AN ESSAY TOWARDS A THEORY OF ART
Scanned, proofed and corrected from the original hardcover edition for enjoyable reading. (Worth every penny spent!) *** TABLE OF THE ARGUMENT: Part I -- The Theory Largely Eclectic, Artistic Theory Yields Only Intellectual Satisfaction, Æsthetic and Art to Be Distinguished, Their First Distinction, But Art Supposes Æsthetic. -- Part II -- Scope of Æsthetic, The Matter of Æsthetic, What Æsthetic Experience Is, But Æsthetic Experience Is Not Itself Art, Distribution of Æsthetic Experience. -- Part III -- Beauty Occurs Only in Æsthetic Experience, But Æsthetic Experience Need not be Beautiful, The Judgment of Beauty, Illustrated in a Locomotive, Evident Adaptation May Be Judged Beautiful, Absolute Beauty, How It Is the Type of a Work of Art. -- Part IV -- Art is the Expression of Æsthetic, Experience, Expression in Art is Communication, No Communication, No Art
Expression in Art is of Whole Experience, Compound Structure of Experience
No Imitation of Objects in Art, Why the Arts may be Classed Together, Beautiful Experience not Necessarily the Source of Art, But Beauty Must Be the Result of Art, Origin of Art is Impulsive Experience, Existence of Art is Expressive, Experience, They are Distinguishable, Impulsive Experience the End as Well as the Cause. -- Part V -- Specific Beauty of Art is Given by Expression, Fragmentary Beauty, Whole Beauty, It is Given by Evident Adaptation, Art Not Created for the Sake of Beauty, Beauty Not Specific to Art May Occur in Art, Possible Limitations of Art and Beauty, How Art is Disinterested, How it is Interested. -- Part VI -- Nature of Artistic Expression, It is Symbolic, Its Means are Empirical, Artistic Conception, Artistic Technique, Technique Gives Expressive Experience, This Is Variable, Expressive Reveals Impulsive Experience. -- Part VII -- Conception the Condition of Technique, Hence Technique Has Two Aspects, Matter and Form, Form the Symbol of Unity, And the Completion of Artistic Expression, Form Gives Art Its Function, Significance, Form Gives Significance to Expressive Experience, As Unity Does to Impulsive Experience, The Significant World Is Æsthetic Experience, The Ideal World Is Artistic Experience, *** An excerpt from the beginning of PART I - The Theory Largely Eclectic: AN essay on such a subject as this may well begin with apologies. It took Hegel 1600 pages of exasperated cerebration to put forth his theory of art; Kant's theory is notoriously difficult to follow through the labyrinthine "Kritik of Judgment"; and Croce, effecting a remarkable simplification of these studies, felt bound to effect it in a way so subtle and technical that his meaning is, to say the least, elusive on a first reading. A mere essay, however useful as a kind of site-plan for future building, cannot avoid dogmatism; and nothing can need more apology than that. Brevity also requires that I omit to point out where the theory I outline agrees, and where it disagrees, with the classical theories. I mentioned Croce just now. Anyone who has read him will see how much I owe to him, and will also see that a good half of my theory (and I think the most important half) must be abomination to the devout Crocean. In the same way I could support my views here and there with many great names—Aristotle, Bacon, Kant, for example, as well as Croce: but the same names would, elsewhere, make excellent missiles to pelt me with. I leave the reader to find that out. I have sufficiently done my duty in admitting quite frankly that a good deal of my theory is eclectic.
