Hegel's Aesthetics: Lectures on Fine Art, Volume 2

Hegel's Aesthetics: Lectures on Fine Art, Volume 2

G. W. F. Hegel

Language: English

Pages: 345

ISBN: 2:00071083

Format: PDF / Kindle (mobi) / ePub

This is the second of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

The Politics of Aesthetics

Patriotism and Nationalism in Music Education

Soul and Form (Columbia Themes in Philosophy, Social Criticism, and the Arts)

In the Blink of an Eye (Revised 2nd Edition)

The Ecological Thought












lives, and is cheerful. Red is masculine, dominant, regal; green indiffer..,:j ent and neutral. In accordance with this symbolism, when thel Virgin Mary is portrayed enthroned as Queen of Heaven usually has a red mantle, but when she appears as a motner., a blue one. the other colours in their endless variety must be regarded as mere modifications in which one or other of the shades of those fundamental colours is to be recognized. In this sense, no painter would call violet, for example, a

and necessitate a treat­ ment dashed off with strokes of the brush. On the other hand, oil 846 I Essai sur la peinture. (E/tvres completes (Paris, 1876), vol. x, p. 47I. • Frescoes arc wall-paintings, so-called because they must be painted on the wall While the plaster is still fresh, i.e. wet (E. H. Gombrich, The Story of Art, London 1970, p. 144). In the Middle Ages painters prepared their own colours by grinding coloured plants or minerals to powder and then using egg as a liquid to bind the

repose it would not occur to us that he could be capable of deep and fine feelings [like those of the youth in the poem]. In general we cannot say of all these male and female figures that they were endowed with healthy beauty. On the con­ trary they display nothing but the nervous excitement, languishing, and sickliness of love, and of feeling generally, which we do not want to see reproduced and which we would rather he always spared in life, and still more in art. In the same category is the

the grandeur and finish of composition, but in addition in them the whole wealth of painting in relation to natural environment, architectural accessories, backgrounds, horizon, magnificence and variety of cloth etc., robes, sort of weapons and decoration etc., is treated already with such fidelity, with so much feeling for the pictorial, and with such virtuosity, that even later centuries have nothing to show which is more perfect, at least in respect of pro­ fundity and truth. Nevertheless,

of art nor the ability to understand them if they had seen them. The most es­ sential thing to consider in the case of this group is that despite the profound grief and profound truth it conveys, despite the con­ vulsive contraction of the body and the tension of all the muscles, still nobility and beauty are preserved, and not in the remotest degree is there any approach to grimaces, distortion, or dislocation. Nevertheless, in the spirit of the subject-matter, the artificiality of the

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