Photography and cinema continued rather than challenged the realist program of painting

Evidence

Photography did not appear as a challenge to painting from the outside, any more than industrial cinema did to narrative literature. The former was only putting the final touch to the program of ordering the visible elaborated by the quattrocento; while the latter was the last step in rounding off diachronies as organic wholes, which had been the ideal of the great novels of education since the eighteenth century. That the mechanical and the industrial should appear as substitutes for hand or craft was not in itself a disaster—except if one believes that art is in its essence the expression of an individuality of genius assisted by an elite craftsmanship. — Jean-François Lyotard, The Postmodern Condition, 474

Categorization

• XREF: Directly reverses the Benjaminian/commonsense narrative Jameson inherits; good material for a Lyotard-vs-Jameson comparison on the role of commodification. — connects to: Photography descended directly from panorama painting

Broader Connections

• Photography descended directly from panorama painting #corroborates (0.80)