Æsthetics

Æsthetics may be defined as a systematic training to right thinking and right

feeling in matters of art, and is made a part of philosophy by A.G. Baumgarten.

Its domain, according to Wolff's system, is that of indistinct presentations and

the canons of sensuous taste (aisthetike techne, from aisthanesthai, to preceive

and feel). It has, however, developed into a philosophy of the beautiful in nature

and art, and, finally, into a science of the (fine) arts based on philosophical

principles. Natural beauty, particular works of art, pure, that is, not sensual,

beauty, and philosophical questions are sometimes treated thoroughly,

sometimes merely touched upon. Applied aesthetics is the accurate description

and valuation of particular works of art; technical aesthetics, the training of the

art-student in individual productions; art-history, the continuous record of the

development of art, according to a definite plan. It is the duty of aesthetics

always to seek the deepest grounds of the pleasure derived from art, not only in

the laws of nature, but, above all, in those of the mind, and thus to come in touch

with philosophy; but the fruitful source of sound judgment is to be found in a

correct view of the world of art itself. The student of aesthetics, though he cannot

wholly dispense with an insight into the technique of artistic production, or with a

knowledge of the varied manifestations of beauty in nature and life, or even with

an actual exercise of one kind of art or another, must rely Chiefly on a quick

perceptive faculty, systematizing talent, and an intelligent appreciation. In this

respect aesthetics will, on the one hand, offer more, on the other hand, less than

"technical treatises" on any one art, practical instruction in the exercise of the

same, or illustrated art books for everyone.

THE PHILOSOPHY OF ÆSTHETICS

AEsthetics, as a general science, takes no account of the individual arts. It,

investigates the physiological and psychological principles of art, the

conceptions of art, of beauty, and of the beautiful in art, and develops the

universal laws of artistic activity. Clear and orderly thinking, the presupposition of

all scientific discussion, is indispensable in aesthetics, the more so because,

otherwise, aimless circumlocution and serious errors are unavoidable. All ideas,

moreover, concerning aesthetic beauty and the aim of art need to be carefully

examined into. Finally, the subjective conditions of the artist, his relation to

nature, and the division and classification of the material that lies to his hand

must be taken into account.

THE SCIENCE OF THE ARTS

In a history of art only the imitative arts and, possibly, music are, as a rule,

included; aesthetics, on the other hand, takes in the arts of oratory as well,

though mere eloquence, because of its eminently practical character, is

generally omitted. Originally, aesthetics was chiefly occupied with poetry, the

laws of which are the most easily explained. With poetry the ancillary arts of

rhythm and acting are inseparably connected. If vocal music be added to these,

we have all those which are the direct, though transient, outcome of voice and

gesture. Man, however, soon progresses to the use of musical instruments and

gives his artistic productions a permanent existence by means of written notes or

marks. The constructive arts, on the other hand, always make use of extraneous

material, such as color, wood, stone, or metal, with results that are not at the

same time complete and visible. The graphic and textile arts are grouped with

that of painting; with sculpture, ceramics, relief-work, and every kind of engraving;

the lesser decorative arts with painting and architecture. The aesthetics of the

individual arts does not bear the abstract impress of aesthetics in general; for

although it everywhere seeks out the deeper-lying principles of aesthetic

satisfaction, it often invades the domain of art-history in search of illustration, in

order to prove the laws of art by means of Characteristic types.

SYSTEMS AND METHODS

This peculiar method of dealing with the subject ensures to AEsthetics the

position of an independent and valuable science. For this reason various methods

and systems have grown up in it, as in art itself, which lay stress on one aspect

rather than on another. Idealism loves great subjects, a lofty conception,

monumental execution; it looks to find the divine and the spiritual in all things, be

it only allegorically and symbolically. It treats aesthetics from above, and guards

most effectually against the debasement of art, but is exposed (as was

Platonism in philosophy) to the risk of losing itself in abstraction and, moreover,

of not giving due importance to the form of art. With aesthetic formalism, on the

contrary, this is the most important matter; it does not ask What, but How; it

does not look at the content, but at the form which the artist gives it. It defines

what forms are "pleasing" in the absolute sense; that is, combine to make up the

image of beauty. When, moreover, it goes beyond experience, and confirms the

verdict of the senses by that of the mind, it draws, with perfect justice, the

characteristic distinction between artistic conception and scientific treatment.

