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Schopenhauer analysis
Schopenhauer analysis
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British art critic and philosopher, Clive Bell, defended abstract art. Abstract art is art without a recognizable subject, it does not relate to anything external or try to look like something. Bell’s aesthetic theory concentrated on aesthetic experience. In his book titled, “Art”, his main claim states that there is a certain uniquely aesthetic emotion that are evoked and there are certain qualities that a work of art contain that evoke aesthetic emotion. In the visual arts, what evokes this emotion are certain forms and relations of forms which include line and color. Bell called this “significant form”. Aesthetic response to significant form is not to be identified with other emotional responses. German philosopher, Arthur Schopenhauer, developed a metaphysical and ethical system that has been described as an exemplary manifestation of philosophical pessimism. Schopenhauer’s writing on aesthetics, morality, and psychology would exert important influence on thinkers and artists throughout the 19th and 20th centuries. Arthur Schopenhauer’s theory of aesthetics explains that is is a state of mind. When you are in this state of mind, you are free from misery …show more content…
Schopenhauer explains his philosophy of the aesthetic experience as one which is metaphysical. For Schopenhauer, the aesthetic experience is divided into two categories, the beautiful and the sublime. Both of these categories can be experienced through the perception of nature and art. According to Schopenhauer, the aesthetic experience is a universally held experience. The subjective aspect of the aesthetic experience characterizes the subject as one who has an aesthetic experience “pure of subject of cognition”. It is pure, because the subject’s intellect is not operating in terms of the will to life during the aesthetic experience. When the subject is participating in the aesthetic experience, they are using their senses and the freedom from the
In “Is Art a Waste of Time?” Rhys Southan examines Effective Altruists’ (EA’s), an organization that advocates people to pursue a career that provides money for generous donations (Southan). Southan also explains how EA’s believe that it is an ethical choice in giving up one’s hobbies to increase their income for those living in extremities (Southan). Despite the EA’s view of ethical standards, there are many variations of what people consider to be right and wrong behavior. Jobs such as being a teacher, a doctor or an artist, all have related ethical principles in which could define how moral a person is in their occupation. An ethical career is one that allows a person to have integrity, compassion and passion when helping others.
Overall Nietzsche is successful at responding to Schopenhauer’s philosophy as his work in Birth of Tragedy, in introducing the Apollonian and Dionysian, echoes and coincides with Schopenhauer’s ideas. Schopenhauer claims that knowledge and art are the way to escape the will, suffering, and Nietzsche seems to describe the process of doing that by defining art and its connections to knowledge. Those who disagree that Nietzsche is successful might say that him defining art for Schopenhauer is going too far. One cannot deny that there may be different paths to achieving perfect knowledge and contemplation, however, within the generality of Schopenhauer saying that art and knowledge are the ways to escape suffering, Nietzsche successfully created a definition for art and a valid argument that stays within the parameters of Schopenhauer’s philosophy.
Based on the readings “Schopenhauer as educator” by Nietzsche, Schopenhauer’s “thinking of one self” and personal higher education experience I believe college level education obstruct the pursuit of true education. As humans, we enjoy patterns and repetition. The issue with uniformity is the fact we become experts at fulfilling expectations and not discover the true self. Schopenhauer embraced his uniqueness. Although it let him into a pessimistic mid set he accomplished his true self. Overcoming expectations is difficult and the fact that Schopenhauer was able to accomplish what was expected, he inspired people like Nietzsche to do the same. It is difficult to stay within the lines and follow directions blindfolded. It is actually more difficult
The nature of aesthetics has puzzled many, where questions and reflections about art, beauty, and taste have intersected with our understanding of what a real art experience truly is. The notion of the aesthetic experience, an experience that differs from the everyday experiences, has been given great consideration by English art critic Clive Bell and American philosopher John Dewey since the beginning of the 20th century. Both have spent much deliberation on the distinctive character of aesthetic experience; yet have complete opposing ideas on how to go about understanding aesthetic experience’s ecosystem. Bell takes a formalist approach, as he thinks that to understand everything about a work of art, one has to only look at the work of art.
Experienced in European Modernism and becoming dull to the American Realism popular at the time, Abstract Expressionists became a new type of expression that gave permission to artist to have flow of their own emotion onto the canvas. They accomplished this goal by turning down the traditions of illusionistic painting in favor of their own individual spot. Abstract Expressionists were different from others they expressed their feelings/or emotions straight on a canvas, or by explorations with color, leaving no recognizable images or figuration. Many Abstract Expressionists threw fine art methods out the window by using non-traditional painting techniques. In the painting Number 31 by Jackson Pollock, for example, put his large canvases on the
It was a full 170 years after Americans had their political revolution that they won an aesthetic revolution. American art to get rid of its inhibiting mechanisms- provincialism, over-dependence on European sources, and an indifferent public- and liberate itself into a quality and expressive force equal to, or exceeding that of art produced anywhere within the period. Few would argue that the painting and sculpture that emerged from the so-called New York School in the mid 1940s was the foremost artistic phenomenon of its time and was labeled as the Abstract Expressionist movement. Abstract expressionism was a reaction to social realism, surrealism, and primitive art in the 1940s; this is a turning point in American art history because it caused the rest of the art world to recognize New York as the new center of innovation.
