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Beauty and Art. Aesthetics Experience and Philosophical Thoughts on Art. Review. Plato’s epistemological objection is directed against both the work of art and the artist.
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Beauty and Art Aesthetics Experience and Philosophical Thoughts on Art
Review • Plato’s epistemological objection is directed against both the work of art and the artist. • The work of art, being false, does not give us any true knowledge of the world, and the artists do not know what they are doing. • For Plato, art is simply a false illusion of what the real world is suppose to be like.
Review • Plato has established that the pursuit of knowledge is the pursuit of the Good, and if art produces ignorance, then art is immoral. • Art seems to concentrate on the flaws in human and divine nature and often depicts great men and gods doing immoral things (ex. Homer and the Greek Tragedies). • Art does not appeal to the highest faculty of the soul, Pure Reason.
Review • Rather, art appeals to the basest part of the soul, the emotions – irrational passions. • According to Plato, the way to control this part of the soul and thereby to prevent dreams of violence and sec it to live moderately, eat and drink little before retiring, think philosophical thoughts before sleeping, and above all, avoid art! • Precisely the reason we like art is that it titillates the passions and provokes us.
The Nature and Function of Dramatic Art: Aristotle, Poetics • Aristotle, who was particularly interested in poetry and drama, tells us that art imitates an action. • But it does not imitate an action in the way that the writing of history imitates actions, simply recounting particular events. • Art is superior to history because it theorizes about actions.
Poetics • Art does not tell us what has happened; rather, it tells us what can happen. • Art deals with universals and not with particulars, so it is more philosophical than history is. • However, for Aristotle, art is still inferior to philosophy.
Poetics • Rather than holding that art encourages the passions to take control away from reason, Aristotle believed that art purges the passions. • Catharsis::Kathársis – purgation, purification.
Poetics “An emotion which strongly affects some souls is present in all to a varying degree, for example pity and fear, and also ecstasy. To this last come people are particularly liable, and we see that under the influence of religious music and sons which drive the soul to frenzy, they calm down as if they had been medically treated and purged. People who are given to pity or fear, and emotional people generally, and others to the extent that they have similar emotions, must be affected in the same way; for all of them must experience a kind of purgation and pleasurable relief. In the same way, cathartic [songs and] music give men harmless delight. We must therefore make those who practice mousikê [poetry and music] in the theater perform these kinds of tunes and songs.” Aristotle, Politics, in Aristotle: On Poetry and Style, trans. G.M.A. Grube (New York: Liberal Arts Press, 1958), pp. xv-xvi.
Poetics • Keep in mind that, unlike the more domesticated audiences of today, when Athenians went to the theater, they laughed, moaned, shrieked, beat their chests, and tore their hair as the drama unfolded. • Composition of Greek Tragedy: Hamartia, Hubris, Äte– Fatal Flaw, Arrogance, Downfall.
Pablo Picasso (25 October 1881 – 8 April 1973)
Guernica, Pablo Picasso: 1937. Oil on Canvas (137.4 in x 305.5 in), MuseoRenia Sofia, Madrid.
Picasso • Traditional view of art hat to deliver pleasure and beauty, using the ideas of measure, proportion, and harmony (ex. Parthenon – symmetry, organization, and rationality). • Modern art turns its back on the grandstanding ideals of art and aesthetics.
Picasso • Picasso Gets rid of the following: • Power, History, Ideology • Beauty, Sensuality, Tenderness • Resemblance (ex. photography does a better job). • Picasso was trying to give us a different vision of how things really are – going beyond mere appearances.
Picasso • Abstract art – the term has two main applications: • Art that is non-representational, purely autonomous and makes no reference to an exterior world, e.g. Suprematism, Abstract Expressionism; • Art that ‘abstracts’ its images from the visible world, e.g. Cubism.
Suprematism (Supremus No. 58), KrasnodarMuseum of Art (Malevich, 1916)
Number 1, 1950 (Lavender Mist), National Gallery of Art, Washington, DC. Jackson Pollock
Georges Braque, Woman with a Guitar, 1913. Musée National d'ArtModerne, Centre Georges
Picasso • These abstract works of art get us beyond surface appearances through this new vision of art. • Transcends mere factual chronicles. • Picasso’s work is not suppose to be easy on the eye.
Picasso • Picasso was caught in cultural conflict of his native Spain. • Symbols: Bull, Horse, and the Bearer of Light. • These symbols come from ancient times and have not gone away, look around they’re still around us. • These symbols are embedded so deep into Picasso’s psyche – process through his mind.
Picasso • At first Picasso gives slight gestures of hope, but soon collapse. • He also juxtaposes certain symbols to give alternate meanings to the work, such as the light, which in the past reflected good, beauty, sublime dignity. • Light now is the instrument of slaughter, evil eye – the light bulb of the exterminating angel. • Two interpretations of Light: epic battle of good and wicked lights.
Picasso • Guernica is hectic – terrifying – screaming. • Definitely modern – with messages of classical ancient symbols. • Makes us feel, it gets under our skin, and crashes into our lazy routines – instructs us on our obligation of being human.
