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 offers complete expression to his seminal concept of artwork. The giant creation is his top exposition of his basic philosophy of paintings. partially I he considers the overall nature of artwork as a religious event, distinguishes the wonderful thing about paintings and the great 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 which means and importance of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, track, and literature; a wealthy array of examples makes brilliant his exposition of his thought.
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Extra resources for Aesthetics: Lectures on Fine Art, Volume 1
For the modern A ,co•-■, moralistic view starts from the fixed opposition between the will ! in its spiritual universality and the will in its sensuous natural 4 particularity; and it consists not in the complete reconciliation of 1 these opposed sides, but in their reciprocal battle against one another, which involves the demand that impulses in their conflict with duty must give way to it. 2 Now this opposition does not arise for consciousness in the restricted sphere of moral action alone; it emerges in a thoroughgoing cleavage and opposition between what is absolute and what is external reality and existence.
And, looked at more closely, this superfluous labour may even be regarded as a presumptuous game (fly) which falls far short of nature. For art is restricted in its means of portrayal, and can only produce one-sided deceptions, for example a pure appearance of reality for one sense only, and, in fact, if it abides by the formal aim of mere imitation, it provides not the reality of life but only a pretence of life. After all, the Turks, , as Mahommedans, do not, as is well known, tolerate any pictures or copies of men, etc.
And even if art restricts itself to _— . _assituation. setting up pictures of passions for contemplation, even if indeed it were to flatter them, still there is here already a power of mitigation, since thereby a man is at least made aware of what otherwise he only immediately is. For then the man contemplates his impulses and inclinations, and while previously they carried him reflectionless away, he now sees them outside himself and already begins - INTRODUCTION 49 to be free from them because they confront him as something objective.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel