# bib

id: 29510
title: An Essay on the Beautiful, from the Greek of Plotinus
author: Plotinus
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  of the beautiful itself, even while connected with a corporeal nature, some time before even the liberal soul can recognize the beautiful things, as bodies, are doubtless beautiful, not from the natures of the respect, to the same bodies, they appear beautiful to one person, and the soul, and opens her eye to the perception of beauty, existing in beauties of sense, which, like images and shadows flowing into which the soul beholds such real beauties. purity for the possession of beauty; so the soul, when separated from is, therefore, rightly said, that the beauty and good of the soul bodies themselves participate of beauty from the soul, which, as But they alone pursue true good, who rise to intelligible beauty, and fair colours, and beautiful corporeal forms; who is deprived of is this beauty of a worthy soul to be perceived? matter," says he, "is neither soul, nor intellect, nor life, nor form, nor


id: 26942
title: The Beautiful: An Introduction to Psychological Aesthetics
author: Lee, Vernon
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  instead of merely _seeing_ a colour, we _look at_ a shape, our eye If perceiving shape means comparing lines repeat looking at (which is what we mean by contemplating) a shape shape-perception makes contemplation disagreeable and impossible, and looked at shape of the mountain, is not merely the thought of the Shape to the Thing, from aesthetic contemplation to discursive and call _Art._ Therefore the satisfaction of the shape-perceptive or therefore intrinsic qualities of the shapes whose active perception about things and contemplation of shape. the thought of _Things_ into the contemplation of _Shapes._ For the the thought of _Things_ into the contemplation of _Shapes._ For the asking "What does it represent?"; shape-perception and aesthetic establish, the contemplation of beautiful shapes involves perceptive The contemplation of beautiful shape is, on The contemplation of beautiful shape is, on contemplation of beautiful shape lifts our perceptive and empathic


id: 6366
title: The Principles of Aesthetics
author: Parker, De Witt H. (De Witt Henry)
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  definition of life; so the student of aesthetics observes works of art enjoying and entering into the aesthetic life of other artists and art The work of art is the tool of the aesthetic life. more objective types of art, like the novel or the drama, become forms expression; sounds, be they words or musical tones, convey thoughts life; even when the artist expresses his own personal experience, he One of the most life-creating elements of a work of art is imagery. work of art is primarily an expression of the artist''s personality expressions--words, tones, colors, space-forms--in which the unity of that in painting, for example, the feeling tone of the colors and lines medium, the sound; there is a life expressed, a feeling aroused in us, values of poetry, drama, and music, and so an art more beautiful than Painting is not a mere music of color and line expressive of


id: 12896
title: Essays Æsthetical
author: Calvert, George Henry
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  man their united action is needed; but feeling for the beautiful Arts to Nature," says, "The beautiful is beyond form; it is substance, to get from a mind thus deficient high moral thought or action. verse the feelings, thoughts, deeds, scenes of human life, is not the single or few lines the life of man''s finer nature, as in the diamond As I have already said, the power of imagining, of forming in the mind Some poets, not weak in poetic imagination, yet use it chiefly for possession of power; and the poetic man will imagine all sorts and discoverers are poets: the most poetic French mind I know is that primary need of a good style, the writer''s thought must be fresh. reached by poets, or by men who, though poetically minded, yet lack The true material of a poem is the poet''s own nature and thoughts, his


id: 9306
title: Aesthetic as Science of Expression and General Linguistic
author: Croce, Benedetto
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  and empirical--Artistic genius--Content and form in Aesthetic--Critique his definition of History as being aesthetic and differing from Art aesthetic or artistic fact, taking works of art as examples of intuitive reasons which have prevented Aesthetic, the science of art, from expressive knowledge, which is the aesthetic or artistic fact. forms of knowledge are two: the intuition and the concept--Art, and the true nature of art, and of its relation to history and to science. expressive fact, it becomes a part of Aesthetic as science of question of the _end of art_, which in the Aesthetic of expression would THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND ART THE SO-CALLED PHYSICALLY BEAUTIFUL IN NATURE AND ART The things called _Arts_ have no aesthetic limits, because, in order to intuitive or expressive knowledge, which is the aesthetic or artistic nature in art, but also of the relations between the aesthetic fact and


id: 51459
title: The Analysis of Beauty Written with a view of fixing the fluctuating ideas of taste
author: Hogarth, William
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  a serpent-like and flaming form: naturally those sort of lines have ways in a pleasing manner, as may be better seen by figure 43, in plate variety of lines, which serve to raise the ideas of bodies in the mind, parts, the eye is always better pleased on the account of variety. than a more elegant form: preparatory to which, let the figure [Fig. 14 ornamental kind: for which reason we shall call it the line of beauty. time different ways, leads the eye in a pleasing manner along the When you would compose an object of a great variety of parts, let the beauty of distinctness of forms, lights, shades, and colours, by distances in lines belonging to form, would, in like manner, delight appearance by light, shade and colour, nature hath added another way After thus having form''d the idea of all movements being as lines, it


