The Introduction to Hegel's Philosophy of Fine Art (1905)

Originally published in 1905, Bosanquet’s translation of Hegel’s Philosophy of Fine Art brings Hegel’s commentary and analysis of what constitutes beauty and fine art to an English audience as well as presenting his own viewpoints on the work and what is at the heart of true philosophical theory. This title will be of interest to students of philosophy and art. Cover Half Title Title Page Copyright Page Original Title Page Original Copyright Page TRANSLATOR’S PREFACE Table of Contents PREFATORY ESSAY BY THE TRANSLATOR CHAPTER I. THE RANGE OF ÆSTHETIC DEFINED, AND SOME OBJECTIONS AGAINST THE PHILOSOPHY OF ART REFUTED (37–61) [a. Æsthetic confined to Beauty of Art β. Does-Art merit Scientific Treatment? γ. Is Scientific Treatment appropriate to Art? δ. Answer to β ԑ. Answer to γ.] CHAPTER II. METHODS OF SCIENCE APPLICABLE TO BEAUTY AND ART (62–78) [1. Empirical Method—Art-scholarship (a) Its Range (b) It generates Rules and Theories (c) The Rights of Genius 2. Abstract Reflection 3. The Philosophical Conception of Artistic Beauty, general notion of] CHAPTER III. THE PHILOSOPHICAL CONCEPTION OF ARTISTIC BEAUTY, BEGINNING WITH CURRENT IDEAS OF ART (79–142) PART I.—The Work of Art as Made and as Sensuous 1. Work of Art as Product of Human Activity [(a) Conscious Production by Rule (b) Artistic Inspiration (c) Dignity of Production by Man (d) Man's Need to produce Works of Art] 2. Work of Art as addressed to Man's Sense [(a) Object of Art—Pleasant Feeling? (b) Feeling of Beauty—Taste (c) Art-scholarship (d) Profounder Consequences of Sensuous Nature of Art (α) Relations of the Sensuous to the Mind (αα) Desire (ββ) Theory (γγ) Sensuous as Symbol of Spiritual (β) The Sensuous Element, how Present in the Artist (γ) The Content of Art Sensuous] PART II.—The End of Art 3. [The Interest or End of Art (a) Imitation of Nature? (α) Mere Repetition of Nature is— (αα) Superfluous (ββ) Imperfect (γγ) Amusing merely as Sleight of Hand (β) What is Good to Imitate? (γ) Some Arts cannot be called Imitative (b) Humani nihil—? (c) Mitigation of the Passions? (α) How Art mitigates the Passions (β) How Art purifies the Passions (αα) It must have a Worthy Content (ββ But ought not to be Didactic (γγ) Nor explicitly addressed to a Moral Purpose (d) Art has its own Purpose as Revelation of Truth CHAPTER IV. HISTORICAL DEDUCTION OF THE TRUE IDEA OF ART IN MODERN PHILOSOPHY (143–168) 1. Kant [(a) Pleasure in Beauty not Appetitive (b) Pleasure in Beauty Universal (c) The Beautiful in its Teleological Aspect (d) Delight in the Beautiful necessary though felt] 2. Schiller, Winckelmann, Schelling 3. The Irony CHAPTER V. DIVISION OF THE SUBJECT (169–211) [1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form 2. Part I.—The Ideal 3. Part II.—The Types of Art (α) Symbolic Art (β) Classical Art (γ) Romantic Art 4. Part III.—The Several Arts (α) Architecture (β) Sculpture (γ) Romantic Art, comprising (i.) Painting (ii.) Music (iii.) Poetry 5. Conclusion]