The Origins of Art: A Psychological & Sociological Inquiry

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Macmillan and Company, limited, 1900 - Aesthetics - 331 pages
 

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Page 137 - Dusse-je m'engloutir pour l'éternité noire, Je ne te vendrai pas mon ivresse ou mon mal, Je ne livrerai pas ma vie ā tes huées, Je ne danserai pas sur ton tréteau banal Avec tes histrions et tes prostituées.
Page 131 - I do not say that the art is greatest which imitates best, because perhaps there is some art whose end is to create, and not to imitate. But I say that the art is greatest which conveys to the mind of the spectator, by any means whatsoever, the greatest number of the greatest ideas...
Page 60 - The more we love life, the more must we also enjoy this sensation, even if it be called into existence by pain. Lessing . . . confesses to this taste in an interesting letter written to Mendelssohn: 'We are agreed in this, my dear friend, that all passions are either vehement cravings or vehement loathings, and also that in every vehement craving or loathing we acquire an increased consciousness of our reality, and that this consciousness cannot but be pleasurable. Consequently, all our passions,...
Page 302 - Hirn, reached the conclusion that "the artimpulse in its broadest sense must be taken as an outcome of the natural tendency of every feeling-state to manifest itself externally, the effect of such a manifestation being to heighten the pleasure and to relieve the pain." In this fact he found "the primary source of art as an individual impulse," but he also considered art as an essentially social manifestation.
Page 175 - ... described by Herr Schmeltz as "constructed in memory of celebrated members of the tribe." The Melanesian sculptures also, according to Codrington, are chiefly commemorative. It must be observed, however, that according to his own description a sort of religious respect is paid at least to some of them. More undeniably commemorative examples are to be found in New Zealand. Although no attempt to reproduce likenesses is made in these colossal wooden statues, they nevertheless more nearly approach...
Page 51 - In rage, it is notorious how we " work ourselves up " to a climax by repeated outbreaks of expression. Refuse to express a passion, and it dies. Count ten before venting your anger, and its occasion seems ridiculous. Whistling to keep up courage is no mere figure of speech. On the other hand, sit all day in a moping posture, sigh, and reply to everything with a dismal voice, and your melancholy lingers.
Page 73 - The instinctive tendency to express overmastering feeling, to enhance pleasure, and to seek relief from pain, forms the most deep-seated motive of all human activity.
Page 7 - Metaphysicians as well as Psychologists, Hegelians as well as Darwinians, all agree in declaring that a work, or performance, which can be proved to serve any utilitarian, non-aesthetic object must not be considered as a genuine work of art.
Page 179 - DECORATION than individual memory, is dependent for its development on some favourable external influences that stimulate the attention. It must not surprise us, therefore, that the varying experiences of war have everywhere acted as a strong incentive on the commemorative impulse. In this case, however, we have to count with a factor of still greater importance in the directly utilitarian advantage which military nations derive from historical art. Through recounting or representing the exploits...
Page 91 - To this quality of mere complexity of surface, pattern adds by its regularity the power of compelling the eye and breath to move at an even and unbroken pace. Even the simplest, therefore, of the patterns ever used have a power akin to that of march music, for they compel our organism to a regular rhythmical mode of being.

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