LITMIR.BIZ

      Published by Good Press, 2019

       [email protected]

      EAN 4057664100016

Table of Contents

       PREFACE

       ILLUSTRATIONS

       I

       THE AESTHETIC HYPOTHESIS

       II

       AESTHETICS AND POST-IMPRESSIONISM

       III

       THE METAPHYSICAL HYPOTHESIS

       II

       ART AND LIFE

       I

       ART AND RELIGION

       II

       ART AND HISTORY

       III

       ART AND ETHICS

       III

       THE CHRISTIAN SLOPE

       I

       THE RISE OF CHRISTIAN ART

       II

       GREATNESS AND DECLINE

       III

       THE CLASSICAL RENAISSANCE AND ITS DISEASES

       IV

       ALID EX ALIO

       IV

       THE MOVEMENT

       I

       THE DEBT TO CÉZANNE

       II

       SIMPLIFICATION AND DESIGN

       III

       THE PATHETIC FALLACY

       V

       THE FUTURE

       I

       SOCIETY AND ART

       II

       ART AND SOCIETY

PREFACE

       Table of Contents

      In this little book I have tried to develop a complete theory of visual art. I have put forward an hypothesis by reference to which the respectability, though not the validity, of all aesthetic judgments can be tested, in the light of which the history of art from palaeolithic days to the present becomes intelligible, by adopting which we give intellectual backing to an almost universal and immemorial conviction. Everyone in his heart believes that there is a real distinction between works of art and all other objects; this belief my hypothesis justifies. We all feel that art is immensely important; my hypothesis affords reason for thinking it so. In fact, the great merit of this hypothesis of mine is that it seems to explain what we know to be true. Anyone who is curious to discover why we call a Persian carpet or a fresco by Piero della Francesca a work of art, and a portrait-bust of Hadrian or a popular problem-picture rubbish, will here find satisfaction. He will find, too, that to the familiar counters of criticism—e.g. "good drawing," "magnificent design," "mechanical," "unfelt," "ill-organised," "sensitive,"—is given, what such terms sometimes lack, a definite meaning. In a word, my hypothesis works; that is unusual: to some it has seemed not only workable but true; that is miraculous almost.

      In fifty or sixty thousand words, though one may develop a theory adequately, one cannot pretend to develop it exhaustively. My book is a simplification. I have tried to make a generalisation about the nature of art that shall be at once true, coherent, and comprehensible. I have sought a theory which should explain the whole of my aesthetic experience and suggest a solution of every problem, but I have not attempted to answer in detail all the questions that proposed themselves, or to follow any one of them along its slenderest ramifications. The science of aesthetics is a complex business and so is the history of art; my hope has been to write about them something simple and true. For instance, though I have indicated very clearly, and even repetitiously, what I take to be essential in a work of art, I have not discussed as fully as I might have done the relation of the essential to the unessential. There is a great deal more to be said about the mind of the artist and the nature of the artistic problem. It remains for someone who is an artist, a psychologist, and an expert in human limitations to tell us how far the unessential is a necessary

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