"1104176424"
Expression in Art is of Whole Experience, Compound Structure of Experience
No Imitation of Objects in Art, Why the Arts may be Classed Together, Beautiful Experience not Necessarily the Source of Art, But Beauty Must Be the Result of Art, Origin of Art is Impulsive Experience, Existence of Art is Expressive, Experience, They are Distinguishable, Impulsive Experience the End as Well as the Cause. -- Part V -- Specific Beauty of Art is Given by Expression, Fragmentary Beauty, Whole Beauty, It is Given by Evident Adaptation, Art Not Created for the Sake of Beauty, Beauty Not Specific to Art May Occur in Art, Possible Limitations of Art and Beauty, How Art is Disinterested, How it is Interested. -- Part VI -- Nature of Artistic Expression, It is Symbolic, Its Means are Empirical, Artistic Conception, Artistic Technique, Technique Gives Expressive Experience, This Is Variable, Expressive Reveals Impulsive Experience. -- Part VII -- Conception the Condition of Technique, Hence Technique Has Two Aspects, Matter and Form, Form the Symbol of Unity, And the Completion of Artistic Expression, Form Gives Art Its Function, Significance, Form Gives Significance to Expressive Experience, As Unity Does to Impulsive Experience, The Significant World Is Æsthetic Experience, The Ideal World Is Artistic Experience, *** An excerpt from the beginning of PART I - The Theory Largely Eclectic: AN essay on such a subject as this may well begin with apologies. It took Hegel 1600 pages of exasperated cerebration to put forth his theory of art; Kant's theory is notoriously difficult to follow through the labyrinthine "Kritik of Judgment"; and Croce, effecting a remarkable simplification of these studies, felt bound to effect it in a way so subtle and technical that his meaning is, to say the least, elusive on a first reading. A mere essay, however useful as a kind of site-plan for future building, cannot avoid dogmatism; and nothing can need more apology than that. Brevity also requires that I omit to point out where the theory I outline agrees, and where it disagrees, with the classical theories. I mentioned Croce just now. Anyone who has read him will see how much I owe to him, and will also see that a good half of my theory (and I think the most important half) must be abomination to the devout Crocean. In the same way I could support my views here and there with many great names—Aristotle, Bacon, Kant, for example, as well as Croce: but the same names would, elsewhere, make excellent missiles to pelt me with. I leave the reader to find that out. I have sufficiently done my duty in admitting quite frankly that a good deal of my theory is eclectic.
AN ESSAY TOWARDS A THEORY OF ART
Scanned, proofed and corrected from the original hardcover edition for enjoyable reading. (Worth every penny spent!) *** TABLE OF THE ARGUMENT: Part I -- The Theory Largely Eclectic, Artistic Theory Yields Only Intellectual Satisfaction, Æsthetic and Art to Be Distinguished, Their First Distinction, But Art Supposes Æsthetic. -- Part II -- Scope of Æsthetic, The Matter of Æsthetic, What Æsthetic Experience Is, But Æsthetic Experience Is Not Itself Art, Distribution of Æsthetic Experience. -- Part III -- Beauty Occurs Only in Æsthetic Experience, But Æsthetic Experience Need not be Beautiful, The Judgment of Beauty, Illustrated in a Locomotive, Evident Adaptation May Be Judged Beautiful, Absolute Beauty, How It Is the Type of a Work of Art. -- Part IV -- Art is the Expression of Æsthetic, Experience, Expression in Art is Communication, No Communication, No Art
Expression in Art is of Whole Experience, Compound Structure of Experience
No Imitation of Objects in Art, Why the Arts may be Classed Together, Beautiful Experience not Necessarily the Source of Art, But Beauty Must Be the Result of Art, Origin of Art is Impulsive Experience, Existence of Art is Expressive, Experience, They are Distinguishable, Impulsive Experience the End as Well as the Cause. -- Part V -- Specific Beauty of Art is Given by Expression, Fragmentary Beauty, Whole Beauty, It is Given by Evident Adaptation, Art Not Created for the Sake of Beauty, Beauty Not Specific to Art May Occur in Art, Possible Limitations of Art and Beauty, How Art is Disinterested, How it is Interested. -- Part VI -- Nature of Artistic Expression, It is Symbolic, Its Means are Empirical, Artistic Conception, Artistic Technique, Technique Gives Expressive Experience, This Is Variable, Expressive Reveals Impulsive Experience. -- Part VII -- Conception the Condition of Technique, Hence Technique Has Two Aspects, Matter and Form, Form the Symbol of Unity, And the Completion