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Leopold Classic Library is delighted to publish this classic book as part of our extensive collection. As part of our on-going commitment to delivering value to the reader, we have also provided you with a link to a website, where you may download a digital version of this work for free. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. Whilst the books in this collection have not been hand curated, an aim of our publishing program is to facilitate rapid access to this vast reservoir of literature. As a result of this book being first published many decades ago, it may have occasional imperfections. These imperfections may include poor picture quality, blurred or missing text. While some of these imperfections may have appeared in the original work, others may have resulted from the scanning process that has been applied. However, our view is that this is a significant literary work, which deserves to be brought back into print after many decades. While some publishers have applied optical character recognition (OCR), this approach has its own drawbacks, which include formatting errors, misspelt words, or the presence of inappropriate characters. Our philosophy has been guided by a desire to provide the reader with an experience that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic book, and that the occasional imperfection that it might contain will not detract from the experience.
188 pages, Paperback
First published January 28, 2010
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About the author
Clive Bell
34 books22 followersLibrarian Note:
There is more than one author in the Goodreads database with this name. See also Clive Bell
Arthur Clive Howard Bell, British critic, proposed his aesthetic theory of significant form in Art in 1914.
The group of Bloomsbury associated Arthur Clive Heward Bell, an Englishman. He studied history at Marlborough and Trinity College, Cambridge, which educated him. Bell, one most prominent man, lived. Back at least to Immanuel Kant, peopel can trace the general view that properties of an object make something or define experiences. Bell found nothing else relevant about an object in any way to assess a valuable work. A painting for example represents something completely irrelevant to evaluating it. Consequently, unnecessary knowledge of the historical context or the intention of the painter for the appreciation of visual, he thought. "From life," "we need bring" "nothing," "no knowledge of its ideas and affairs, no familiarity with its emotions," ""to appreciate a work," he wrote.
The understanding of the notion differs. For Immanuel Kant, it meant roughly the shape of an object with as not an element. For Bell in contrast, "the" "unreal" "distinction," "you" can "conceive of" "neither" "a colorless space" nor a "relation." Bell famously coined the term to describe the distinctive type of "combination of lines and colors" which makes an object work.
Bell also claimed that the key value lies in ability to produce a distinctive experience in the viewer. Bell called this experience "emotion." It arouses that experience, as he defined it. In response to a work, we perceive an expression and thus experience emotion, he also suggested. The experience in turn sees pure ordinary objects in the world not as a means to something else but as an end, he suggested.
Ultimately, the value lies only in a means to "good states of mind," Bell thought. With "no" "more excellent or more intense" "state of mind" "than" "contemplation," Bell thought of visual works among the most valuable things. George Edward Moore, the philosopher, heavily influenced Bell like many persons in the group of Bloomsbury in his account of value.
There is more than one author in the Goodreads database with this name. See also Clive Bell
Arthur Clive Howard Bell, British critic, proposed his aesthetic theory of significant form in Art in 1914.
The group of Bloomsbury associated Arthur Clive Heward Bell, an Englishman. He studied history at Marlborough and Trinity College, Cambridge, which educated him. Bell, one most prominent man, lived. Back at least to Immanuel Kant, peopel can trace the general view that properties of an object make something or define experiences. Bell found nothing else relevant about an object in any way to assess a valuable work. A painting for example represents something completely irrelevant to evaluating it. Consequently, unnecessary knowledge of the historical context or the intention of the painter for the appreciation of visual, he thought. "From life," "we need bring" "nothing," "no knowledge of its ideas and affairs, no familiarity with its emotions," ""to appreciate a work," he wrote.
The understanding of the notion differs. For Immanuel Kant, it meant roughly the shape of an object with as not an element. For Bell in contrast, "the" "unreal" "distinction," "you" can "conceive of" "neither" "a colorless space" nor a "relation." Bell famously coined the term to describe the distinctive type of "combination of lines and colors" which makes an object work.
Bell also claimed that the key value lies in ability to produce a distinctive experience in the viewer. Bell called this experience "emotion." It arouses that experience, as he defined it. In response to a work, we perceive an expression and thus experience emotion, he also suggested. The experience in turn sees pure ordinary objects in the world not as a means to something else but as an end, he suggested.
Ultimately, the value lies only in a means to "good states of mind," Bell thought. With "no" "more excellent or more intense" "state of mind" "than" "contemplation," Bell thought of visual works among the most valuable things. George Edward Moore, the philosopher, heavily influenced Bell like many persons in the group of Bloomsbury in his account of value.
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Displaying 1 of 1 review
September 14, 2013
Composed of reviews and articles published early in Clive Bell's career as an art and book critic, this ebook was interesting to read. For one thing, reading it showed how strongly opinionated Bell was as a young man, with definite ideas about what is and is not "good art". He pontificates about his newly developing theories in no uncertain terms, and his viewpoint is quite black and white.
With the arrogance of a young man Bell pushes the reader to see art the way he sees it, and there is no room in his mind for disagreement. I'll read more of Bell's books to discover if he further solidified his theories or eventually moderated them. An early member of Old Bloomsbury, Bell was married to Virginia Woolf's elder sister, the artist Vanessa Bell. Although Vanessa left him for her fellow artist Duncan Grant, she and Clive Bell never divorced and remained friends throughout their lives.
With the arrogance of a young man Bell pushes the reader to see art the way he sees it, and there is no room in his mind for disagreement. I'll read more of Bell's books to discover if he further solidified his theories or eventually moderated them. An early member of Old Bloomsbury, Bell was married to Virginia Woolf's elder sister, the artist Vanessa Bell. Although Vanessa left him for her fellow artist Duncan Grant, she and Clive Bell never divorced and remained friends throughout their lives.
Displaying 1 of 1 review