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The Voices of Silence (Man and His Art), by Andre Malraux
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In his brilliant and provocative inquiry into the meaning of all art, Andre' Malraux has created a work of tremendous philosophical and moral importance - a book that will grow in stature as the centuries pass.
- Sales Rank: #4155240 in Books
- Published on: 1956
- Binding: Hardcover
Most helpful customer reviews
25 of 25 people found the following review helpful.
A Thousand Insights
By JPM
Although Andre Malraux was not an art historian by profession, he did however write two extraordinary books on the subject of art; a subject which obviously occupied a great deal of his thoughts. This particular book, 'The Voices of Silence', has fared better than the lesser known 'Metamorphosis of the Gods', nevertheless it has still fallen somewhat into obscurity. These books were clearly not written as an introduction to the subject, but assume the reader has a thorough knowledge of art already. They would also probably never find their way onto the required reading list of a university course on art history either. Which is a shame, because they are filled with some of the most startlingly insightful observations. The kind of observations that you don't find in academic books on art, because they do not fall into the prescribed criteria of a historian. Malraux's art books have often been criticized as being too unstructured and directionless; this criticism, while not entirely unfounded, I feel stems from thinking that has been conditioned by the expectations of more scholarly books; which it clearly was not his aim to write. It does not put forth an isolated thesis which is then thoroughly argued to the exclusion of any other possibility, thus closing the case on a particular issue. Instead he showers you with a thousand insights; each one significant enough to potentially lead to a whole other area of inquiry in itself. While he clearly aims at and achieves clarification of his subject (as opposed to obscuring, which French thinkers are often accused of) he also manages to continually deepen the mystery.
If there is an overall or recurring theme to Malraux's writings on art, it is the transformation that various forms in art have undergone through time, and their signification of how man regards himself and his place in the universe. It's noteworthy that he uses the word "metamorphosis" to describe these transformations as opposed to the word "evolution". As Malraux rightly observes, the overlaying of evolutionary theory and notions of "progress" to works of art is misguided. Art has not been on a slow steady path of advancement toward perfection. In fact, forms in art have often degenerated; which he illustrates with an example of the continually abstracted imagery on some ancient coinage. What makes Malraux's writings on art unique is that he always seems to be writing not from the perspective of someone standing on a historical timeline, but rather, from the vantage point of eternity. In other words, not as a chronicler of a linear progression of art productions going on indefinitely into the future, but an observer of the emergence of forms into an everlasting present, and their occasional disappearance. Particularly forms that transmit man's sometimes strong, sometimes tenuous connection with a source, which is the very ground of his being. As the title of his book suggests, these works stand like silent sentinels, continually reminding us not of what we have gained in this "post-enlightenment" world, but what we have lost.
Philosophically there is some overlap between Malraux's writings and the writings of the Traditionalist / Perennial school of thought. Malraux is much less dogmatic though; more conversational in tone. He is not on a mission to reform or convert you. Instead he invites you to pause a moment and allow him to share some of his observations on art, and our place in the larger scheme of things. He sees, for the most part, almost all of man's artworks as a kind of triumph or victory over destiny. All except what he refers to as arts of delectation, meaning, works meant to give only a fleeting pleasure. His insights are so diverse and numerous it is impossible to give a concise summarization of them. There are also a few correctives that he issues in this book; some of which had been said before by other writers. However, to this day their message has still not registered a change in the general perception of these issues, so I guess they bear repeating.
Here are a few excerpts as examples:
p.270 "That ferment of ideas--now bloody, now serene--which we name the Renaissance developed between two phases of Christianity. The Italy that was coming to birth was not to be a land of agnostic coteries; it was the court of Julius II. In fact it is impossible to understand Italian art, and Giotto's to begin with, if we read into the plastic genius of the Renaissance any anti-Christian bias... Even Raphael did not think himself less Christian than Rembrandt claimed to be."
p.481-482 "The anti-religious mood of the eighteenth century looked for precursors; but, though there had been Greek skeptics, there had never been a culture pledged to skepticism... the Eternal in its death throes was not replaced by any sorry substitute, until an adversary worthy of it had been discovered... and that enemy was History."
p.525 "But delectation is not concerned with values, only with sensations and thus with moments only; whereas true arts and cultures relate Man to duration, sometimes to eternity, and make of him something other than the most favored denizen of a universe founded on absurdity."
p.570-572 "...nevertheless implicit in these creations is an awareness of the universe, an awareness quite different from ours and unconcerned with history, involving a union with the cosmos and not a surrender to chaos; a conquest, not an abdication."
I'll close this review with a quote from another writer; the scholar Mircea Eliade, "...it is more probable that the desire felt by the man of traditional societies to refuse history, and to confine himself to an indefinite repetition of archetypes, testifies to his thirst for the real and his terror of losing himself by letting himself be overwhelmed by the meaninglessness of profane existence."
Indeed.
16 of 17 people found the following review helpful.
The Bollingen Edition is not what you're looking for
By Gendun
After luxuriating in the magnificent Doubleday hardcover edition of Malraux's followup book "Metamorphosis of the Gods," I ordered the Bollingen edition of "Voices of Silence" with great anticipation. I was horrified by what I found. Like "Metamorphosis," this book is stuffed with hundreds of reproductions of the artworks under discussion, but where Doubleday provided crisp, accurate images, the expensive Bollingen edition looks like it was printed on a home laser printer. Reproductions are so muddy and washed out that at times I can barely even tell what I'm looking at.
I ordered a 50-year-old used copy of the Doubleday hardcover edition of this book and the photo reproduction quality is much better. Really, for a book that depends so heavily on image quality, this is inexcusable - especially for a $50 paperback.
I own many excellent books published by the Bollingen Foundation, but this one is a real disappointment.
0 of 0 people found the following review helpful.
Out of the Depths
By Richard I. Pervo
640 pages of insights and aphorisms. Academic art critics will not approve of M's work because he does not develop arguments in a conventional way but unveils insights and, even more unacceptably, lists no sources. Others will revel in this philosophical paean. As the title indicates, M. looks at how plastic arts communicate beyond their original settings and purpose. Well aware of the religious function of most art for much of history, M reflects upon its other functions. The translation is first rate. the illustrations are not of high quality in the paperback edition. cannot think of who would not benefit from this book.
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