Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Leo tolstoy view on what is art over other views
Art as communication of emotion
Leo tolstoy view on what is art over other views
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Leo tolstoy view on what is art over other views
The view of art has many interpretations of what characteristics constitute this particular activity. Fortunately, Leo Tolstoy helps to shed light on the aspects of art that are concerned with the transferring of emotions and the cultivation of originality. Within Tolstoy’s philosophy of art, there are solid reasons that help me to shift my perspective towards the end of viewing art without concepts of pleasure interfering. One of these reasons are that the activity of art becomes more than the mere cultivation of visually appealing shapes and symbols; it is an act that brings people together under the union of beauty. Additionally, Tolstoy deliberates about the definition he wants to create for art and does so with the awareness that pleasure
Tolstoy explains that the process of creating art allows for the artist to incorporate his own sense of emotion as a means of expressing his experiences. This is crucial to understanding how the artist is able to create art that influence others in such a way that enables the receiver to become subsumed under the beauty of creative productions. As Tolstoy says, “The more individual the feeling transmitted the more strongly does it act on the recipient; the more individual the state of the soul into which he is transferred the more pleasure does the recipient obtain and therefore the more readily and strongly does he join in it” (Tolstoy 514). This quote clarifies the capabilities of art and how it can manifest emotions within the viewers just as easily as it was for the artist to generate his own passions. Additionally, Tolstoy is showing how the degree to which an emotion is perceived is dependent on the level of individuality the artist cultivates within his productions. This notion becomes interesting to me in the sense that humans have the power to influence others through the means of consciously creating shapes and lines in such way that grabs the attention of people who are interested in the complexities of art. I agree with Tolstoy’s idea about how the level of individuality within a piece of art becomes enhanced when perceived under the lens of
An artist becomes more than a creator of art in the sense that they are synthesizing their knowledge about a particular experience and transferring the emotional aspects of their experience into a piece of work that represents the inner workings of their imagination. As Tolstoy states, “Art begins when one person with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications” (Tolstoy 510). In this sense, artists are beings who contain the creative capacity to induce powerful feelings within themselves as well as the recipients of art. I find this idea interesting in regard to individuals cultivating the faculty of imagination to the extent of commanding this passion in such a way that unifies minds together under the form of
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
This book was also one of my first encounters with an important truth of art: that your work is powerful not because you convey a new emotion to the audience, but because you tap into an emotion the audience already feels but can't express.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
Art and literature work independently of each other, however, they can be linked together to help a reader or observer understand in new ways and create new possibilities. Within this context, the perspective of Jacob Lawrence and the authors address that it takes work to build the ideal society and family. However, the authors give the stark reality of both society and family demonstrating that our reality is nothing like the ideal.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
This paper will explore Vladimir Tatlin and Naum Gabo's differences in the role of the Avant-Garde artists and how their beliefs influence the kind of work they produce. A pioneer of Russian design, Vladimir Tatlin is a representative of Russian Realism. He left home when he was fifteen and served on the shipboard. When he became a painter, he often represented sailors in his pictures. Art and culture in Russia after Revolution was a tool for creating industrially aesthetic reality.
Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all benefited by and inspired through the art they created. They worked with, for and alongside the politics of the time. The equality for all that they sought would eventually take from them the freedom of their own artistic individuality.
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
When an artist of any sort is inspired they have what can very closely be compared with a spiritual feeling. Some have said that this state in which, the imagination flows so freely is that of a conscious dream. In this short essay I will explore the ideas behind creativity and this dreamlike state of inspiration. In order to do so we must first decide what creativity is and then how it is affected.
Leo Tolstoy compares art to speech by mentioning that art is a form of communication. The communication that Tolstoy writes about in “What Is Art?” is of two types, good and bad. According to Tolstoy, good art is what carries humanity towards perfection (Tolstoy 383). It is this movement forward in humanity that is emphasized by Tolstoy. Tolstoy informs his readers that speech is what teaches knowledge from human history, but art is what teaches the emotions of mankind’s past. As knowledge becomes obsolete in society it is replaced by new and more relevant information. Tolstoy asserts that emotions act the same way. The purpose of art is to express new and more relevant feelings to humankind. The new feelings are for the betterment of humanity, allowing a progression of morality in society.
"How Much Land Does A Man Need?," by Leo Tolstoy was influenced by his life and times. Leo Tolstoy encountered many things throughout his life that influenced his works. His life itself influenced him, along with poverty, greed and peasant days in 19th century Russia.
The beauty of a portrait, the adventure of a saga, the delicacy of a porcelain vase, the emotion of a symphony – all forms of art, all forms of expression. Art, as Oscar Wilde explains it, is the “most intense mode of individualism that the world has ever known” (Wilde, The Soul of a Man Under Socialism). Art allows one to express themselves through a thousand mediums, using all five senses. It allows words that are not meant to be spoken, to be expressed, and ideas not meant to be thought, imagined. Perhaps the most prevalent form of art in today's society is literature, as is the most direct form of art.
The mind creates the emotions and ideals responsible for art. The brain is capable of imagining glorious things, and art is the physical manifestation of these ideals. These ideals are usually intense emotions with aesthetic power (Wilson, 220). Art organizes these emotions in a matter that can easily express the ideals to...
All throughout time people have used their imaginative minds to express some form of art, whether it be painting, drawing, sculpture, and dance, theatre, music or technology, this has happened all around the world. Furthermore, I think that the youth of the world have the biggest imagination because everything to them is new and they can’t help but imagine “what if” or “how”. Therefor that’s the power of imagination, and preferably for me I use it for art. Art to me is almost like an escape from everything negative in my life. Many say that art is beauty, and we say beauty ...