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

By G. W. F. Hegel

This is often the 1st of 2 volumes of the one English variation of Hegel's Aesthetics, the paintings within which he offers complete expression to his seminal concept of paintings. The huge creation is his top exposition of his basic philosophy of artwork. partly I he considers the final nature of paintings as a non secular adventure, distinguishes the great thing about artwork and the great thing about nature, and examines inventive genius and originality. half II surveys the historical past of artwork from the traditional global via to the tip of the eighteenth century, probing the that means and importance of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, song, and literature; a wealthy array of examples makes shiny his exposition of his thought.

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Aesthetics: Lectures on Fine Art, Volume 1

This can be the 1st of 2 volumes of the single English version of Hegel's Aesthetics, the paintings within which he supplies complete expression to his seminal concept of paintings. The immense advent is his most sensible exposition of his common philosophy of paintings. partly I he considers the final nature of artwork as a religious adventure, distinguishes the great thing about artwork and the great thing about nature, and examines inventive genius and originality.

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Against this we must maintain that art's vocation is to unveil the truth in the form of sensuous artistic configuration, to set forth the reconciled opposition just mentioned, and so to have its end and aim in itself, in this very setting forth and unveiling. For other ends, like instruction, purification, bettering, financial gain, struggling for fame and honour, have nothing to do with the work of art as such, and do not determine its nature. [7} Historical Deduction of the True Concept of Art Now, starting from this point of view in which consideration of the matter by the Understanding's abstract reflection is dissolved, we must proceed to grasp the concept of art in its inner necessity, INTRODUCTION 56 INTRODUCTION as after all it was from this view too that the true reverence and understanding of art arose historically.

The beautiful, on the other hand, is to invoke a universal pleasure directly without any such relation 1 Critique of Judgment, book I, § 2. , book I, § 6. [or correspondence]. This only means that, in considering the beautiful, we are unaware of the concept and subsumption under it, and that the separation between the individual object and the universal concept, which elsewhere is present in judgement, is impermissible here. (c) Thirdly, the beautiful is to have the form of purposiveness' in so far as the purposiveness is perceived in the object without any presentation of a purpose.

At the same period this same scientific impulse withdrew Goethe too from his proper sphere—poetry. Yet, just as Schiller immersed himself in the consideration of the inner depths of the spirit, so Goethe pursued his own proper genius into the natural side of art, into external nature, to the organisms of plants and animals, to crystals, the formation of clouds, and colours. To this scientific research Goethe brought his great genius which in these subjects had altogether thrown to the winds the outlook of the mere 62 INTRODUCTION Understanding with its error, just as Schiller, on the other side, had succeeded in asserting, against the Understanding's treatment of willing and thinking, the Idea of the free totality of beauty.

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