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What’s Wrong With This Painting?

What’s wrong with these paintings.
Nothing if you need to hang something on wall.
But so many artists, and not just painters, have this urge to fill space up left to right, top to bottom, edge to edge, floor to ceiling. This urge to dominate a physical space. This was not and is not the most useful urge an artist could acquire.
Hierophobia. There could be a tyranny to all-overness and minimalism.
And at least, something to do with the ownership of physical space. Something to do with property and capitalism.
I think that Peter Halley claimed that minimalism became an image, and then a picture with references.
Some artists have touched on a way to construct paintings linearly as if time-based. But most never fully embraced it. Pollock obliterated time and order. This is one of the differences between Kandinsky and Pollock. Kandinsky is never all-over. There is always, in both artists’ painting, major and minor components.
When looking at  these objects one has the sense that if a couple of inches were trimmed of one or more of the edges the resulting painting wouldn’t produce an experience significantly different from before.
When looking at the examples below one has the sense that any cropping would undermine the rhetoric of the composition.

Examples: A cropped Sargeant would disrupt the fine flow of the flourish that takes the eye across the painting. There is no real top or bottom here, only a movement from left to right that is necessary to comprehend the painting.

John Singer Sargeant, 1884, Tate Modern Gallery, London

Their hands are so elegant. Maybe we can find a history of art based on depictions of hands and feet. There must be more, but I found something amusing and conspiratorial: The Hidden Hand that Shaped History
No, that’s frivolous. Look at this Miro.

Bleu II by Joan Miro

And look at this by

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