Which is better, ancient art or modern art?
January, 18; 2026. By Arscodex
Currently, there is a debate in the art world about two competing centrifugal forces: ancient art and modern art. Which is better? Well, in this publication, we propose that it depends on the intended use of each particular artistic element.
A struggle has arisen between ancient and modern art, a fight that was capitalized on by Picasso, the painter from Málaga who, affectionately, opened "the Pandora's box of modernity" (it has since come to light that there were other attempts at abstraction before, mainly by female painters, but it was this painter who primarily capitalized on the new artistic wave). And behind this struggle lies a political undercurrent: communism or progressivism traditionally aligns itself with modern art, while the bourgeoisie and nobility align themselves with ancient art.
Given all these elements, which we will combine in this article, we can say that a solution to the aforementioned struggle can be found in the use of each artwork. And we will examine this point by point.
Geometric or abstract art has been present in decoration since time immemorial, and is particularly prominent in arabesques (such as nature patterns, geometric motifs, or interlacing designs). In Islam, figurative representation is very limited, as we know, and this is related to the fact that realistic portraits often feel too intrusive as home decor. Therefore, landscapes or, in the modern era, abstraction are often used instead.
Thus, we see first and foremost that the use of the art determines its purpose: if we don't want to fill our homes with portraits, we will use modern art, in this case.
If what we want is to tell a story or recount a real event, we simply have to embrace the versatility of figurative art, such as the paintings of Velázquez or Rodin (with his evocative sculptures like "The Kiss," etc.).
In architecture, function can also determine style: Neoclassical for state and government buildings in Western democracies, for example (following in the footsteps of Palladio's architecture), or, for art museums, a more modern style (or one that depends on the type of art it houses), such as the works of Frank Gehry.
Generally, nowadays, modern architecture is also associated with utilitarian typologies (more rational ones, such as hospitals, etc.), where space must be maximized and construction must be efficient yet cost-effective.
It's worth noting that the political undercurrents that have shaped each type of art (in this case, classical and modern) tend to favor the ancient, since, to a certain extent, it's necessary to maintain important structures so they can withstand the test of time and act as witnesses and proof that other eras existed. The "suicidal" or "self-destructive" "communist-like" tendency to eradicate tradition would prevent this layered construction process and eliminate the evidence left for future societies. In other words, tradition includes the "state of the art" of knowledge and science, so destroying it would mean a return to chaos. As a more commercial example (given its impact on tourism), consider what would have happened if Charles I of Spain (Charles V of Germany) had decided to completely demolish the Mosque of Córdoba (a situation that was resolved by converting it into a cathedral, thus preserving most of its structure). This topic—the preservation of significant architectural works—will be discussed specifically in a separate article in this publication.
One good solution to certain problems arising from this struggle is to blend modern and ancient art, as follows: If the container (the building) is old, fill it with modern decorative motifs (for example, more simplified paintings and furniture). This gives the whole thing a very attractive finish, which is also worth mentioning in this article. The architect Rafael Moneo is also very skilled in this area, in blending classical and modern art.
In short, the "duel" between ancient and modern art is resolved primarily through the use of each artistic element, and we must also try to "preserve" what is important in tradition (and in art) so as not to revert to a wild and/or untamed state.
A struggle has arisen between ancient and modern art, a fight that was capitalized on by Picasso, the painter from Málaga who, affectionately, opened "the Pandora's box of modernity" (it has since come to light that there were other attempts at abstraction before, mainly by female painters, but it was this painter who primarily capitalized on the new artistic wave). And behind this struggle lies a political undercurrent: communism or progressivism traditionally aligns itself with modern art, while the bourgeoisie and nobility align themselves with ancient art.
Given all these elements, which we will combine in this article, we can say that a solution to the aforementioned struggle can be found in the use of each artwork. And we will examine this point by point.
Geometric or abstract art has been present in decoration since time immemorial, and is particularly prominent in arabesques (such as nature patterns, geometric motifs, or interlacing designs). In Islam, figurative representation is very limited, as we know, and this is related to the fact that realistic portraits often feel too intrusive as home decor. Therefore, landscapes or, in the modern era, abstraction are often used instead.
Thus, we see first and foremost that the use of the art determines its purpose: if we don't want to fill our homes with portraits, we will use modern art, in this case.
If what we want is to tell a story or recount a real event, we simply have to embrace the versatility of figurative art, such as the paintings of Velázquez or Rodin (with his evocative sculptures like "The Kiss," etc.).
In architecture, function can also determine style: Neoclassical for state and government buildings in Western democracies, for example (following in the footsteps of Palladio's architecture), or, for art museums, a more modern style (or one that depends on the type of art it houses), such as the works of Frank Gehry.
Generally, nowadays, modern architecture is also associated with utilitarian typologies (more rational ones, such as hospitals, etc.), where space must be maximized and construction must be efficient yet cost-effective.
It's worth noting that the political undercurrents that have shaped each type of art (in this case, classical and modern) tend to favor the ancient, since, to a certain extent, it's necessary to maintain important structures so they can withstand the test of time and act as witnesses and proof that other eras existed. The "suicidal" or "self-destructive" "communist-like" tendency to eradicate tradition would prevent this layered construction process and eliminate the evidence left for future societies. In other words, tradition includes the "state of the art" of knowledge and science, so destroying it would mean a return to chaos. As a more commercial example (given its impact on tourism), consider what would have happened if Charles I of Spain (Charles V of Germany) had decided to completely demolish the Mosque of Córdoba (a situation that was resolved by converting it into a cathedral, thus preserving most of its structure). This topic—the preservation of significant architectural works—will be discussed specifically in a separate article in this publication.
One good solution to certain problems arising from this struggle is to blend modern and ancient art, as follows: If the container (the building) is old, fill it with modern decorative motifs (for example, more simplified paintings and furniture). This gives the whole thing a very attractive finish, which is also worth mentioning in this article. The architect Rafael Moneo is also very skilled in this area, in blending classical and modern art.
In short, the "duel" between ancient and modern art is resolved primarily through the use of each artistic element, and we must also try to "preserve" what is important in tradition (and in art) so as not to revert to a wild and/or untamed state.
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