Form, however, without content would be empty; it should be rather, as it were,

the blossoming of the idea, and a great subject, unless, indeed, it surpass the

powers of the artist, gives his genius an impulse towards the highest possible

expression. Realism brings into prominence only the truth and palpable actuality

of this content. It sets art on a sure foundation and opens the treasures of the

visible world of matter. It brings art into living relationship with life and nature, with

national characteristics and current ideas, and leads it, through the favoring

influence of artistic industries, into the home life of the people. This system,

however, does not always safeguard the true worth of the highest art, whose part

it is not to imitate, but to idealize reality, to seek its materials in the world of

ideas as well as in that of phenomena; which sets a greater, unchangeable truth

side by side with one which is lower in this world of experience, and does not, to

take one example, regard, after the coarser manner of realistic art, mere

fishermen of Galilee, in working garb and With Jewish features, as true and fitting

presentations of the Lord's Apostles. It may, therefore, be said with a measure of

truth that the chief task of art begins precisely at the point where the truth of

nature reaches its perfection. Naturalism, again, goes much further than

Realism, in that it not only insists on fidelity to nature, to the point 6f illusion, in

all arts, whether of painting, drama, romance, or other, but also suppresses as

far as possible all that is spiritual or supersensuous. Relapse into merest

sensuousness becomes, in such case, inevitable. Not anatomical and organic

fidelity of presentation, but the nude, with its allurement, then easily becomes of

chief importance, and the artistic conception sinks likewise, with regard to other

things, to the level of crude naturalism and sensuous pleasure. In so far,

however, as Naturalism holds aloof from this abyss, it champions the autonomy

of art in order to maintain its independence of religion and morality. It thereby

sets itself in open contradiction to Christianity; since all things human, even art,

are subject to the eternal law. Artistic expression is indeed neither the act of a

blindly toiling genius nor that of an understanding governed by its own laws, but

is the act of a free, responsible will. It affects not only the sight and perception of

the spectator, but also his mental disposition and his will. It is in this respect

that the laws of morality apply to art as a practical calling. Likewise, as against

Naturalism, a moral and religious aim in art must be recognized. "Art is its own

aim" (art for art's sake), is a principle which holds true only of the immediate or

inner aim (finis operis). The work must of course, above all, comply with the laws

of the art in order to be a complete work of art. But it may, even so, serve other

ends, such as the mental and religious betterment of mankind, and, above all,

the glory of God. The systems hitherto referred to are old, and have their source

in certain fundamental views of art; those which follow owe their origin rather to

reflection and reaction. The names: "Classicism", "Byzantinism", "Orientalism",

"Romanticism", "Archaism" and even "Renaissance" (in the ordinary sense of the

word) indicate certain tendencies of art, and of aesthetics, which discern the

conditions of progress in a reversion to earlier periods of art-development.

Witness the aesthetic conceptions of the "Nazarenes", who laid stress on the

poetic, national, and religious temper, in contradistinction to academic stiffness

and classical coldness, and who, therefore, reverted to the Italian art of the

fifteenth century (the Overbeck school). These ideas exercised an important

influence upon the Christian art of Germany, down to the period of Steinle and

the Düsseldorf school. Pre-Raphaelitism shares with the Nazarenes their

predilection for the Early Renaissance, with its fresh-blossoming, freely-evolving

simplicity; shares still more their distaste for a narrowing routine and a

conventional uniformity. The Pre-Raphaelite Brotherhood (Rossetti, Holman Hunt,

Millais), made noteworthy by Ruskin's writings on the subject; sought to give

English art a greater independence, fidelity to nature, and poetic spirit, by linking

