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When Valdez, in his famous image of the Caridad de Sevilla, shows us an open coffin in which lies the corpse of an arch- bishop in full vestments, swarming with worms, this spectacle is in itself undeniably repulsive. It is the very same emotion embodied by Holbein in his ' Dance of Death/ not so profoundly and passionately as by the Spaniard with his stronger feelings, but with self-mockery and bitterness. The very same emotion is heard, somewhat less gloomily and with far more of a melancholy resignation, in Mozart's Requiem. In the concept of the contrast in between the insignificance of indi- vidual life and the vastness and eternity of Nature, there mingles itself an element of the sublime, of which the idea, as the choicest kind of activity in the highest brain-centres, is united with feelings of pleasure. Above the sensuously-lovely stands the intellectually-beauti- ful, no longer consisting of mere perceptions, but of representa- tions, of concepts and judgments, with their accompanying emotions elaborated in the unconscious.
The intellectually- gorgeous must also awaken feelings of pleasure, to be perceived as beautiful and, as above explained, with feelings of pleasure are united, in healthier, totally-created human beings equipped with the social instinct , only these concepts the content whereof is conducive to the existence and prosperity of the person getting, society, or species. Now, that which is favour- capable to the life and prosperity of the person and of the species is precisely that which we call moral. We now come to the second argument with which the Esthetes wish to defend the correct of the artist to immorality. This may well be vice and crime but it can not derogate from the excellences of form if these be present. brussels escorts am far from sharing Ruskin's opinion that morality alone, and nothing at all else, can be demanded of a work of art. Otherwise religious tracts would be the finest literature, and the nicely-known coloured casts of sacred subjects turned out wholesale in Munich factories would be the choicest sculpture. Excellence of kind maintains its rights in all the arts, and provides to the finest creation its artistic value.
If artistic activity is often exercised and facilitated by habit, it no longer demands emotions of extraordinary strength to provoke it. As often, then, as man is excited by such external or internal impressions as demand no action , but attain his consciousness in the kind of a mood, he relieves his nervous system of this excitation by way of some type of artistic activity, either by signifies of the plastic arts or by music and poetry. Let us remind ourselves how works of art and art in general originated. of philosophers , and its inadequacy follows from the reality, among others, that it permits absolutely no place for the ugly as an object of artistic representation. Here is the location to demonstrate the absurdity of these propositions. This can, of course, be performed only in the concisest manner.
Their impassivity, in so far as it is mere indifference to the sufferings of other folks, and to virtue and vice, proceeds from their ego-mania, and is a consequence of their obtuseness, which tends to make it impossible for them to obtain a sufficiently keen presentation of the external globe, hence also of sorrow, vice, or ugliness, so as to be able to respond by standard reactions, by aversion, indignation, or pity. But in instances where impassivity constitutes a declared predilection for what is evil and disgusting, we can see the very same aberration which tends to make of the imbecile a cruel torturer of animals,-f and of Marie Jean- neret, cited above, a tenfold poisoner. If it is powerful sufficient, its consequences are heartless acts and crimes. If it is elaborated by diseased centres with insufficient force, it can be satisfied by imagination alone, by poetic or artistic activity. There is an impassable gulf between the sane revolutionary and the ego-maniac Jacobin. The former knows what he is striving for the latter has no conception how that which irritates him could be changed for the better. His thoughts do not reach so far he by no means troubles himself to query what will replace the factors destroyed.
Except in disease and fatigue, the action of inhibition is suspended only when the excitation produced in the nervous technique by an impression is strong enough to vanquish it. If this impression is disagreeable, or menacing, the movements set loose by it are those of defence or flight. If, en the contrary, the impression is pleasant, or if it is surprising without having getting disquieting, then the reaction of the organism against it is a movement with out objective aim, most regularly a movement of imitation. Hence, among healthier males possessed of properly-functioning inhibitory mechanism in their nervous method,, this movement does not appear with each and every phenomenon, but only with such as strike it forcibly, fix its focus, engage and stimulate it in a word, result in an emotion.
Con- sciousness perceives only the closely-knit components of its physical basis, not these a lot more remote. Hence it falls into the illusion that the parts close to collectively alone belong to it, and that the additional distant are strangers to it, and to take into account itself as an 4 individuum,' confronting the world as a separate globe or microcosm. It does not observe that the ' I,' so rigidly posited, has no fixed limits, but continues and spreads beneath the threshold of consciousness, with an ever-diminishing distinctness of separation, to the intense depths of nature, till it blends there with all the other constituents ofjtfie universe. published in Le Figaro an article of an unheard-of extravagance, in which he represented Maeterlinck as the most brilliant, sublime, moving poet which the final three hundred years had produced, and assigned him a spot close to nay, above Shake- speare. And then the world witnessed one of the most further- ordinary and most convincing examples of the force of suggestion.
