By G. W. F. Hegel
This is often the 1st of 2 volumes of the single English variation of Hegel's Aesthetics, the paintings during which he provides complete expression to his seminal idea of artwork. The enormous creation is his most sensible exposition of his common philosophy of artwork. partially I he considers the overall nature of artwork as a religious adventure, distinguishes the wonderful thing about paintings and the great thing about nature, and examines inventive genius and originality. half II surveys the background of paintings from the traditional international via to the top of the eighteenth century, probing the that means and value of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, song, and literature; a wealthy array of examples makes bright his exposition of his idea.
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Additional resources for Aesthetics: Lectures on Fine Art, Volume 1
And so Kant had indeed brought the reconciled contradiction before our minds, but yet could neither develop its true essence scientifically nor demonstrate it as what is truly and alone actual. It is true that Kant did press on still further in so far as he found the required unity in what he called the intuitive understanding; but even here he stopped again at the opposition of the subjective to objectivity, so that while he does affirm the abstract dissolution of the opposition between concept and reality, universal and particular, understanding and sense, and therefore the Idea, he makes this dissolution and reconciliation itself into a purely stht) Isubjective one again, not one absolutely true and actual.
In the satisfying enlistment of feelings and passions, and to that extent in a gusto, a pleasure, and delight in artistic subjects, in their representation and effect. But, on the other hand, this aim of art is supposed to have its higher criterion only in its instructiveness, in fabula docet,' and so in the useful influence which the work of art may exert on the individual. —Now in connection with such instruction we must ask at once whether it is supposed to be contained in the work of art directly or indirectly, explicitly or implicitly.
In any case, if we still wanted to uphold this principle in relation to these latter arts, we would at least find ourselves compelled to take a long circuitous route, because we would have to attach various conditions to the proposition and reduce the so-called 'truth' of imitation to probability at least. But with probability we would again encounter a great difficulty, namely in settling what is probable and what is not, and, apart from this, we would not wish or be able to exclude from poetry all purely arbitrary and completely fanciful inventions.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel