https://www.academia.edu/104737561/The_Right_Eyes_Curating_a_Theology_of_Modernist_Painting?nav_from=407fcf0e-5ba4-4aac-bf40-86699eb4cd95
Do you understand me, Asher Lev? This is not a toy. This is not a child scrawling on a wall. This is a tradition; it is a religion, Asher Lev. You are entering a religion called painting.-Chaim Potok, My Name is Asher Lev 1 Modern art was driven by a particular kind of faith. It was an aggressive faith, a risky faith, which could, at any time, become doubt. In addition, it seemed to be a faith that required doubt. Such theological language might seem surprising since modern artistic practice has had an ambivalent relation to religion, especially the Christian Church. But modern artistic practices developed an apparatus that might best be described as a secular theology, with creeds, doctrines, hagiographies, rituals, confessions, and, yes, a kind of faith. Sociologist Sarah Thornton, writes 'contemporary art has become a kind of alternative religion for atheists' adding that it 'demands leaps of faith, but…rewards the believer with a sense of consequence. 2 This kind of religious behavior that Thornton observed is in part a remnant of a 'theology' that drove modernist painting for nearly a century, from its emergence in Paris in the 1880s through the 1960s, a theology that had at its core a kind of 'faith' that has often either been overlooked completely by theorists, art historians, and critics, or popularized into an 'art as religion' discourse that has flowed through the visual arts since the early nineteenth century. 3 The development of this peculiar concept of faith coincided with and coalesced around the critical reception of the work and life of Paul Cézanne. 4 I suggest that the contours of this faith become apparent when juxtaposed with an early modern theological concept that transformed not only religion, but politics and culture in Europe and the US: Luther's concept of justification sola fide. 5
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