of Artistic Expression, Form Gives Art Its Function, Significance, Form Gives Significance to Expressive Experience, As Unity Does to Impulsive Experience, The Significant World Is Æsthetic Experience, The Ideal World Is Artistic Experience, *** An excerpt from the beginning of PART I - The Theory Largely Eclectic: AN essay on such a subject as this may well begin with apologies. It took Hegel 1600 pages of exasperated cerebration to put forth his theory of art; Kant's theory is notoriously difficult to follow through the labyrinthine "Kritik of Judgment"; and Croce, effecting a remarkable simplification of these studies, felt bound to effect it in a way so subtle and technical that his meaning is, to say the least, elusive on a first reading. A mere essay, however useful as a kind of site-plan for future building, cannot avoid dogmatism; and nothing can need more apology than that. Brevity also requires that I omit to point out where the theory I outline agrees, and where it disagrees, with the classical theories. I mentioned Croce just now. Anyone who has read him will see how much I owe to him, and will also see that a good half of my theory (and I think the most important half) must be abomination to the devout Crocean. In the same way I could support my views here and there with many great names—Aristotle, Bacon, Kant, for example, as well as Croce: but the same names would, elsewhere, make excellent missiles to pelt me with. I leave the reader to find that out. I have sufficiently done my duty in admitting quite frankly that a good deal of my theory is eclectic.
Expression in Art is of Whole Experience, Compound Structure of Experience
No Imitation of Objects in Art, Why the Arts may be Classed Together, Beautiful Experience not Necessarily the Source of Art, But Beauty Must Be the Result of Art, Origin of Art is Impulsive Experience, Existence of Art is Expressive, Experience, They are Distinguishable, Impulsive Experience the End as Well as the Cause. -- Part V -- Specific Beauty of Art is Given by Expression, Fragmentary Beauty, Whole Beauty, It is Given by Evident Adaptation, Art Not Created for the Sake of Beauty, Beauty Not Specific to Art May Occur in Art, Possible Limitations of Art and Beauty, How Art is Disinterested, How it is Interested. -- Part VI -- Nature of Artistic Expression, It is Symbolic, Its Means are Empirical, Artistic Conception, Artistic Technique, Technique Gives Expressive Experience, This Is Variable, Expressive Reveals Impulsive Experience. -- Part VII -- Conception the Condition of Technique, Hence Technique Has Two Aspects, Matter and Form, Form the Symbol of Unity, And the Completion of Artistic Expression, Form Gives Art Its Function, Significance, Form Gives Significance to Expressive Experience, As Unity Does to Impulsive Experience, The Significant World Is Æsthetic Experience, The Ideal World Is Artistic Experience, *** An excerpt from the beginning of PART I - The Theory Largely Eclectic: AN essay on such a subject as this may well begin with apologies. It took Hegel 1600 pages of exasperated cerebration to put forth his theory of art; Kant's theory is notoriously difficult to follow through the labyrinthine "Kritik of Judgment"; and Croce, effecting a remarkable simplification of these studies, felt bound to effect it in a way so subtle and technical that his meaning is, to say the least, elusive on a first reading. A mere essay, however useful as a kind of site-plan for future building, cannot avoid dogmatism; and nothing can need more apology than that. Brevity also requires that I omit to point out where the theory I outline agrees, and where it disagrees, with the classical theories. I mentioned Croce just now. Anyone who has read him will see how much I owe to him, and will also see that a good half of my theory (and I think the most important half) must be abomination to the devout Crocean. In the same way I could support my views here and there with many great names—Aristotle, Bacon, Kant, for example, as well as Croce: but the same names would, elsewhere, make excellent missiles to pelt me with. I leave the reader to find that out. I have sufficiently done my duty in admitting quite frankly that a good deal of my theory is eclectic.
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AN ESSAY TOWARDS A THEORY OF ART
AN ESSAY TOWARDS A THEORY OF ART
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Product Details
| BN ID: | 2940013604490 |
|---|---|
| Publisher: | OGB |
| Publication date: | 07/07/2011 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 278 KB |
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