The Painted Word is part of a pleasant little triptych of social commentary produced by Tom Wolfe in the 70s (more or less) of which Radical Chic and From Bauhaus to Our House make up the other titles. Even with lots of pictures, whitespace and margin, Painted Word only runs to 99 pages. I bought all three and read them over the course of a weekend, what with travel time and all.
Tom Wolfe very devastatingly takes a prominent Modern Art critic's unwittingly accurate sentence and elaborates it into a social, cultural and intellectual critique of the prentensions and foibles of this tiny self-referntial world.
This is a send-up, a satire, and a de-bunking. And a field for which such a come-uppance, if not long overdue, was at the least fully due for just this particular sort of biting insightful up-comeance.
Wolfe takes us through the motives and psychological drama of the three actors in this story - the Artist, the Patron, and the Critic.
The Artist has undergone a change as his role evolved from the glorification of the royals in the Old World to the affliction of the middle class in the New:
"The modern picture of The Artist began to form: the poor but free spirit, plebian but aspiring only to be classless, to cut himself forever free from the bonds of the greedy and hypocritical bourgeoisie, to be whatever the fat burghers feared most, to cross the line wherever they drew it, to look at the world in a way they couldn't see, to be high, live low, stay young forever - in short, to be the bohemian."
It is ultimately up to Warhol, of course, to perfect this stance Warholicly:
"Warhol learned fast, however, and he soon knew how to take whatever he wanted. The bohemian, by definition, was one who did things the bourgeois didn't dare do.