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

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By Henry G. Hartman

Initially released in 1919. This quantity from the Cornell collage Library's print collections was once scanned on an APT BookScan and switched over to JPG 2000 structure via 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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We deal in this meaning of art with things, not with abstract qualities or defini tions. It contains the further implication that art plural and not a unitary something. In the second meaning of the term, art is a norma tive or standardized product within any one of this group or list of particular arts. It is upon its mere face the most critical and correct of the three concep is tions, but it is seldom, if ever, correctly formulated. It usually allies itself with the third rather than the first conception, and in this meaning, art is (abstract) perfection.

Upon we must recognize the fact that an artist cari combine colors or tones only in ways that their principle, mechanics permit. ^An artist^jpjLcourse, rnay"cbme~to shape his clesires in harmony with such principles, but in this case his desires would be controlled in a manner as conspicuous as his affirmed control over the material. But why, we may ask, does an artist at all concern himself with these elaborations in color and tone if our gratification in them is not The point I would enforce is, direct and ultimate?

He does not say that the aim of an artist is to arouse in us such feelings as color and sound may produce, but he declares that color and sound are merely ternal signs" whereby an artist "conveys to others feelings he has experienced," however foreign these may be to the feelings arousable by sound and color. In "ex this view, the substantive nature of art evaporates. It converts itself, at best, into a necessary but super symbol. Now sound and color, sometimes, be symbolic, because music and painting also fluous may embody 6 1.

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