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Abstract
More than an academic professional (one who teaches art) I prefer tointeract as an artist – be it a classroom or writing in a journal. I believe I can makemore sense by being random, spontaneous and perhaps incongruous and like anartist narrate my story in an extempore spasmodic flash. My present article wouldnot have been possible without this faith.A word that has often come to my rescue, and will perhaps justify the plot(content/ form) of my article is “contingency”. It means the turning from past tofuture, the acceptance of risk, the omnipresence of change, the malleability of timeand space – something contrary to a predictable linear organized whole.Considering the length of subject and the brevity of space my article will, more or less, adopt a cinematic strategy: take a number of images (events) and connectthem to form a sequence and keep cutting and connecting until a number of (decentralized) view points or angles are created.The time-frames, viewed through a question mark, go as far as Leonardo,Michelangelo, Mannerists, Bernini, Caravagio, Turner, Goya, each appearing withan anticipation to be justified as the first true artist. The frames appear out of focusas they move, as if unawares, from locating the first true artist to the first truemodern artist. And then (as Giles Deleuze, the great philosopher of cinema hastaught that cinema is at its most cinematic when it frees us from the idea of time as1
 
a connected order or sequence) the disruption of a linear sequence betweenmodern art and post modern art leads to a host of montages, jump cuts, irrationalcuts and multiple view points.In other words, the present article is a narration from an artist cruisingalong the movement image and time image of the art between modernism and postmodernism.2
 
A CAPSULE ACCOUNT OF ART BETWEEN MODERNISM ANDPOSTMODERNISM:FROM ARTIST’S STUDIO.
Mr. Wasim Mushtaq Wani
Lecturer, Department of Fine Arts, AMU, Aligarh
At a certain point an eventual transformation took place when a painter graduated into artist. Was it Renaissance where for the first time painter’s ego roseas high as that of any great poet and made an awe-inspiring presence in the Plato’sRepublic? When a picture of a toothless, eye-browless, wig-headed pregnantwoman was conceived to be celebrated forever as a goddess of mysterious beauty?Or perhaps the first true artist was born somewhere in the midst of never-endingwar between classicism and romanticism? Do we owe him/her to theconflict/intercourse between reason and passion? Cogito ergo sum? Shakespeare:love, youth, madness, procrastination: tethered to time? Bernini’s Freudean slip in
The Ecstasy of St. Thomas
? Caravagio’s ultra-naturalism who brought Christ’sagony from the ideal cross to the zero-degree banality of human realization - asadist in disguise who earned the reputation as the anti-Christ of painting?Voltaire? Diderot? Rousseau? Goethe? … The annihilation of ‘psychical distance’achieved by a romanticist like Turner? Goya - the tragedy of an artist who never seized to be a sensitive human being and became a living ghost in the midst of 3
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