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Central to the development of abstract art, in the early decades of the 20th century was the conception (most famously articulated by Walter Pater) that the most appropriate paradigm for non-figurative art was music. The assumption has always been that this model was most effectively understood as Western art music (classical music). However, the musical form that was abstract art's true twin is jazz, a music that originated with African Americans, but which had a profound impact on European artistic sensibilities. Both art forms share creative techniques of rhythm, groove, gesture and improvisation. This book sets out to theorize affinities and connections between, and across, two seemingly diverse cultural phenomena.
Simon Shaw-Miller is Emeritus Chair of Art History at the University of Bristol, UK, and an Honorary Associate of the Royal Academy of Music.
Introduction & Theoretical Preliminaries: Art, Abstraction and All That Jazz1. The Sight and Sound of Nascent Jazz: Words, Definitions & Rags2. Orphism and a New Tune I: Dance, Music, Painting3. Orphism and a New Tune II: Words, Music, Image4. Orphism in America: Art, Machines and Jazz Rhythm5. Objects, Improvisation and Rhythm: Kandinsky, Duchamp and Beyond
