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

By George Lansing Raymond | Go to book overview

CHAPTER IV. ARTISTIC RESULTS AS DETERMINED BY TEMPERAMENT, TRAINING, PRACTICE, AND SKILL.

How the Artistic Differs from the Scientific Mind -- Some Unfitted by Nature to become Artists -- The Effect of Education in Training Ability to Use what has been Stored in the Mind -- Ability to Use this Depends on the Physical Power of the Brain -- This can be Developed by Practice -- This Development can Extend to that which Involves the Possession of Genius -- Training Affects the Quality of Subject -- Matter as well as of Style -- The Ability to Give Expression to Subconscious Inspiration which Characterises Genius is also Due to Skill Acquired by Practice -- Subconscious Powers can be Cultivated through Training the Conscious, as in the Case of Memory -- Of Critical Ability -- The Degree of Work is Apt to Measure the Degree of Worth -- Any Development in the Mind may Contribute to Artistic Development.

SUCH a conclusion as the one drawn at the end of the preceding chapter suggests that we have, probably, reached at last an ultimate fact beyond which analysis cannot go. It is the ground on which was based that old expression: "The poet is born and not made." Lest, however, we exaggerate the differences between men thus indicated, let us try to ascertain precisely what that temperament is which may be rightly termed artistic. From what has been said already, we must infer that, primarily, it is one that is quick in apprehending effects of nature, in making comparisons between these effects, and in drawing surmisals from them. All children, because their brains are active, are artistic in their tendencies.

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