Harold Rosenberg
Harold Rosenberg: Art Critic, Theorist, and Champion of Modernism
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Full Name and Common Aliases
Harold Rosenberg was an American art critic, theorist, and painter born on February 2, 1906. He is often referred to as one of the most influential art critics of the 20th century.
Birth and Death Dates
Rosenberg was born in New York City to Jewish immigrants from Poland. He passed away on September 11, 1978, at the age of 72.
Nationality and Profession(s)
Rosenberg held dual citizenship as a naturalized American citizen and retained his Polish nationality by birth. His career spanned multiple professions: art critic, theorist, painter, and essayist.
Early Life and Background
Harold Rosenberg's early life was marked by a passion for the arts. He grew up in New York City, surrounded by the vibrant culture of the city. He studied philosophy at the University of Wisconsin–Madison but later moved to Paris to pursue his interest in art. It was during this time that he became familiar with the works of modernist artists like Pablo Picasso and André Breton.
Major Accomplishments
Rosenberg's major accomplishments as an art critic lie in his ability to articulate and promote the ideas of modernism, which sought to challenge traditional notions of art. He championed artists such as Jackson Pollock, Franz Kline, and Willem de Kooning, recognizing their innovative contributions to the art world.
Notable Works or Actions
Rosenberg's most notable work is perhaps his influential essay "The American Action Painters," published in 1958. This piece explored the relationship between the artist's physical actions and the resulting artwork, laying the groundwork for future discussions on action painting. As an editor of _Art News_ from 1939 to 1977, Rosenberg used his platform to introduce new ideas and foster a sense of community among artists.
Impact and Legacy
Harold Rosenberg's impact on modern art is immeasurable. He not only championed the work of innovative artists but also helped shape the public's perception of contemporary art. His writings had a profound influence on artists, curators, and critics alike, as he brought attention to previously underappreciated movements like abstract expressionism.
Why They Are Widely Quoted or Remembered
Harold Rosenberg is widely quoted for his astute observations on the intersection of art, culture, and society. His ability to articulate complex ideas in a clear, concise manner made him an essential voice in the art world. As a critic, theorist, and painter, he embodied the spirit of innovation that defined modernism, leaving behind a lasting legacy as one of the most influential art critics of his time.
His quotes often reflect on the importance of embracing uncertainty and experimentation in artistic endeavors: "The artist is not an external analyst of what is already done. He is an internal catalyst." This emphasis on the role of the artist as both creator and participant resonates with artists, curators, and anyone interested in the ongoing evolution of art.
Rosenberg's influence can be seen in contemporary art movements that continue to push boundaries, from abstract expressionism to postmodernism. His work serves as a reminder of the power of art criticism to shape cultural attitudes and fuel artistic innovation.
Quotes by Harold Rosenberg
Harold Rosenberg's insights on:
Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it...
Imitation of the art of earlier centuries, as that done by Picasso and Modigliani, is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.
Today, each artist must undertake to invent himself, a lifelong act of creation that constitutes the essential content of the artist’s work.
At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it. Advanced art today is no longer a cause -it contains no moral imperative. There is no virtue in clinging to principles and standards, no vice in selling or in selling out.
