By G. W. F. Hegel
This can be the 1st of 2 volumes of the single English version of Hegel's Aesthetics, the paintings during which he provides complete expression to his seminal conception of artwork. The gigantic advent is his top exposition of his common philosophy of artwork. partially I he considers the overall nature of artwork as a religious adventure, distinguishes the great thing about paintings and the great thing about nature, and examines creative genius and originality. half II surveys the heritage of paintings from the traditional global via to the top of the eighteenth century, probing the which means and importance of significant works. half III (in the second one quantity) bargains separately with structure, sculpture, portray, track, and literature; a wealthy array of examples makes shiny his exposition of his concept.
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Extra info for Aesthetics: Lectures on Fine Art, Volume 1
See p. 28 above and the section on Talent and Genius below. INTRODUCTION INTRODUCTION (a) This definition contains, prima facie, only the purely formal aim that whatever exists already in the external world, and the manner in which it exists there, is now to be made over again as a copy, as well as a man can do with the means at his disposal. , display imitatively—animals, natural scenes, human affairs—we already possess otherwise in our gardens or in our own houses or in matters within our narrower or wider circle of acquaintance.
Deliberate concentration on abstract reflections and even an interest in the philosophical Concept is noticeable in many of his poems. For this he has been reproached, and especially blamed and depreciated in comparison with Goethe's objectivity and his invariable naivete, steadily undisturbed by the Concept. But in this respect Schiller, as a poet, only paid the debt of his time, and what was to blame was a perplexity which turned out only to the honour of this sublime soul and profound mind and only to the advantage of science and knowledge.
Book I, § 6. [or correspondence]. This only means that, in considering the beautiful, we are unaware of the concept and subsumption under it, and that the separation between the individual object and the universal concept, which elsewhere is present in judgement, is impermissible here. (c) Thirdly, the beautiful is to have the form of purposiveness' in so far as the purposiveness is perceived in the object without any presentation of a purpose. At bottom this repeats what we have just discussed.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel