Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel

By G. W. F. Hegel

This can be the 1st of 2 volumes of the one English version of Hegel's Aesthetics, the paintings during which he supplies complete expression to his seminal idea of artwork. The enormous creation is his most sensible exposition of his common philosophy of paintings. partly I he considers the final nature of paintings as a non secular event, distinguishes the great thing about paintings and the great thing about nature, and examines inventive genius and originality. half II surveys the heritage of artwork from the traditional international via to the top of the eighteenth century, probing the which means and importance of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, track, and literature; a wealthy array of examples makes brilliant his exposition of his concept.

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J. ), pp. 48 and 84. , for one reader the moral of Goethe's Elective Affinities is approval of marriage, while for another reader it is disapproval (G. H. Lewes, Life of Goethe, bk. vu, ch. iv). In a work of art, as in life, the greater a man's character the more are different interpretations put on it by different people. • 54 INTRODUCTION against the individual disposition in general; as the harsh opposition between inner freedom and the necessity of external nature, further as the contradiction between the dead inherently empty concept, and the full concreteness of life, between theory or subjective thinking, and objective existence and experience.

This activity is the rational element which exists as spirit only in so far as it actively drives itself forth into consciousness, yet what it bears within itself it places before itself only in sensuous form. Thus this activity has a spiritual content which yet it configurates sensuously because only in this sensuous guise can it gain knowledge of the content. This can be compared with the characteristic mentality of a man experienced in life, or even of a man of quick wit and ingenuity, who, although he knows perfectly well what matters in life, what in substance holds men together, what moves them, what power dominates them, nevertheless has neither himself grasped this knowledge in general rules nor expounded it to others in general reflections.

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.

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