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

By George Lansing Raymond | Go to book overview

CHAPTER V.
ARTISTIC FORM AND SIGNIFICANCE.

Review of the Thought in Preceding Chapters -- Reproduction of Beauty Necessitating Attention to both Form and Significance -- Meaning of the Term "Form" in Art -- Of the Term "Significance" -- The Necessity for Giving Due Consideration to both -- Regard for Form and Disregard of Significance in Painting -- In Sculpture, Architecture, Music, and Poetry -- How Far the Artist must Consciously Regard Claims of Significance -- Regard for Significance and Disregard of Form in Poetry and Painting -- In Architecture -- In Music --Regard for Form and for Significance Need not be Antagonistic -- Reason for Applying to the Higher Arts the Term "Representative."

THE opening chapter of this book undertook to show that art which is such in the finest and most distinctive sense has to deal with the sights and sounds of nature, with human thoughts and emotions, and with products external to the artist. In Chapters II., III., and IV., certain limitations were placed upon each of these conditions. This art was said to be confined to such sights and sounds as are beautiful, to such thoughts and emotions as are largely due to the subconscious action of the mind, when influenced by emotion and stimulating imagination, and to such products external to the artist as embody the other two conditions instinctively, or as a result of skill, acquired by practice. In this chapter, an endeavour will be made to limit the province of these higher arts still further, and in such a way as to indicate a single principle applicable to all of them in all of these

-68-

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.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

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 Essentials of Aesthetics in Music, Poetry, Painting, Sculpture and Architecture
Table of contents

Table of contents

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?

Help
Full screen
/ 404

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access 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

    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.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.