The Essentials of Aesthetics in Music, Poetry, Painting, Sculpture and Architecture

By George Lansing Raymond | Go to book overview

CHAPTER XIV. ART-COMPOSITION.

Imagination Necessary in Elaborating as well as in Originating Representative Forms of Expression -- Methods of Composing Music -- Poetry -- Painting, Sculpture, and Architecture -- Mental Methods in Art-Composition Analogous to Other Mental Methods -- To that in Classification -- How Art-Classification Differs from Ordinary Classification -- The Method of Classification not Inconsistent with Representing the Artist's Thoughts and Emotions -- Or with Representing Nature -- Explanation -- Artists Influenced by Mental and Material Considerations -- Methods of Art-Composition Are Methods of Obtaining Unity of Effect -- Obtained in Each Art by Comparison, or Putting Like with Like -- Variety in Nature Necessitating Contrast -- Contrast in Each Art -- Also Complexity -- Complement -- Order and Group-Form -- Confusion and Counteraction -- Principality and Subordination -- Balance -- Distinguished from Complement and Counteraction -- Principality in Music and Poetry -- Subordination and Balance in the Same -- Principality in Painting and Sculpture -- In Architecture -- Organic Form -- In Music -- In Poetry -- In Painting and Sculpture -- In Architecture.

CHAPTERS XII. and XIII. have shown us that certain audible or visible effects traceable to material or to human nature have, either by way of comparison, as in imitation, or of association, as in conventional usage, a recognised meaning. This meaning enables the mind to employ them in representing its conceptions. But what has been said applies to the use of these effects so far only as they exist in the condition in which they manifest themselves in nature. Art-composition involves an elaboration and often an extensive combination of them.

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