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- If he imitates an aspect, it is evidently mainly because a thing in that aspect capti- vates or pleases him a harmony of colours, an impact of light, a line of motion.
- For, in reality, the selection of subject-matter, the surroundings from which it i-s borrowed, or in which it is placed, have no decisive signification no process is therein manifested, but merely the author's character.
- It would by no means take place to a painter or a sculptor to place himself prior to a phenomenon, and reproduce it with out selection, devoid of accentuations and suppressions.
- It may well be believed, possibly, that at least the mainly imitative arts, painting and sculpture, are capable of a faithful reproduction of reality, and as a result are realisms adequately so- named.
- Reasonable and plausible as this explanation appears, it, as well, nonetheless, dissolves into blue mist when much more closely examined.
From The Art And preferred Culture Encyclopedia
The intellectually- gorgeous must also awaken feelings of pleasure, to be perceived as beautiful and, as above explained, with feelings of pleasure are united, in healthier, totally-created human beings equipped with the social instinct , only these concepts the content whereof is conducive to the existence and prosperity of the person getting, society, or species. Now, that which is favour- capable to the life and prosperity of the person and of the species is precisely that which we call moral. We now come to the second argument with which the Esthetes wish to defend the correct of the artist to immorality. This may well be vice and crime but it can not derogate from the excellences of form if these be present. brussels escorts am far from sharing Ruskin's opinion that morality alone, and nothing at all else, can be demanded of a work of art. Otherwise religious tracts would be the finest literature, and the nicely-known coloured casts of sacred subjects turned out wholesale in Munich factories would be the choicest sculpture. Excellence of kind maintains its rights in all the arts, and provides to the finest creation its artistic value.
If artistic activity is often exercised and facilitated by habit, it no longer demands emotions of extraordinary strength to provoke it. As often, then, as man is excited by such external or internal impressions as demand no action , but attain his consciousness in the kind of a mood, he relieves his nervous system of this excitation by way of some type of artistic activity, either by signifies of the plastic arts or by music and poetry. Let us remind ourselves how works of art and art in general originated. of philosophers , and its inadequacy follows from the reality, among others, that it permits absolutely no place for the ugly as an object of artistic representation. Here is the location to demonstrate the absurdity of these propositions. This can, of course, be performed only in the concisest manner.
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Their impassivity, in so far as it is mere indifference to the sufferings of other folks, and to virtue and vice, proceeds from their ego-mania, and is a consequence of their obtuseness, which tends to make it impossible for them to obtain a sufficiently keen presentation of the external globe, hence also of sorrow, vice, or ugliness, so as to be able to respond by standard reactions, by aversion, indignation, or pity. But in instances where impassivity constitutes a declared predilection for what is evil and disgusting, we can see the very same aberration which tends to make of the imbecile a cruel torturer of animals,-f and of Marie Jean- neret, cited above, a tenfold poisoner. If it is powerful sufficient, its consequences are heartless acts and crimes. If it is elaborated by diseased centres with insufficient force, it can be satisfied by imagination alone, by poetic or artistic activity. There is an impassable gulf between the sane revolutionary and the ego-maniac Jacobin. The former knows what he is striving for the latter has no conception how that which irritates him could be changed for the better. His thoughts do not reach so far he by no means troubles himself to query what will replace the factors destroyed.
Except in disease and fatigue, the action of inhibition is suspended only when the excitation produced in the nervous technique by an impression is strong enough to vanquish it. If this impression is disagreeable, or menacing, the movements set loose by it are those of defence or flight. If, en the contrary, the impression is pleasant, or if it is surprising without having getting disquieting, then the reaction of the organism against it is a movement with out objective aim, most regularly a movement of imitation. Hence, among healthier males possessed of properly-functioning inhibitory mechanism in their nervous method,, this movement does not appear with each and every phenomenon, but only with such as strike it forcibly, fix its focus, engage and stimulate it in a word, result in an emotion.
Con- sciousness perceives only the closely-knit components of its physical basis, not these a lot more remote. Hence it falls into the illusion that the parts close to collectively alone belong to it, and that the additional distant are strangers to it, and to take into account itself as an 4 individuum,' confronting the world as a separate globe or microcosm. It does not observe that the ' I,' so rigidly posited, has no fixed limits, but continues and spreads beneath the threshold of consciousness, with an ever-diminishing distinctness of separation, to the intense depths of nature, till it blends there with all the other constituents ofjtfie universe. published in Le Figaro an article of an unheard-of extravagance, in which he represented Maeterlinck as the most brilliant, sublime, moving poet which the final three hundred years had produced, and assigned him a spot close to nay, above Shake- speare. And then the world witnessed one of the most further- ordinary and most convincing examples of the force of suggestion.
