Greenberg argued that the “rationale” of modernist painting–like all the modernist arts (and in this thinking, he was inspired by the writings of Immanuel Kant)–was to employ its own methods to criticise itself.
Such criticism was made not, Greenberg explained, “in order [for the medium to] subvert [itself], but to entrench it more firmly in its area of competence.” For painting, according to Greenberg, this meant two things.
First was a purification of painting of the effects of any other artistic mediums, but sculpture, theatre, and literature primarily. Accordingly, for Greenberg, painting could not be three-dimensional, which was the domain of sculpture; it could not be representational, which was the domain of literature; and it could not generate dramatic effects outside its material, which was the domain of theatre.
The second aspect of painting’s critique of itself was a stress on the limitations that constitute the medium of painting. These limitations consisted of three things: the rectangular shape of the supports, the properties of pigment, and the flat surface of the support.
The flatness of the support was the most important limitation modernism could critique, according to Greenberg, for flatness was unique to the medium of painting. (Greenberg explained that the “enclosing” shape of the supports, in contrast, was shared with theatre, and colour was shared with sculpture and theatre.)
In this way, according to Greenberg, historically “realistic, illusionist art had dissembled the medium, using art to conceal art. Modernism [starting with Manet] used art to call attention to art.”
Greenberg was influenced by Immanuel Kant’s writings.
Modernist painting should employ its own methods to critique itself.
The aim was not to subvert the medium but to reinforce its competence.
Painting should be free from the effects of other artistic media.
It should not be three-dimensional, as this is the domain of sculpture.
It should not be representational, that belonged to literature.
It should not generate dramatic effects, which is the domain of theatre.
Focus on the rectangular shape of the supports.
Consider the properties of pigment.
Highlight the flat surface of the support, unique to painting.
Flatness is the most important limitation for critique.
Historically, realistic art concealed the medium.
Modernism, starting with Manet, highlighted the medium.
Art was used to call attention to itself, not to conceal it.