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- GenresPhilosophy
160 pages, Kindle Edition
First published January 1, 1922
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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
February 25, 2014
Reading an ebook that has not been reformatted but rather merely scanned can be very annoying. This one was difficult to read because page numbers appeared in the middle of paragraphs and miscellaneous other symbols kept popping up in very odd places. But about the book itself:
Clive Bell expresses his quite confident art criticism throughout this collection of various articles previously published in magazines and papers. He is very forceful in letting us know in no uncertain terms that he is absolutely correct in all that he says, whether you agree or not. Some of the articles were interesting because the reader was able to gain a good understanding of the times through which Bell lived. Others were rather dull because they were so esoteric - perhaps I might have enjoyed these more if I were better educated in art history, or if I were able to read French; much French appears but no translation is provided.
What most interesting to me were Bell's discussions about Bloomsbury and its painters and writers. Vanessa Bell, Duncan Grant, and Virginia Woolf are assessed with Bell's obvious prejudice toward their work. After all, Vanessa Bell was his wife and Virginia Woolf his sister-in-law, and Grant one of his closest friends. Bell's insider perspective of Bloomsbury gives his writings in these sections a great air of authority.
I would recommend this book to anyone interested in the time period in art and literature, and of course to those who are as fascinated with Bloomsbury as am I.
Clive Bell expresses his quite confident art criticism throughout this collection of various articles previously published in magazines and papers. He is very forceful in letting us know in no uncertain terms that he is absolutely correct in all that he says, whether you agree or not. Some of the articles were interesting because the reader was able to gain a good understanding of the times through which Bell lived. Others were rather dull because they were so esoteric - perhaps I might have enjoyed these more if I were better educated in art history, or if I were able to read French; much French appears but no translation is provided.
What most interesting to me were Bell's discussions about Bloomsbury and its painters and writers. Vanessa Bell, Duncan Grant, and Virginia Woolf are assessed with Bell's obvious prejudice toward their work. After all, Vanessa Bell was his wife and Virginia Woolf his sister-in-law, and Grant one of his closest friends. Bell's insider perspective of Bloomsbury gives his writings in these sections a great air of authority.
I would recommend this book to anyone interested in the time period in art and literature, and of course to those who are as fascinated with Bloomsbury as am I.
Displaying 1 of 1 review