worringer abstraction and empathy summary

We’d love your help. It was published as Abstraktion und Einfiihlung in Munich by Piper Verlag in 1908. Refresh and try again. The painful fact that humans seem never to want to face about organic existence is that everything dies. Sometimes we even admire our scribbling. […]. icism as Wilhelm Worringer's Abstraction and Empathy. Let us know what’s wrong with this preview of, Published We shall endeavour to cast light upon the antithetic relation of empathy and abstraction, by first characterizing the concept of empathy in a few broad strokes. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. . The need for empathy can be looked upon as a presupposition of artistic volition only where this artistic volition inclines toward the truths of organic life, that is toward naturalism in the higher sense. […]. Most critics, teachers, and curators believed that only artists who did not have the competency to perfectly copy nature turned to abstraction. And life is energy, inner working, striving and accomplishing. That which was previously instinct is now the ultimate product of cognition. which no longer takes the aesthetic as the starting-point of its investigations, but proceeds from the behaviour of the contemplating subject, culminates in a doctrine that may be characterised by the broad general name of the theory of empathy. The philosophical framework Worringer built when he wrote “Abstraction and Empathy” has been relied upon for more than a century to help elevate the public status of abstract art. Most importantly, he notes that some of those ancient artworks mimic reality, but most do not. Em Worringer trata-se de um movimento pendular que vai do "realismo", o qual ele compreende. 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 in 1908, has seldom been out of print. But even though the two books both generally deal with the topic of art and spirituality, they approach the subject in significantly different ways. But long before any of us ever learned to draw pictures that resemble the actual objects in our surroundings, we first learned how to scribble. of everything about it that was arbitrary, to render it necessary and irrefragable, to approximate it to its absolute value. He traces its origins back to the oldest known artworks created by human hands. in the constitution of the absolute artistic volition, and bears outward fruit in the work of art, to be exact in the style of the latter, the specific nature of which is simply the specific nature of the psychic needs. Como todo grande clássico deve ser lido criticamente por todos aqueles que gostam de arte, estética e filosofia. 'The geometric line is distinguished from the natural object precisely by the fact that it does not stand in any natural context. Those mysteries compel some artists to try to understand the hidden meanings that might lurk within every object, every material, and every process. In Worringer's first book, the widely read and influential Abstraction and Empathy, he divided art into two kinds: the art of abstraction (which in the past was associated with a more 'primitive' world view) and the art of empathy (which had been associated with realism in the broadest sense of the word, and which was dominant in European art since the Renaissance). […]. Natural beauty is on no account to be regarded as a condition of the work of art, despite the fact that in the course of evolution it seems to have become a valuable element in the work of art, and to some extent indeed positively identical with it. The rationalistic development of mankind pressed back this instinctive fear conditioned by man’s feeling of being lost in the universe. He furthermore proved that abstraction is a fundamental expression of the human will to connect with the spiritual world, and established it as a cornerstone of human creativity.

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