By G. W. F. Hegel
This is often the 1st of 2 volumes of the single English version of Hegel's Aesthetics, the paintings during which he offers complete expression to his seminal thought of paintings. The gigantic advent is his most sensible exposition of his common philosophy of paintings. partly I he considers the final nature of artwork as a non secular adventure, distinguishes the wonderful thing about paintings and the wonderful thing about nature, and examines inventive genius and originality. half II surveys the historical past of paintings from the traditional global via to the top of the eighteenth century, probing the that means and importance of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, tune, and literature; a wealthy array of examples makes shiny his exposition of his thought.
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Additional resources for Aesthetics: Lectures on Fine Art, Volume 1
INTRODUCTION 63 the Idea itself, been made the principle of knowledge and existence, and the Idea has become recognized as that which alone is true and actual. Thereby philosophy has attained, with Schelling,' its absolute standpoint; and while art had already begun to assert its proper nature and dignity in relation to the highest interests of mankind, it was now that the concept of art, and the place of art in philosophy was discovered, and art has been accepted, even if in one aspect in a distorted way (which this is not the place to discuss), still in its high and genuine vocation.
For the theory that art Was to curb rudeness and educate the passions, remained quite formal and general, so that it has become again a matter of what specific sort of education this is and what is its essential aim. 50 INTRODUCTION (a«) It is true that the doctrine of the purification of passion still suffers the same deficiency as the previous doctrine of the mitigation of desires, yet it does at least emphasize more closely the fact that artistic representations needed a criterion for assessing their worth or unworthiness.
Now here it is a matter of indifference whether a man's attention is claimed by immediate external reality or whether this happens in another way, namely through pictures, symbols, and ideas containing in themselves and portraying the material of reality. We can envisage things which are not real as if they were real. Therefore it remains all the same for our feelings whether it is external reality, or only the appearance of it, whereby a situation, a relation, or, in general, a circumstance of life, is brought home to us, in order to make us respond appropriately to the essence of such a matter, whether by grief or rejoicing, whether by being touched or agitated, or whether by making us go through the gamut of the feelings and passions of wrath, hatred, pity, anxiety, fear, love, reverence and admiration, honour and fame.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel