Meaning of Modern ArtNorthwestern University Press, 1968 - 166 Seiten That modern art is different from earlier art is so obvious as to be hardly worth mentioning. Yet there is little agreement as to the meaning or the importance of this difference. Indeed, contemporary aestheticians, especially, seem to feel that modern art does not depart in any essential way from the art of the past. One reason for this view is that, with the exception of Marxism, the leading philosophical schools today are ahistorical in orientation. This is as true of phenomenology and existentialism as it is of contemporary analytic philosophy. As a result there have been few attempts by philosophers to understand the meaning of the history of art—an understanding fundamental to any grasp of the difference between modern art and its predecessors. Art expresses an ideal image of man, and an essential part of understanding the meaning of a work of art is understanding this image. When the ideal image changes, art, too, must change. It is thus possible to look at the emergence of modern art as a function of the disintegration of the Platonic-Christian conception of man. The artist no longer has an obvious, generally accepted route to follow. One sign of this is that there is no one style today comparable to Romanesque, Gothic, Renaissance, or Baroque. This lack of direction has given the artist a new freedom. Today there is a great variety of answers to the question, "What is art?" Such variety, however, betrays an uncertainty about the meaning of art. An uneasiness about the meaning of art has led modern artists to enter into dialogue with art historians, psychologists and philosophers. Perhaps this interpretation can contribute to that dialogue. |
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Häufige Begriffe und Wortgruppen
abstract abstract art absurd aesthetic appears attempt bad faith Baumgarten beauty become boredom called Canaday cliché conception confront created creation demands deny Der Blaue Reiter desire discover distance divine dream English park escape expression feel finite foundation Franz Marc freedom Freud Friedrich Schlegel fundamental Gislebertus give Hans Sedlmayr Hazel E Herbert Read human Ibid idea ideal image illusion imitate individual infinite interesting interpretation Kandinsky Kierkegaard Kitsch Klee Kunst lack landscape Leibniz longer look Malevich man's Marc meaning medieval Middelharnis modern art modern artist nature negate nothingness Novalis object painter painting Phenomenology Picasso Plato point of view possess possible present presupposes realism reality reason recognize reveal Sartre Schopenhauer Sedlmayr seems sense sensuous situation slime slimy speak spectator spirit spontaneity sublime suggests suprematism symbols taste things tion traditional trans transcendence transformed truth unconscious understanding veil Walter Hess Worringer York
Beliebte Passagen
Seite 30 - My spirit is too weak— mortality Weighs heavily on me like unwilling sleep, And each imagined pinnacle and steep Of godlike hardship, tells me I must die Like a sick Eagle looking at the sky. Yet 'tis a gentle luxury to weep That I have not the cloudy winds to keep, Fresh for the opening of the morning's eye.
Seite 40 - Our imagination loves to be filled with an object, or to grasp at any thing that is too big for its capacity. We are flung into a pleasing astonishment at such unbounded views, and feel a delightful stillness and amazement in the soul at the apprehension of them.
Seite 4 - ... go back to the Reason-Principles from which Nature itself derives, and, furthermore, that much of their work is all their own; they are holders of beauty and add where nature is lacking. Thus Pheidias wrought the Zeus upon no model among things of sense but by apprehending what form Zeus must take if he chose to become manifest to sight.
Seite 40 - The mind of man. naturally hates every thing that looks like a restraint upon it, and is apt to fancy itself under a sort /of confinement, when the sight is pent up in a narrow compass, and shortened on every side by the neighbourhood of walls or mountains.
Seite 91 - ... me. It is a soft, yielding action, a moist and feminine sucking, it lives obscurely under my fingers, and I sense it like a dizziness; it draws me to it as the bottom...
Seite 39 - The passions which belong to self-preservation turn on pain and danger ; they are simply painful when their causes immediately affect us ; they are delightful when we have an idea of pain and danger, without being actually in such circumstances...
Seite 39 - WHATEVEE is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or i is conversant about terrible objects, or operates in a manner ' analogous to terror, is a source of the sublime ; that is, it is productive of the strongest emotion which the mind is capable of feeling.
Seite 5 - Our interpretation is that the Soul — by the very truth of its nature, by its affiliation to the noblest Existents in the hierarchy of Being — when it sees anything of that kin, or any trace of that kinship, thrills with an immediate delight, takes its own to itself, and thus stirs anew to the sense of its nature and of all its affinity.
Seite 5 - But what must we do? How lies the path? How come to vision of the inaccessible Beauty, dwelling as if in consecrated precincts, apart from the common ways where all may see, even the profane?
Verweise auf dieses Buch
Body, Memory, and Architecture Kent C. Bloomer,Charles Willard Moore,Robert J. Yudell,Buzz Yudell Eingeschränkte Leseprobe - 1977 |