The Philosophy of Art: An Introduction to the Scientific Study of Aesthetics

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Oliver and Boyd, 1886 - Aesthetics - 118 pages
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Page 44 - Such we may take to be the articulated totality of the particular arts, viz. the external art of architecture, the objective art of sculpture, and the subjective art of painting music and poetry.
Page 14 - ... produced in the writers by the works they profess to judge. The relation of art to nature and actual life has never been more fully or forcibly defined than in the following passage : To experience in common life we are accustomed to give the name and value of reality and truth, in contrast to art as wanting in such truth and reality. But, when more carefully considered, it is just this whole sphere of the inner and outer world of mere experience that, instead of being called the world of reality...
Page 96 - I looked above, and saw in all of space but One ; Looked down, and saw in the foaming waves but One; O heart, whether thou swimmest in floods or glowest in heat, Flood and glow is but one ; be it thine to be pure ; For where love awaketh, then dieth The I, the dark despot of life.1 JELALEDDlN.
Page 14 - ... art as wanting in such truth and reality. But, when more carefully considered, it is just this whole sphere of the inner and outer world of mere experience that, instead of being called the world of reality in a stricter sense than the world of art, is to be regarded as a mere appearance and as crude illusion. The true reality is only to be found beyond and above the immediate experiences of sensation and external objects. For what is truly real is only what has being in itself and for itself...
Page 16 - Only one sphere and stage of truth is capable of being represented in the element of art. In order to be a genuine content for art, such truth must in virtue of its own specific character be able to go forth into [the sphere of] sense and remain adequate to itself there. This is the case, for example, with the gods of Greece. On the other hand, there is a deeper comprehension of truth which is no longer so akin and friendly to sense as to be capable of appropriate adoption and expression in this...
Page 4 - Nature comes generally into competition with that of art, we are justified in maintaining categorically that the beauty of art stands higher than Nature. For the beauty of art is a beauty begotten, a new birth of mind; ' and to the extent that Spirit and its creations stand higher than Nature and its phenomena, to that extent the beauty of art is more exalted than the beauty of Nature.
Page 14 - ... substantial, both in nature and mind. Such substantial being is, indeed, presented (in art) as appearing in experience ; but in this form of existence it continues to maintain its own essential being. . . . The domination of the universal powers that are involved in all being, is just what art emphasizes and shows. In the common world, without and within, the essential reality of being has also a manifestation ; but it is in the form of a chaos of accidental things, confused in the immediate...
Page 12 - It enters into the same circle with Religion and Philosophy, and is only a special mode and form of bringing the Divine, with the deepest interests of man and the most comprehensive truths of the spiritual life, to consciousness and expression.
Page 48 - ... same in all cases. It recognises that what is important in creations of art is not their identity but their difference, their individuality, not their conformity to any type or standard. Part of their individuality is their relation to particular times and seasons in the actual history of the world. The problem of the philosophy of art is to make the history of art intelligible — not simply a series of biographies or catalogues, of artists or their works, but a history showing the place of...
Page 38 - ... with each other, that neither of them preponderates. Sculpture thus receives the classical form of Art as its fundamental type. In this sphere, every form of the sensible is also an expression of the spiritual. Hence, there is no spiritual subject that can be adequately represented by Sculpture but may be made entirely visible, in a corresponding bodily form. By Sculpture, the soul is represented, through the corporeal presentation, as in its own immediate unity and blessedness and repose.

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