The Social History of Art - Vol. 4

By Arnold Hauser | Go to book overview

CHAPTER 7
NATURALISM AND IMPRESSIONISM

1. THE GENERATION OF 1830

If the purpose of historical research is the understanding of the present--and what else could it be? --then this enquiry is approaching its goal. What we are now to be concerned with is modern capitalism, modern bourgeois society, modern naturalistic art and literature, in short, our own world. Everywhere we are faced with new situations, new ways of life, and feel as if we were cut off from the past. But the incision is probably nowhere so deep as in literature, where the frontier between the older works which are merely of historical interest to us and those that arise from now onwards and are still more or less topical today represents the most remarkable breach in the whole history of art. It is only the works produced on our side of the divide that constitute the living, modern literature directly concerned with our own contemporary problems. We are separated from all the older works by an unbridgeable gulf--to understand them, a special approach and a special effort on our part are necessary and their interpretation is always involved in the danger of misunderstanding and falsification. We read the works of the older literature differently from those of our own age; we enjoy them purely aesthetically, that is, indirectly, disinterestedly, perfectly aware of their fictitiousness and of our self-deception. This presupposes points of view and abilities which the average reader in no way has at his command; but even the historically and aesthetically interested reader feels there is an irreconcilable difference between works which have no immediate relationship to his own age, his own feelings and aims in life, and such as have grown out of these very feelings and seek an answer to the question:

-3-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Social History of Art - Vol. 4
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Illustrations vii
  • Chapter 7 - Naturalism and Impressionism 3
  • Chapter 8 - The Film Age 226
  • Index 261
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 278

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.