HISTORIAS Manuel Espejo

Art as a Social, Economic, and Historical Phenomenon

Art is undeniably a complex social phenomenon, and its examination can be approached from two distinct perspectives. Firstly, there's the aesthetic viewpoint, which we won't delve into here. Instead, we'll adopt the perspective of scrutinizing the society that fosters art and how art mirrors and conforms to the characteristics of that society.

Art is an intricate reflection of the society that gives birth to it. Delving into the tangible circumstances that underlie artistic creation proves to be highly enlightening. Even the seemingly abstract concept of beauty is intrinsically tied to the interests and material conditions that envelop artistic production. Historical, economic, and social contexts of each era are crucial to comprehending art. There exists no abstract concept of art or beauty. Art and society share a symbiotic relationship, one marked by fluidity, dynamism, and temporal variations. To truly grasp art, one must grasp the material circumstances of its creation. However, it is imperative to acknowledge that a single social or artistic event can be subject to vastly different interpretations depending on its geographical and historical context.

Art is often a product of the interests and ideologies of the powerful and serves as a reflection of the social structure of the societies from which it emerges. The artist's social and material situation, the socio-cultural framework of the society in which art flourishes, the financial aspects that orbit artistic endeavors, and numerous other material factors all wield significance when analyzing artistic phenomena. Below, we will delve into several examples to illustrate these points:

1. Art under totalitarian regimes functions primarily as propaganda. The artwork of regimes such as National Socialism in Germany, Fascism in Italy, and Communism in the Soviet Union shares common traits. Contemporary states like North Korea continue this tradition. Totalitarian art suppresses any divergent artistic expressions and is intended to indoctrinate citizens with the ideologies of the regime. It serves as an additional tool of the state, subjugating individuality under the complete authority of the party or the nation.

2. Paintings are not solely created for museum exhibition. They are crafted to adorn homes, palaces, public spaces, private residences, churches, and more. Up until the 18th century, most paintings were commissioned, painted in accordance with patrons' precise instructions. Paintings, both in the past and present, are often expensive and not accessible to all. Typically, art has been commissioned by affluent or influential individuals, such as monarchs, nobility, the Church, and prosperous citizens, who commissioned art that aligned with their interests.

3. The Church has historically been a significant patron of the arts. Religious imagery has commonly adorned ecclesiastical buildings, including parishes and cathedrals, as a means to convey the teachings of the Gospel. Art served as an educational tool for catechism. Parallels can be drawn between the artistic expressions of the Church and those of totalitarian states. However, the religious motive was often intertwined with the patrons' interests, and these individuals were frequently depicted in religious art, sometimes assuming the roles of biblical figures or adopting prayerful postures.

4. A compelling comparison can be made between artworks commissioned for royal palaces and those for bourgeois homes. Monarchs used art to showcase their power, with their portraits exuding luxury, regal attire, elegance, and majesty. In the 16th century, Spanish art reflected the might of its monarchs, with their portraits being large to hang on the expansive walls of royal palaces. Conversely, Flemish art of the same period comprised smaller paintings encompassing diverse themes. This was bourgeois art tailored for affluent citizens who resided in houses.

In conclusion, the following insights emerge:

Art is not autonomous but intricately linked to the society in which it is birthed, often facing marginalization when it deviates from societal norms.
Art frequently serves as a mirror reflecting the interests and perspectives of the dominant classes within a particular society.