it to the "primitive" painters of Italy. This tendency, which showed itself

somewhat earlier than the middle of the nineteenth century, endured, under the

name of Æstheticism, partly in England, and partly in. America, until the end of

the last century (Burne-Jones, William Morris). Its representatives sought chiefly

the oldest and best forms of art, and devoted themselves, not Without

eccentricities, to furniture and draperies. "Individualism" seeks salvation not in

history, but in denial of the historical. It is the so-called "Secession", however,

which has attracted most attention. Having at first been mainly a social

movement of revolt (in Munich), it has tended to eschew learning and aspired to

create all things anew, with results which are sometimes original, sometimes

astonishing, and occasionally ludicrous. Whether the new style sought for will

develop from this, is more than doubtful; never, certainly, from the purely negative

theory of the tendency, since it tends to do away with ideas, form, and style. Yet

this striving after new forms is not without a certain justification. A somewhat

widespread theory, which may be called "Akallism", rejects the old doctrine of

the beauty of a true work of art, and aims to set that which has character, or

meaning, in the place of the beautiful. As a matter of fact, nearly all writers on

aesthetics have made the idea of beauty the foundation of the whole system, and

even Jungmann found it impossible to devise a symmetrical system of aesthetics

without that idea. There is no need to deny the possibility of devising such a

system, but the witness of history is on the side of the so-called aesthetics of

beauty. Akallism, however, as a rule, aims at replacing the beautiful not by the

great, but by that which is strikingly characteristic, or brutally realistic.

Subjectivism threatens scientific aesthetics with an entirely new danger. The

forcible emphasis of the subjective side of art, and of the psychological and

physiological conditions of artistic expression, is undoubtedly an advance --

provided objective conditions and norms suffer no diminution of their rightful

sphere. Yet there is a growing tendency to regard all aesthetic principles and

judgments as mere fluctuating opinions, and reject all that constitutes system,

principle, or definition. Such skepticism, born of spiritual weakness and

cowardice, makes an end, once for all, of all science.

A word must be added here concerning the various methods of aesthetics. The

older, abstract, treatment of the subject is no longer available, in view of the

abundant facilities which perception now has at its disposal. Mere sense-training,

however, leads, in its turn, to very superficial knowledge; it is the chief function of

perception to prepare the way for mental insight and ideal conception. Nor can

we dispense with either the systematic arrangement of the history of art, or the

quasi-philosophical basis of aesthetics. The introduction of natural-science

methods into aesthetics (Taine, Grant Allen, Helmholtz, Fechner), as well as the

close connection between theoretical and practical instruction, and artistic

expression (Ruskin), offers great advantages, if not relied on exclusively. At the

same time, it remains true that high art can never be wholly dissected by the

methods of the exact sciences, but rather itself lays down in turn the governing

norms which art expression should follow and, having once attained its proper

perfection, is not longer dependent on such expression. The proper subject;

therefore, of aesthetics is the great arts; the technique and the theories of the

lesser arts have a narrower range of material. As a matter of method, it is

advisable to set poetry in the foreground of any discussion concerning art, since

it is thereby easier to keep the aesthetics of the other arts from becoming mere

technique.

HISTORY OF ÆSTHETICS

Socrates, in Xenophon's "Memorabilia" and "Symposium", makes no distinction

between the good and the beautiful, and the same indefiniteness extends to

Plato's philosophy (The Republic, Phaedrus, Philebus) and that of Plotinus

(Ennead, I, vi). The idealism of this philosophy not only gave rise to the work of

