Independently, and at the same time, Clive Bell argued in his 1914 book Art that all art work has its particular 'significant form', while the conventional subject matter was essentially irrelevant. This work laid the foundations for the formalist approach to art.  In 1920, Fry argued that "it’s all the same to me if I represent a Christ or a saucepan since it's the form, and not the object itself, that interests me." As well as being a proponent of formalism , he argued that the value of art lies in its ability to produce a distinctive aesthetic experience in the viewer. an experience he called "aesthetic emotion". He defined it as that experience which is aroused by significant form. He also suggested that the reason we experience aesthetic emotion in response to the significant form of a work of art was that we perceive that form as an expression of an experience the artist has. The artist's experience in turn, he suggested, was the experience of seeing ordinary objects in the world as pure form: the experience one has when one sees something not as a means to something else, but as an end in itself. 
García Márquez's novel The Autumn of the Patriarch (1975; Eng. trans., 1976) again explores the theme of decay, this time by depicting with typical exaggeration and ironic humor the barbarism, squalor, and corruption that prevail during the reign of a Latin American military dictator. Other works include three collections of short stories ( No One Writes to the Colonel , Eng. trans., 1968; Leaf Storm , Eng. trans., 1972; and Innocent Erendira , Eng. trans., 1978), the novel In Evil Hour (1968; Eng. trans., 1979), the novella Chronicle of a Death Foretold (1981; Eng. trans., 1983), and the novel Love in the Time of Cholera (Eng. trans. 1988).