By G. W. F. Hegel
This is often the 1st of 2 volumes of the one English version of Hegel's Aesthetics, the paintings within which he offers complete expression to his seminal thought of paintings. The titanic creation is his top exposition of his basic philosophy of paintings. partly I he considers the final nature of artwork as a non secular adventure, distinguishes the wonderful thing about artwork and the great thing about nature, and examines inventive genius and originality. half II surveys the historical past of paintings from the traditional international via to the tip of the eighteenth century, probing the which means and importance of significant works. half III (in the second one quantity) offers separately with structure, sculpture, portray, track, and literature; a wealthy array of examples makes brilliant his exposition of his idea.
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Extra resources for Aesthetics: Lectures on Fine Art, Volume 1
Any natural product, a plant, for example, or an animal, is purposefully organized, and in this purposiveness it is so directly there for us that we have no idea of its purpose explicitly separate and distinct from its present reality. In this way the beautiful too is to appear to us as purposiveness. In finite purposiveness, end and means remain external to one another, since the end stands in no inner essential relation to the material of its realization. 2 In this case the idea of the end is explicitly distinguished from the object in which the end appears as realized.
Indeed, in this respect, the more art inspires to contradictory [emotions] the more it increases the contradictory character of feelings and passions and makes us stagger about like Bacchantes or even goes on, like ratiocination, to sophistry and scepticism. This variety of material itself compels us, therefore, not to stop at so formal a definition [of the aim of art], since rationality penetrates 48 INTRODUCTION this jumbled diversity and demands to see, and know to be attained, even out of elements so contradictory, a higher and inherently more universal end.
2 In this case the idea of the end is explicitly distinguished from the object in which the end appears as realized. The beautiful, on the other hand, exists as purposeful in itself, without means and end showing themselves separated as different aspects of it. The purpose of the limbs, for example, of an organism is the life which exists as actual in the limbs themselves; separated they cease to be limbs. For in a living thing purpose and the material for its realization are so directly united that it exists only in so far as its purpose dwells in it.
Aesthetics: Lectures on Fine Art, Volume 1 by G. W. F. Hegel