This is one of the wisest things I’ve ever read. It puts things squarely where they belong, and it is sometimes difficult to remember:
“…whatever we nourish in ourselves grows; that is an eternal law of nature. There is an organ of displeasure, of dissatisfaction in us, as there is one of opposition and doubt. The more food we provide for it and the more we practice it, the mightier it becomes until it turns from an organ into a malignant ulcer and banefully eats up its environment, drains and strangles all the good humors of the body. Then repentance, self-reproach and other absurdities are added to it, we become unjust toward others and ourselves. The joy at ones own success and action as well as that of others is lost. In our desperation we finally look for the reason of all evil outside ourselves instead of finding it in our mental perversion. We should see every person and every event in its real light, one should step beyond oneself to be able to return to oneself all the more free.” Goethe quoted by his friend, Friedrich von Muller.”
I’ve been watching the British art historian’s –Waldemar Januszczak — series’ off and on for a couple of years. The most recent one I’ve looked at is Rococo Before Bedtime. I don’t always agree with him when he starts inflicting his taste in art on the viewing public, but as MY taste in art conflicts with the Rococo, I never learned to appreciate it. I never even put it in its place in time. I’ve seen some of it. I got to spend a day at the Nymphenburg Castle in Munich trying to fathom it and what my new acquaintance was telling me. He was a docent from the Haus du Kunst the formerly Hitlerian government art museum building. He didn’t speak English, I didn’t speak any German, and we relied on something loosely resembling French. The architecture was beautiful, the interior ornamentation? I didn’t get it.
And this grossed me out:
It’s pretty impossible to escape personal taste. The baroque and rococo (the baroque becomes the rococo) churches I’ve visited in Europe are still over-the-top to me. The first one I visted was Einsiedeln Abbey in Switzerland. Entering that sanctuary for the first time was scary. I’d NEVER been in a place like that — or even in a Catholic church. EVERYTHING was there in a vast 3D illusion — and some actual 3D legs and arms made of stucco (plaster). I felt the full and intended effect, I guess, of what I have now learned the Catholic church wanted me to feel. My friend and I retreated from that place and took a walk in the woods.
It was interesting to learn, however, that the baroque (which led to the Rococo) was (in Januszczak’s opinion? Or really?) a church sanctioned art movement that was part of the Counter-Reformation. The Council of Trent had sent out the order? Edict? that Catholic churches should VIVIDLY depict Bible stories on their walls in reaction to the burning of the idols. Einsiedeln is one of the pilgrimage churches and, according to Januszczak, pilgrimages were big during the baroque and rococo. This also made the pilgrimage churches even richer BUT they had to give the pilgrims some bang for their bucks which contributed to their ornateness. I believe that. Churches I’ve visited that were NOT pilgrim churches but were decorated around the same time are still ornate, but not over-the-top, every square inch peopled with saints, angels, madonnas, and various random people in the “audience,” the faces of donors.
I wasn’t even clear on the YEARS that comprise the baroque and rococo, but watching the program I got it. It was much of Goethe’s lifetime. When I realized that I thought of Goethe’s incredible mind that was, literally, everywhere — science, poetry, drama, erotica, government, mining, botany, geology on and on — and realized that the zeitgeist was such that the fecundity and fluidity in the visual arts and music was everywhere, as elaborate and wildly creative as a rococo ceiling.