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By Henry G. Hartman

Initially released in 1919. This quantity from the Cornell collage Library's print collections used to be scanned on an APT BookScan and switched over to JPG 2000 layout via Kirtas applied sciences. All titles scanned conceal to hide and pages might contain marks notations and different marginalia found in the unique quantity.

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Extra info for Aesthetics: A Critical Theory of Art

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Without of these theories, warning, commonly ponents slipping from an ostensible consideration of the sub stance to a consideration of other problems, sometimes My present review legitimate, but rarely relevant. three theories: the of shall embrace a consideration Hedonistic Theory, the Expression Theory, and the Experimental Theory. II THE HEDONISTIC THEORY The Hedonistic Theory presents the claim that art has an exclusive foundation and explanation in pleasure. " onism are (1) that beauty does not exist in an object; l 1 G.

The hedonist would answer, that the one affects us with pleasure and the other affects us with pain. But ent? this is aside from the question as that point has al ready been admitted. We have assumed that I am the self-same being, and yet the one composition pleases then, while the other displeases. The difference, reside in the two compositions, and this must the point that the hedonists overlook. Of course the one pleases and the other displeases; but the is now is why they do. We, without concern a hedonist, can easily indicate many qualities wherein the two compositions differ.

Artists, of course, may use the same general technique, but they must not produce the same musical or pictorial result. Another reason for this separation is that the technical aspect of an art is amenable to an indirect or scientific analysis and comparison, whereas the pictorial or musical results permit a direct comparison but not a scientific analysis. As soon as we analyze the pictorial or musical result 2 Sir Joshua Reynolds, Fifteen Discourses on Art, pp. 5, 7, 25. ART AND THEORY by a reference even to its technique, 27 we transform an Hence elusive sensuous-thing into one more crude.

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