Longinus concerning "The Sublime", but also inspired Dionysius the Areopagite

(De Divinis Nominibus) and several Fathers of the Church. Aristotle, on the other

hand, gravely analyzed the form and properties of the beautiful as, in his

"Poetics", he analyzed the art of epic, tragic, and comic poetry. The acute

incidental comments of St. Thomas Aquinas are chiefly confined to the notion of

the beautiful and of art, and to the artistic idea. The systematic treatment of

aesthetics begins with A. G. Baumgarten's "AEsthetica" (1750-58). However little

philosophical value his canons of taste, founded on "confused ideas" and

"sensitive perceptions" may possess, as a matter of fact, his book had a

stronger influence upon the further development of aesthetics than both English

and French philosophy had prior to his time. The former, starting from a Platonic

idealism, sank further and further into empiricism and sensualism, and insisted,

not too philosophically, on the principle of common sense (Shaftesbury,

Hutcheson, Reid, Hume, Burke). Hogarth devoted himself to painting and

proposed as the "line of beauty" the curve which bears his name. Among the

French, Batteux, following Aristotle, devised a system of the fine arts, which,

however, clung somewhat too closely to the principle of imitating nature. Diderot

did the same to an even more marked extent, whereas the later French

aesthetics approximated to idealism (Cousin). In Germany aesthetics came to

be treated of with much zeal after Baumgarten's time, both in a philosophical and

in a popular fashion. To allude here only to the first, the art-critics Winckelmann

and Lessing were among the numerous followers of the Baumgarten school, the

former directing his special attention to the art of sculpture. Kant, again, obtained

great influence, and, though his pet theory, that beauty is merely a subjective,

formal fitness, found no followers, he stimulated activity in many quarters by

means of self-contradictory concatenation of various systems. From him, then, is

derived the abstract idealism of Schelling and Schopenhauer, wherein the general

idea of beauty is not sufficiently absorbed in the form of its manifestation.

Concrete idealism also (that of Hegel and Schleiermacher) owes its origin to

Kant. It regards beauty not as a universal idea, but as an individual-evolution. To

him, too, may be traced the aesthetic formalism of Herbart and Zimmermann,

and "aesthetics of feeling" (Kirchmann).

HEGEL, Vorlesungen uber die Æsthetik (Berlin, 1835-38); TH. VISCHER, Æsthetik, oder

Wissenschaft des Schonen (Reutlingen, 1846-57); DEUTINGER, Kunstlehre (Ratisbon, 1845);

KOSTLIN, Æsthetik (Tubingen, 1863-68); CARRIERE, Æsthetik (Leipzig, 1885); IDEM, Die Kunst im

Zusammenhange der Kulturentwicklung (3d ed. Leipzig, 1877-86); ZIMMERMANN, Æsthetik als

Formwissenschaft (Vienna, 1865); JUNGMANN, Æsthetik (3d ed., Freiburg, Baden, 1886); KONR.

LANCE, Wesen der Kunst (1901); GIETMANN-SORENSEN, Kunstlehre (Freiburg, Baden,

1899-1903). In England RUSKIN'S Modern Painters has had a wide circulation, as have his other

numerous works. The following French works may be mentioned: SUTTER, Esthetique generale et

appliquee (Paris, 1865); LONGHAYE, Theorie des belles lettres (Paris, 1885).

For the history of aesthetics: MULLER, Gesch. der Theorie der Kunst bei den Alten (Breslau,

1834-37); ZIMMERMANN, Gesch. der Æsthetik (Vienna, 1858); SCHASLER, Kritische Gesch. der

Æsthetik (Berlin, 1872); VON HARTMANN, Die deutsche Æsthetik seit Kant (Leipzig, 1886).

For the history of Art: KRAUS, Gesch. der christl. Kunst (Freiburg, Baden, 1896-97); SPRINGER,

Handb. der Kunstgesch. (6th ed., Leipzig, 1901-2); KUHN, Allgem. Kunstgesch. (Einsiedeln, 1891,

incomplete in 1906); WOESMANN, Gesch. der Kunst aller Zeiten u. Volker (Leipzig, 1905) not yet

complete.

G. Gietmann

The Catholic Encyclopedia, Volume I

Nihil Obstat, March 1, 1907. Remy Lafort, S.T.D., Censor

Imprimatur. +John Cardinal Farley, Archbishop of New York

The Catholic Encyclopedia: NewAdvent.org