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Rather touching

Alein

Part 1

The stream of art has never run utterly dry;it flows through the ages,now broad now narrow, now deep now shallow,now rapid now sluggish:it color is changing always.

Any attempt to dam and imprison the river,to choose out a particular school or movement and say:'here art begins and there it ends,is pernicious absurdity '.

Chapter 1, the key to art is pure ecstasy beyond any human (inferior)feelings;just as mathematician,art is pure and made of 'significant form'

Chapter 2,there is nothing revolutionary in post-impressionist movement

You cannot give men genius; you can only give them freedom—freedom from superstition. Post-Impressionism can no more make good artists than good laws can make good men.

Chap3

Artists must canalise their emotion, they must concentrate their energies on some definite problem. The man who sets out with the whole world before him is unlikely to get anywhere. In that fact lies the explanation of the absolute...

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Part 1

The stream of art has never run utterly dry;it flows through the ages,now broad now narrow, now deep now shallow,now rapid now sluggish:it color is changing always.

Any attempt to dam and imprison the river,to choose out a particular school or movement and say:'here art begins and there it ends,is pernicious absurdity '.

Chapter 1, the key to art is pure ecstasy beyond any human (inferior)feelings;just as mathematician,art is pure and made of 'significant form'

Chapter 2,there is nothing revolutionary in post-impressionist movement

You cannot give men genius; you can only give them freedom—freedom from superstition. Post-Impressionism can no more make good artists than good laws can make good men.

Chap3

Artists must canalise their emotion, they must concentrate their energies on some definite problem. The man who sets out with the whole world before him is unlikely to get anywhere. In that fact lies the explanation of the absolute necessity for artistic conventions. That is why it is easier to write good verse than good prose, why it is more difficult to writegood blank verse than good rhyming couplets. That is the explanation of the sonnet, the ballade, and the rondeau; severe limitations concentrate and intensify the artist's energies.

Part 2 Art and life

I.Art and Religion

The misfortune is that, having acquired the habit of recognising labels, practical people tend to lose the power of feeling emotion; and, as the only way of getting at the thing in itself is by feeling its emotional significance, they soon begin to lose their sense of reality.

religion is the whetstone on which men sharpen the spiritual sense. Religion, like art, is concerned with the world of emotional reality, and with material things only in so far as they are emotionally significant.

religion VS science

Bloomsbury intellectuals vs Cambridge rationalists(Refer to Moore /Keynes)

Art and Religion are, then, two roads by which men escape from circumstance to ecstasy.

II.Art and History

As the sense of reality grows dim, as men become more handy at manipulating labels and symbols,...the power of escaping to the world of ecstasy decays, and art and religion begin to sink.

Think again then.资本如何与艺术共舞?

After that, nothing is left of art and religion but their names; illusion and prettiness are called art, politics and sentimentality religion.

…如今已空余玫瑰之名。

艺术史即人类心灵史。

Art and a quiet life are incompatible I think; some stress and turmoil there must be.

III.Art and Ethics

"Art is good because it exalts to a state of ecstasy better far than anything a benumbed moralist can even guess at; so shut up."

Part3 the Christian slope

I.Art and renaissance

Clive Bell speaks very highly of Giotto:

Which I keep myself preserved:

1.The Classical Renaissance made absolute the divorce of the classes from the masses.

(sensibility is not borne with)

2.genius-worship is the infallible sign of an uncreative age.

(Worshiping visible gods is also very uncreative)

3.the world has grown rotten with decency and order. It takes more than the rediscovery of Greek texts and Graeco-Roman statues to provoke the cataclysms and earthquakes with which it grew young.

看到这里感觉伊已经开始self-evident了。老夫聊发少年狂不等于青春期,对欧洲尤其如此。

4.Straining limbs, looks of love, hate, envy, fear and horror, up-turned or downcast eyes, hands outstretched or clasped in despair—by means of our marvellous machinery, and still more marvellous skill, we can give them all they ask without forestalling the photographers.

II.神侃伊眼中的艺术史

因为讲的人太多,又没有感同身受,这里就不做笔记了。记一下Poussin和Turner.

III.塞尚

IV.简化与设计

Part 4.the pathetic fallacy

All artists are aristocrats in a sense, since no artist believes honestly in human equality; in any other sense to call an artist an aristocrat or a democrat is to call him something irrelevant or insulting. The man who creates art especially to move the poor or especially to please the rich prostitutes whatever of worth may be in him.

Part 5 then...the future

I.the artist

The one good thing Society can do for the artist is to leave him alone. Give him liberty. The more completely the artist is freed from the pressure of public taste and opinion, from the hope of rewards and the menace of morals, from the fear of absolute starvation or punishment, and from the prospect of wealth or popular consideration, the better for him and the better for art, and therefore the better for everyone.

official patronage is the surest method of encouraging in it all that is most stupid and pernicious.(然而欧洲现在的艺术电影就是国家补贴的。)

They do not produce to live—they live to produce.

點評:真是饱汉不知饿汉饥。我很期待看到Clive Bell就选美理论和keynes吵一架。

I think it was William Morris who said that poetry should be something that a man could invent and sing to his fellows as he worked at the loom.

点评:this is impressive.

II.art and society

...and...There never was a religion so adaptable and catholic as art.

On compromise which is the bane of all religion—since men cannot serve two masters—almost all the sects of Europe live and grow fat. Artists have been more willing to go lean. By compromise the priests have succeeded marvellously in keeping their vessel intact.

The original sin of dogmatists is that they are not content to feel and express but must needs invent an intellectual concept to stand target for their emotion. From the nature of their emotions they infer an object the existence of which they find themselves obliged to prove by an elaborately disingenuous metaphysic.

Conclusion:

我不能同意的地方恰恰是Clive Bell 极力试图说明的地方。

“堕尔形体,吐尔聪明,伦与物忘,大同乎涬溟。解心释神,莫然无魂。万物云云,各复其根,各复其根而不知。浑浑沌沌,终身不离。若彼知之,乃是离之。无问其名,无窥其情,物固自生。”

私以为这是他眼中的最高境界。这么说来,艺术家不需要供养、不需要赞助,简直是地上的乞丐,天上的王子。

这更像是家境良好的中产阶级对自己不能企及境界的想象;能点评艺术不代表就是艺术的,“思想自由,行为保守”,也不能抵达任何地方。艺术的匠人属性甚至被他忽视了。

他赞美艺术的宗教性,又赞美苦行、歌唱和跳舞。这更像是维多利亚时代的清谈家。但是如果把他扔到尼泊尔的雪山去跟着信奉湿婆的苦行者呆个一年,估计就能从这种“何不食肉糜”的审美倾向中解放出来。

从逻辑的层面,他并不能说服我,既不简洁,也不自洽。Melissa Bell的脾气想必是非常好。幸好Bloomsbury还有凯恩斯。

(放一张刚刚在国博展览看到的湿婆VS雪山神女雕塑,图源自网络)

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