Worringer’s classic study argues that in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform. We regard as this counter-pole an aesthetics which proceeds not from man’s urge to empathy, but from his urge to abstraction. Just as the urge to empathy as a. Abstraction and Empathy: A Contribution to the Psychology of Style [Wilhelm Worringer] on *FREE* shipping on qualifying offers. Reprint of.
|Published (Last):||14 October 2007|
|PDF File Size:||2.7 Mb|
|ePub File Size:||7.45 Mb|
|Price:||Free* [*Free Regsitration Required]|
Alasdair Ekpenyong rated it it was amazing Jan 06, Anthony rated it really liked it May 12, empsthy Just a moment while we sign you in to your Goodreads account.
from Abstraction and Empathy – Wilhelm Worringer | ART THEORY
John rated it liked it Oct 29, G Mapes rated it really liked it Jul 21, Paperbackpages. Mario Petillo rated it really liked it Oct 10, Life as such is felt to be a disturbance of aesthetic enjoyment.
Europe’s avant-garde in the Rhineland. To enjoy aesthetically means to enjoy myself in a sensuous object diverse from myself, to empathize myself into it.
from Abstraction and Empathy – Wilhelm Worringer
This page was last edited on 30 Marchat And life is energy, inner working, striving and accomplishing. But such abstraction does not make use of any natural object as a model.
Axel rated it really liked it Jul 01, Goodreads helps you keep track of books you want to read. To employ an audacious comparison: The value of a line, of a form consists eorringer us in abetraction value of the life that it holds for us. Starting from the notion that beauty derives from our sense of being able to identify with an objec Wilhelm Worringer s landmark study in the interpretation of modern art, first published inhas seldom been out of print.
Envoyer la citation Annuler.
From Wikipedia, the free encyclopedia. Their spiritual dread of space, their instinct for the relativity of all that is, did not stand, as with primitive peoples, before cognition, but above cognition. This counter-pole to the need for empathy appears to us to be the urge to abstraction.
Duncan Berry rated it it was amazing Apr 28, Worringer studied art history in Freiburg, Berlin, and Munich before moving to Bern, where he got his Ph. Modern aesthetics, which has taken the decisive step from aesthetic objectivism to aesthetic subjectivism, i. Their most powerful urge was, so to speak, to wrest the object of the external world out of its natural context, out of the unending flux of being, to purify it of all its dependence upon life, i.
A landmark interpretation of modern art.
Anstraction the first to ask a question about Abstraction and Empathy. A causal connection must therefore exist between primitive culture and the highest, purest regular art-form.
Thus the urge to abstraction stands at the beginning of every art and in the case of certain peoples at a high level of culture remains the dominant tendency, whereas with the Greeks and other Occidental peoples, for example, it slowly recedes, making way for the urge to empathy.
Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art.
Abstraction and Empathy: A Contribution to the Psychology of Style
In other projects Wikisource. It would be a history of the feeling about the world and, as such, would stand alongside the history of religion as its equal. The situation is similar as regards the spiritual dread of space in relation to the extended, disconnected, bewildering world of phenomena.
Its Archimedian point is situated at one pole of human artistic feeling alone.