Aesthetics: A Critical Theory of Art by Henry G. Hartman

By Henry G. Hartman

Initially released in 1919. This quantity from the Cornell collage Library's print collections used to be scanned on an APT BookScan and switched over to JPG 2000 structure through Kirtas applied sciences. All titles scanned disguise to hide and pages may well comprise marks notations and different marginalia found in the unique quantity.

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Example text

Of confusion obtains here as in the The same order two previous in stances. ) It is intimated that attention whereas "transfused "the man facts of and newly wrought claims our primary require to be nature" in the crucible of the before they can interest. But, I ask, is it possible that man is so provincial in his interests that in all things great and small he can enjoy nothing but the physiognomy of man? Our interest in a painter s mind" musical composition, then, it would seem, is not a direct interest in tone, rhythm, harmony, and com position, as we in our non-theoretical moments are inclined to think, but merely an interest in psychology or biography.

Demand a purports to present The more exhaustive account will now larger space. In order to get the facts for proper reference as definitely as possible before us, I shall briefly consider painting in the four-fold character of its substantive nature. Painting is a unique phenomenon, although than either music by a very natural painting in its way is no more unique It is bi-dimensional; but or poetry. process develops the third dimension. which One of its often depicts with a and the actual illumination of a dazzling reality, yet central interests is light, it It has, in colors, is much less than sunlight.

But it is equally true that certain kinds of music, as indicated before, are not commonly regarded as works of art even though they may be more perfect than other forms of music which are commonly so regarded. Such inconsistency in ideas may be a virtue, but it is also a virtue to perceive the reason for the inconsistency. It is sufficient to state that perfection divorced from all material is a sheer abstraction; and that certain kinds of material, when brought to their perfection, solve the problem.

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