Robert Benchley, of Algonquin Round Table fame, once claimed that there are two kinds of people in the world–those that divide the world into two groups, and those that don’t. In the spirit of Mr. Benchley’s dichotomous claim, here’s one from Anthony Tommasini’s New York Times review of the Boston Symphony:
The composer Ned Rorem maintains that everything and everyone falls into either French or German aesthetic camps. The French aesthetic favors lightness, texture and surface beauty; the German is concerned with rigor, depth and structure.
This is provocative to consider this in regard to the visual arts as well. Matisse is definitely French. Jackson Pollock too. But what about Rothko? Richter? Marden?