By Henry G. Hartman
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Extra resources for Aesthetics: A Critical Theory of Art
Things, ception, the Intellectualistic Theory, as it is termed, is In identified with truth or an ideational content. of these forms of the Expression Theory, how we reach beyond the point of identifying art do ever, with self-expression- These theories differ merely in none the psychological elements selected^ Their error is of one and the same texture; they make the psychological, to the exclusion of the material, the technical, and the conventional principle, the sole object of investi gation.
Painting is a unique phenomenon, although than either music by a very natural painting in its way is no more unique It is bi-dimensional; but or poetry. process develops the third dimension. which One of its often depicts with a and the actual illumination of a dazzling reality, yet central interests is light, it It has, in colors, is much less than sunlight. mass, light, and space, its own substantive ele ments, and yet theorists commonly classify it as a canvas lines, representative art and even more commonly relegate Its this material to the status of an empty symbol.
ART AND THEORY by a reference even to its technique, 27 we transform an Hence elusive sensuous-thing into one more crude. the tireless assertion that the scientific viewpoint de stroys the peculiar charm of art even more radically than the chemist or the physicist destroys the direct sensuous character of water. From this standpoint the technique of an art is the mere embodiment of its science, tricks, and tools. These represent the in means whereby certain desired artistic As such, they are the necessary scientific and practical adjuncts.
Aesthetics: A Critical Theory of Art by Henry G. Hartman
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