Abstract

Trying to make sense of abstract painting has resulted in interesting but often inexact and inadequately motivated efforts to characterize what is distinctive about modern art. The present account begins with Gertrude Stein's description of the fascination she experiences in viewing painted surfaces and proceeds through a number of efforts to justify or severely criticize abstract painting in relation to more traditional representational works. The basis for a phenomenology of abstract painting is suggested by James Elkins's first-person analysis of the reasons why painters paint, focusing on the production rather than exclusively on the appreciation of paintings. Elkins's proposal that painters paint as an exploration of the possibilities of working with the material substance of paint is advanced as the basis for a new approach to the problems of understanding the nature of abstract art as the most pure and concentrated form of this remarkable aesthetic preoccupation that is to be found in all paintings and by extension in all art.