The Nature of Abstract Art: Meyer Schapiro’s Timeless Critique

Meyer Schapiro’s 1937 essay, The Nature of Abstract Art, is a seminal work in art criticism, offering one of the earliest and most profound critiques of abstraction. At a time when abstract art was beginning to dominate the modernist discourse, Schapiro's essay intervened by challenging prevailing interpretations, particularly those of the influential critic Clement Greenberg and proponents of formalism. Schapiro’s nuanced exploration of the social, historical, and material conditions underpinning abstract art transformed the way abstraction was understood, emphasizing its embeddedness in cultural and ideological frameworks. This essay explores Schapiro’s critique, situating it within its historical context, analyzing its central arguments, and discussing its enduring relevance.

Source: Michael Blackwood Productions

Historical Context: A World in Flux

When Schapiro wrote The Nature of Abstract Art, the world was on the brink of monumental change. The Great Depression had devastated economies worldwide, and fascist regimes were on the rise in Europe. In the art world, abstraction was seen as the pinnacle of modernist innovation, with artists such as Wassily Kandinsky, Piet Mondrian, and Kazimir Malevich embracing it as a universal language free from the constraints of representation. The prevailing narrative, championed by figures like Greenberg, posited abstraction as a self-contained exploration of the medium’s intrinsic properties, emphasizing purity and autonomy.

Schapiro entered this discourse with a critical lens, questioning the universality and neutrality attributed to abstraction. He argued that abstract art, like all cultural forms, was deeply shaped by its historical moment and the social conditions in which it emerged. Schapiro’s Marxist leanings informed his critique, as he sought to uncover the material and ideological underpinnings of abstract art while maintaining a deep appreciation for its aesthetic and expressive possibilities.

Abstraction as a Product of History

Central to Schapiro’s thesis is the idea that abstraction is not a disembodied or purely formalist development but a product of specific historical forces. He challenged the formalist interpretation that abstraction was a natural evolution of art, an inevitable refinement of its essential properties. Instead, Schapiro emphasized the discontinuities and contradictions within the history of abstraction, arguing that its rise was closely tied to the social and economic transformations of the early 20th century.

Schapiro noted that abstraction emerged at a time of profound social alienation and upheaval. The industrial revolution, urbanization, and the disintegration of traditional community structures created a sense of fragmentation and dislocation, which found expression in abstract art. For Schapiro, abstraction was not merely a retreat from representation but a response to the alienated conditions of modern life. Artists turned to abstraction as a means of grappling with the anxieties and uncertainties of a rapidly changing world, using non-representational forms to explore inner states, spiritual aspirations, and alternative modes of seeing.

Critique of Formalism

Schapiro’s critique of formalism is one of the essay’s most enduring contributions. He argued that the formalist emphasis on medium specificity—Greenberg’s notion that painting should focus solely on its flatness, color, and composition—ignored the broader social and ideological dimensions of art. Schapiro contended that even the most abstract works carried traces of the artist’s subjectivity, cultural context, and historical moment.

He illustrated this point through a detailed analysis of Mondrian’s compositions. While Mondrian’s grids and geometric forms were often interpreted as pure and universal, Schapiro highlighted the underlying emotional and spiritual impulses driving his work. Mondrian’s abstraction, Schapiro argued, was rooted in his deeply personal quest for harmony and balance, reflecting his engagement with Theosophy and his desire to transcend the chaos of modern life. In this way, Schapiro demonstrated that abstraction was not devoid of content but suffused with the artist’s intentions and cultural influences.

The Ideological Dimensions of Abstraction

Another key aspect of Schapiro’s argument is his examination of the ideological dimensions of abstraction. He observed that the celebration of abstraction as a universal language often masked its complicity with dominant power structures. In a capitalist society, abstraction’s detachment from representation could be co-opted to serve the interests of the elite, functioning as a symbol of refinement and exclusivity. Schapiro warned against the fetishization of abstraction as an apolitical or purely aesthetic phenomenon, urging critics and artists to consider its social implications.

At the same time, Schapiro acknowledged the revolutionary potential of abstraction. He recognized that abstraction could challenge conventional ways of seeing and disrupt established hierarchies of representation. By breaking free from the constraints of realism, abstract art opened up new possibilities for expression and perception, allowing artists to engage with ideas and experiences that could not be conveyed through traditional forms.

Abstraction and the Viewer

Schapiro also explored the relationship between abstract art and the viewer. He argued that abstraction demanded a new kind of engagement, one that went beyond passive observation to active interpretation. Abstract works invited viewers to enter into a dialogue with the artwork, bringing their own experiences and associations to bear on its meaning. This participatory aspect of abstraction, Schapiro suggested, reflected the democratic and experimental spirit of modernity.

However, Schapiro was critical of the way abstraction was often presented as inaccessible or elitist. He called for a more inclusive approach to art criticism, one that bridged the gap between abstract art and the broader public. By emphasizing the human and cultural dimensions of abstraction, Schapiro sought to make it more relatable and meaningful to a wider audience.

The Enduring Relevance of Schapiro’s Critique

Schapiro’s The Nature of Abstract Art remains a touchstone for contemporary debates about abstraction and its place in art history. His insistence on the historical and social embeddedness of abstraction continues to resonate, challenging the formalist and apolitical narratives that have often dominated the field.

In the decades since Schapiro’s essay was published, abstraction has undergone numerous transformations, from the minimalist grids of Agnes Martin to the expressive gestures of Mark Bradford. Each iteration of abstraction reflects its historical moment, embodying the tensions and possibilities of its time. Schapiro’s insights provide a framework for understanding these developments, reminding us that abstraction is not a fixed or static phenomenon but a dynamic and evolving practice.

Moreover, Schapiro’s critique of formalism has inspired generations of scholars and artists to think critically about the intersections of art, ideology, and society. His emphasis on the cultural and subjective dimensions of abstraction has opened up new avenues for interpretation, allowing for a richer and more nuanced understanding of abstract art.

Conclusion

Meyer Schapiro’s The Nature of Abstract Art is a landmark essay that continues to shape the way we think about abstraction and its place in art history. By situating abstraction within its historical, social, and ideological contexts, Schapiro challenged the formalist orthodoxy and offered a more expansive and humanistic perspective. His critique underscores the complexity and richness of abstract art, revealing its capacity to engage with the most profound questions of modern life.

In an era where abstraction remains a vital and contested field of artistic practice, Schapiro’s insights are more relevant than ever. His essay invites us to look beyond the surface of abstract works, to consider their cultural and historical dimensions, and to engage with them as expressions of the human condition. By doing so, we can continue to uncover the enduring power and significance of abstraction in the ever-changing landscape of modern and contemporary art.