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.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

provides thtl; reason why the picture seems life-like. This is something which art alone brings to our awareness, but it is an aspect of works of art to which we commonly give less attention than it deserves. More­ over, in these matters the artist borrows from nature its privilege of entering into the smallest detail, of being individualized con-" cretely and definitely, because he confers on his subjects the like individuality of living appearance in its quickest flashes, and yet; he does not

manner in which Schadow, the Master of this School, has portrayed Goethe's Mignon. I Her character is wholly poetic. What makes her interesting is her past, the harshness of her inner and outer fate, the conflict of an Italian strongly aroused passion in a heart which is not clear to itself about it, which lacks: any purpose and decision, and which, a mystery in itself, intentionally mysterious, cannot now help itself. This self-expression, introverted and incoherent, which lets us see only in

objects of feeling; they sketch love of mother, spouse, brother, or sister, as well as friendship, honour, etc., and these simple motives and their essential collisions are developed peacefully. In this way passion remains throughout pure, great, noble, and of plastic simplicity. (f3f3) A correspondence must be established by music between such a content and music which is both melodious and character­ istic in its expression. If this is to be possible, the text must con­ tain the seriousness of

sculpture can be executed just as completely in bronze as in marble, but when, as happened in the case of Praxiteles and Scopas, art begins to pass over into softer grace and attractiveness of form, then marble is the more appropriate material. For marble (Meyer, op. cit., i. 279) 77 6 1 :I i.e. selenite, alabaster, or even plaster of Paris. i.e. fourth century B.C. Phidias belonged to the fifth. 777 because of its translucency encourages softness of outlines, their gentle blending and

Mary's church in Bruges is not authentic, though it is an excellent work. But I have been attracted above all by the tomb of the Count of Nassau at Breda. 2 The Count lies beside his Countess in white alabaster, life-size on a black marble base. At the corners Regulus, Hannibal, Caesar, and a Roman warrior stand, bent down, carrying on their shoulders a black marble slab similar to the one below. Nothing is more interesting than to see a character, like Caesar, depicted by Michel­ angelo. Yet for

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