Schopenhauer makes it clear that he is indebted to Kant for his vision of transcendental idealism, and that his Critique of Pure Reason [2] is a work of genius. However, Schopenhauer argued that Kant made many mistakes when formulating his philosophy, and he set about the task of uncovering them in his Criticism of the Kantian Philosophy, an appendix to be found in The World as Will and Representation [1]. In this essay I wish to analyse the criticism made against Kant's determination of an object, since this is an important factor if we are to comprehend how we understand reality.
According to Schopenhauer the aesthetic is the saving element for reach out from the circle of the Will, for Borges, instead, the aesthetic is almost that never happen, or something we lost for ever and ever, or something that always announcing something that never will occur. For Borges the aesthetic is the dark shades system of the proper shapes, something like a crowded furious ghosts troop, and like this, the shapes nothing have to do, just to behold in the plenty eternal silent, where they nothing can´t change at all.
Schopenhauer was also known for his unpleasant demeanor and in fact, was considered a pessimistic philosopher. He was arrogant and paranoid and was known to sleep with a gun every night. Schopenhauer’s belief was that life was painful and filled with a cycle of “getting” and then always “wanting” more. Although pessimistic and somewhat depressive, Schopenhauer taught compassion.
Clive Bell theorizes art in terms of a theory known as Formalism. Formalism is based upon a relatively simple line of logic. All art produces in the viewer an emotion. This emotion is not different but the same for all people in that it is known as the Aesthetic Emotion. There must be a factor common to all works of art that produces in the viewer a state of Aesthetic Emotion thus defining the works as art. This common factor is form. Formalism defines artworks as that which has significant form. Significant form is a term used by Bell to describe forms that are arranged by some unknown and mysterious laws. Thus, all art must contain not merely form, but significant form. Under Formalism, art is appreciated not for its expression but instead for the forms of its components. Examples of these forms include lines, curves, shapes, and colors. Abstract art, twentieth century, or modern art such as color field painting or the works of Mondrian, are examples of art that are not representative and thus are most lik...
First, Stephen states the theory that art should invoke esthetic emotions. These emotions are confined only to the intellect and are incapable of manifesting themselves in a physical manner: "The esthetic emotion is therefore static. The mind is arrested and raised above desire and loathing." (Pg. 149). An example of esthetic emotion being static can be found in Keats' poem, "Ode on a Grecian Urn." In this poem, the scene on the urn of two young lovers just about to kiss is frozen in time. Their feelings of anticipation, excitement, and innocence are still felt by the urn's viewers even though their act can never be carried out. Human emotion, like the picture on the urn, is static. Also, anything that induces a physical reaction, such as flinching, cannot be art. This is because it has nothing to do with the intellect, but an animal reaction caused by nerves. Stephen's experience with visiting prostitutes for the first time exemplifies this theory: "His hands clenched convulsively and his teeth set together as he suffered the agony o...
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
When visiting an art museum, there could be many thoughts that can run through someone’s mind. One can contemplate the tale that the artist is trying to convey while others can discuss the impact the piece has in term of aesthetics. And people continues to walk around and observing different piece, a thought occurs and questions your logic and reasoning. Why are any of these pieces considered as art? This is not a questioning of the quality of the piece, the mere presence at the measure demonstrates that it is certainly fine art. The question is why is it general called art? Looking past the creative imagery and aesthetic themes, the piece is just ink on paper or shaped clay or any variation on a thing. So is piece of art just a mere thing? As written in the Origin of the Work of Art, Martin Heidegger would state that it’s not a simply put. Some of the subjects that Heidegger discusses range from the origin of the essential of art to the interpretation of things.
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
First, Plato believed that ideas are the realist things in the world. What we see in our daily life is not reality; sense perceptions are only appearances. And appearances are unreliable material copies of the immaterial pure ideas. Thus to him the world of the ideas is reasonable and fixed and holds the truth. While the world of physical appearances is variable and irrational, and it only bears reality to the extent that it succeeds in capturing the idea. To live the best life that you can and to be happy and do good, as a person you have to strive to understand and imitate the ideas as best as you can. So, with this philosophy in mind we can understand why Plato considered art as just a mindless pleasure. He viewed art as just an imitation.