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 by means of Kirtas applied sciences. All titles scanned conceal to hide and pages could comprise marks notations and different marginalia found in the unique quantity.
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Extra resources for Aesthetics: A Critical Theory of Art
This is aside from the question as that point has al ready been admitted. We have assumed that I am the self-same being, and yet the one composition pleases then, while the other displeases. The difference, reside in the two compositions, and this must the point that the hedonists overlook. Of course the one pleases and the other displeases; but the is now is why they do. We, without concern a hedonist, can easily indicate many qualities wherein the two compositions differ. We can indiquestion for 54 AESTHETICS cate wherein the one composition, constituted as it is, stands in strict harmony with a physical organism and with a previous training in ideas, interests, and desires; and we can also indicate wherein the second composition differs most radically in these particulars from the first.
Greatness in art implies an "an not individual but artistic differences. 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?
Quot; than upon technical and pictorial conditions, and upon the brain rather than upon the possibilities of color, illustrates the substitution of psychology for This one-sided emphasis upon art under discussion. the psychological factor, however, is less guardedly stated in the following lines by the critic J. C. Van Dyke: "What we seek for in every great picture is nature combined with the human element. The manner of seeing, his manner of thinking, manner of telling, becomes an important factor in the picture of which we needs must take account.