No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 08 January 2010
Art is without doubt a powerful agent in determining how nature appears to us. Andrew Forge describes seeing tree leaves in sunlight, and ‘thinking Pissarro’. ‘I am wrapped round by Impressionism and the leaves look like brush strokes’. To Harold Osborne, once one has been impressed by Van Gogh's painting of certain objects, ‘it is difficult ever again to see the objects uninfluenced by Van Gogh's vision of them’.
page 242 note 1 See above, p. 228.
page 242 note 2 The Art of Appreciation (1970) p. 155.Google Scholar
page 242 note 3 Languages of Art (1968) p. 33.Google Scholar
page 242 note 4 Language of Vision (1961) p. 67.Google Scholar
page 242 note 5 Cf. Rawson, P., Drawing (1969) pp. 246 ff.Google Scholar
page 243 note 1 Cf. Rogers, L. R., Sculpture (1969) p. 231.Google Scholar
page 243 note 2 Above, p. 229.
page 244 note 1 A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) pt. II § iv.Google Scholar
page 244 note 2 Cf. Harrison, Andrew, in The Business of Reason, ed. Macintosh and Coval (1969) pp. 127 f.Google Scholar
page 244 note 3 Languages of Art, p. 32.Google Scholar
page 244 note 4 The Voices of Silence (Eng. tr. 1954) p. 616.Google Scholar
page 244 note 5 I do not mean to imply that Malraux denies art can set forth a view of the world. He acknowledges this, but eloquently emphasises the other side, the distinctive, autonomous values of painting.
page 245 note 1 The Life of Forms in Art (1934) 2nd Eng. ed. (1948) p. 3.Google Scholar
page 245 note 2 Transformations (1926) p. 196.Google Scholar
page 245 note 3 Discourses on Art, Discourse 11.
page 246 note 1 See Plate 5, Study of a Garden at Tintern. Compare also Cecil, Lord David, Visionary and Dreamer (1969) pp. 75 f.Google Scholar
page 246 note 2 See Plate 6.
page 247 note 1 Rawson, P., ‘The Methods of Zen Painting’, British Journal of Aesthetics, 1967, p. 335.Google Scholar
page 247 note 2 The Philosophy of Fine Art, Introduction.
page 247 note 3 Zibaldone, ed. Flora, vol. II, pp. 1230Google Scholar f. Cf. Singh, G., Leopardi and the Theory of Poetry, pp. 112 f.Google Scholar
page 248 note 1 On Chinese landscape, cf. Osborne, H., The Art of Appreciation, pp. 158Google Scholar f. For Tchelitchew, see Plate 7.
page 248 note 2 Body, Soul, Spirit (1966) p. 165.Google Scholar
page 249 note 1 Tte Meaning of Beauty (1959) (Penguin Books, 1962) p. 131.Google Scholar
page 250 note 1 See Plate 8.
page 250 note 2 Landscape: Portrait: Still-Life (1949) pp. 73 f.Google Scholar
page 251 note 1 Above, p. 240.
page 251 note 2 Above, p. 340.
page 252 note 1 Drawing, p. 298.Google Scholar
page 253 note 1 Dewey, John, Art as Experience, pp. 36Google Scholar ff. Zimmerman, R. L., ‘Can Anything be an Aesthetic Object?’, Journal of Aesthetics and Art-Criticism, 1966–1967, p. 184.Google Scholar
page 253 note 2 Landscape: Portrait: Still-Life, p. 87, my italics.Google Scholar
page 254 note 1 ‘The Decay of Lying’, in Intention and the Soul of Man (1891)Google Scholar. The whole context is a locus classicus on nature seen in the light of art: e.g., ‘Things are because we see them, and what we see, and how we see it, depends on the Arts that have influenced us.’
page 255 note 1 Cf. Goodman, , Languages of Art, pp. 6, 40 ff.Google Scholar
page 255 note 2 Art as Experience, p. 235.Google Scholar
page 255 note 3 Review of Metaphysics (1960) pp. 48–56.Google Scholar
page 255 note 4 Being and Having (Fontana) p. 111.Google Scholar
page 256 note 1 The Life of Forms in Art, p. 33.Google Scholar
page 256 note 2 Above, p. 234.
page 257 note 1 Above, p. 238. I have profited here from a conversation with Mr M. J. Hutchings.
page 257 note 2 Above, p. 238.