By W. Tatarkiewicz
The heritage of aesthetics, just like the histories of alternative sciences, might be taken care of in a two-fold demeanour: because the heritage of the lads who created the sphere of analysis, or because the background of the questions which were raised and resolved during its pursuit. the sooner historical past of Aesthetics (3 volumes, 1960-68, English-language variation 1970-74) by means of the writer of the current publication was once a background of guys, of writers and artists who in centuries previous have spoken up bearing on attractiveness and artwork, shape and crea tivity. the current publication returns to a similar topic, yet treats it differently: because the historical past of aesthetic questions, techniques, theories. the problem of the 2 books, the former and the current, is partially a similar; yet in simple terms partly: for the sooner publication ended with the seventeenth century, whereas the current one brings the topic as much as our personal occasions. And from the 18th century to the twentieth a lot occurred in aesthetics; it used to be basically in that interval that aesthetics accomplished attractiveness as a separate technological know-how, obtained a reputation of its personal, and produced theories that early students and artists had by no means dreamed of.
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Extra info for A History of Six Ideas: An Essay in Aesthetics
The term appeared in the title of his widely read book - and stuck. Together with it, a concept was established. 4 This was a significant change. of memorial, of elegant or of pleasant arts was and remained the private property of Capriano or of Castelvetro, of Harris or of Vico; whereas the isolation 4 P. O. Kristeller, 'The Modern System of the Arts', Journal of the History of Ideas, XII and XIII ,1951 and 1952. THE FINE ARTS 21 of the fine arts became universal. The term 'fine arts' entered into the speech of 18th-century scholars and was preserved in the next century as well.
For that reason he called them 'arti commemorative della memoria'. They had a somewhat different scope than the 'musical' or the 'noble' arts; for example, they did not take in architecture. Nevertheless, Castelvetro's idea holds a place in the history of the concept of art no less significant than those of Ficino and Capriano. The pictorial arts. Certain writers of the 16th and 17th centuries advanced the idea that what actually distinguishes the 'noble' or the 'memorial' arts is their pictorial character, the fact that they employ concrete pictures and not abstractions and schemata.
Of memorial, of elegant or of pleasant arts was and remained the private property of Capriano or of Castelvetro, of Harris or of Vico; whereas the isolation 4 P. O. Kristeller, 'The Modern System of the Arts', Journal of the History of Ideas, XII and XIII ,1951 and 1952. THE FINE ARTS 21 of the fine arts became universal. The term 'fine arts' entered into the speech of 18th-century scholars and was preserved in the next century as well. It was a term with a clear range: Batteux listed five fine arts painting, sculpture, music, poetry and dance - plus two related ones, architecture and eloquence.
A History of Six Ideas: An Essay in Aesthetics by W. Tatarkiewicz