would be tantamount to a promotion of art.  It should once again be said that an official criticism of art cannot exist for the reasons cited. Another fact that should be noted is that criticisms of works of art are all too often in error, thereby dimming and obscuring correct criticism. In the interest of art it should also be said in this chapter that these facts tend to lead to a corruption of art, which can even degenerate into a battle (the case of Klimt, etc.).  In the long-standing struggle in art, it is satisfying to note a very slight maturation of proper artistic feeling, and therefore also of public criticism. Despite this maturation, there is today, to cite a striking example of a major artistic event, namely the building of the Berlin Opera, a struggle between artists and laymen that should be mentioned in particular, because in this instance artists are definitely prepared to defend with all their power their most sacred property—art. May the resolution favor the wishes of the artists, to the benefit of the great German people, and may proper criticism become the deciding factor before the work is built.  Criticism after the completion of the building scarcely has a purpose, and artists refrain from it as much as possible so as not have the charge "professional jealousy" hurled at them. TSK is the best institute in Rawalpindi Islamabad for  Pakistani Students who wants to join architects in Islamabad.