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By Lucian Krukowski

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It thus remains a standard that defines the type but is no longer attainable. Within this last criterion we discern a certain nostalgia in Hegel's concept of progressthe inevitability of loss as well as gain. The influence of Hegel's aesthetic theories on the programs of the avantgarde is quite complex. Not all of his doctrine of historical progress in the arts can be uniformly interpreted as positive. Also to be found are discouraging sentiments, particularly in those instances when Hegel seems to take back what he promiseswhenever an emphasis on change threatens to obscure categorical stability.

The lofty role that Hegel assigns to artas a symbol of "spiritual transcendence"provides later radical movements with a reason for their ambitions, even if they must look elsewhere for their procedures. The alternative (b) listed abovethe risk of symbolic uniquenesswas the alternative of choice for the avant-garde, as it was perceived to contain the possibility of a new category of art from which the aesthetics of naturalistic beauty and mimetic "service" are excluded. The threat to the identity of art through loss of its discriminability is faced up to by positing a new content for discrimination.

If we disregard certain stylistic and iconographic variations, we can interpret all such objects as occurring in that given space at the same time. The scanning of a perspective schema discloses rules for determining relative size and position in simultaneous occurrences. " 18 This "frozen moment" of perspectival illusion, which had previously been considered a source of pictorial richness, becomes a target of avant-garde criticism. Some aspects of this criticism sound an orthodox Hegelian note: that the demands of consciousness ''now" favor process over architectonic.

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