By G. W. F. Hegel
This can be the 1st of 2 volumes of the one English variation of Hegel's Aesthetics, the paintings during which he supplies complete expression to his seminal conception of artwork. The enormous advent is his top exposition of his normal philosophy of artwork. partially I he considers the overall nature of paintings as a religious adventure, distinguishes the wonderful thing about paintings and the wonderful thing about nature, and examines creative genius and originality. half II surveys the heritage of paintings from the traditional global via to the tip of the eighteenth century, probing the that means and value of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, song, and literature; a wealthy array of examples makes bright his exposition of his concept.
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Additional resources for Aesthetics: Lectures on Fine Art, Volume 1
According to this view this universal wealth of subject-matter art is, on the one hand, o embrace in order to complete the natural n t e of er hand, to experience of our externa t at th experiences of lite do n OtTeave us unmovettid so that we might now acquire a receptivi y or • p enomena/ But on t is view suc a stimu us is not giVETriirthirfreiftry - atitiml experience itself, but only through the pure appearance of it, since art deceptively substitutes its productions for reality. The possibility of this deception through the pure appearance of art rests on the fact that, for man, all reality must come through the medium of perception and ideas, and only – Terence: Heauton Timorumenos, i.
Now from this it follows at once that, on one side, imagination rests of course on natural gifts and talent in general, because its productive activity requires sensuousness [as a medium]. We do indeed speak of 'scientific' talent too, but the sciences presuppose only the universal capacity for thinking, and thinking, instead of proceeding in a natural way, like imagination, precisely abstracts from all natural activity, and so we are righter to say that there is no specifically scientific talent, in the sense of a merely natural gift.
Deliberate concentration on abstract reflections and even an interest in the philosophical Concept is noticeable in many of his poems. For this he has been reproached, and especially blamed and depreciated in comparison with Goethe's objectivity and his invariable naivete, steadily undisturbed by the Concept. But in this respect Schiller, as a poet, only paid the debt of his time, and what was to blame was a perplexity which turned out only to the honour of this sublime soul and profound mind and only to the advantage of science and knowledge.