The two - minute version, he says, would be that Greenberg favored «purity, formalism,
flatness,
overall design, and surface incident» in painting while Rosenberg argued for «the action
of the artist on the
canvas and the notion
of the creative act being the most important aspect
of art making, rather than the product.»
By refusing to adopt the «old values»
of traditional art and asserting the
flatness and objectivity
of the
canvas he was not rejecting completely the energetic brushstrokes
of Abstract Expressionism, as is often suggested, but insisting on the development
of the
overall surface without relying on the illusionism that comes from the visual brushstrokes or the sense
of depth that the inclusion
of color might imply.