Monday, February 26, 2007

Perspectives on Ideas February 26, 2007

Art (Continued)
898 Thus, she [Hilda] viewed it [the painting], as it were, with his [the artist’s] own eyes, and hence her comprehension of any picture that interested her was perfect. Hawthorne, The Marble Faun.

901 ...lowering the standards of art to the comprehension of the spectator. Hawthorne, The Marble Faun.

956 I fancy it is still the ordinary habit with sculptors, first to finish their group of statuary…and then to choose the subject. Hawthorne, The Marble Faun.

963 They [artists] linger year after year in Italy; while their originality dies out of them…. Hawthorne, The Marble Faun.

967 There is an effluence of divinity in the first sketch; and there, if anywhere, you find the pure light of inspiration, which the subsequent toil of the artist serves to bring out in stronger luster, indeed, but likewise adulterates it with what belongs to an inferior mood. Hawthorne, The Marble Faun.

968 The charm [of the designs] lay partly in their very imperfection; for this is suggestive and sets the imagination at work; whereas, the finished picture, if a good one, leaves the spectator nothing to do…. Hawthorne, The Marble Faun.

980 Byron’s celebrated description [of the Coliseum] is better than reality. Hawthorne, The Marble Faun.

1130 There is always the necessity of helping out the painter’s art with your own resources of sensibility and imagination. Hawthorne, The Marble Faun.

1133 She began to suspect that some, at least, of her venerated painters, had left an inevitable hollowness in their works, because…they essayed to express to the world what they had not in their own souls. Hawthorne, The Marble Faun.

1135 …her perceptive faculty penetrated the canvas like a steel probe, and found but a crust of paint over an emptiness. Hawthorne, The Marble Faun.

1168 Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed…highest merit is suggestiveness. Hawthorne, The Marble Faun.

573 Clifford…caught the color of what was passing about him, and threw it back more vividly than he received it…. Hawthorne, The House of the Seven Gables.

136 artist to whom beauty brings exaltation and serenity of spirit. Anderson, The Schweitzer Album.

104 Only the poets, musicians, and saints have given us mirrors of the unfathomable. Bergman, Ignmar. Fiction: “Confession.” The New Yorker (Nov. 11, 1996), 92-104.

5 Aristotle says that when an art form reaches its proper development it remains fixed. Hadas, ed., The Complete Works of Aristophanes.

218 They [members of the Royal Society] recognized that all these were fancies, that reality lay elsewhere, in the realm of measurement and observation…so began that division between scientific truth and the imagination which was to…give a feeling of artificiality to all poetry during the next hundred years. Clark, Civilization.

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