Art

Art

The Project Gutenberg eBook, Art, by Clive Bell
This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net

Title: Art
Author: Clive Bell

Release Date: October 21, 2005 [eBook #16917]
Language: English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK ART***
E-text prepared by Suzanne Shell, Janet Blenkinship, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/)

Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 16917-h.htm or 16917-h.zip: (http://www.gutenberg.net/dirs/1/6/9/1/16917/16917-h/16917-h.htm) or (http://www.gutenberg.net/dirs/1/6/9/1/16917/16917-h.zip)

ART
by
CLIVE BELL
1913

[Illustration: WEI FIGURE, FIFTH CENTURY _In M. Vignier's Collection_]

New York Frederick A. Stokes Company Publishers
Printed in Great Britain
All rights reserved

PREFACE
In this little book I have tried to develop a complete theory of visual art. I have put forward an hypothesis by reference to which the respectability, though not the validity, of all aesthetic judgments can be tested, in the light of which the history of art from palaeolithic days to the present becomes intelligible, by adopting which we give intellectual backing to an almost universal and immemorial conviction. Everyone in his heart believes that there is a real distinction between works of art and all other objects; this belief my hypothesis justifies. We all feel that art is immensely important; my hypothesis affords reason for thinking it so. In fact, the great merit of this hypothesis of mine is that it seems to explain what we know to be true. Anyone who is curious to discover why we call a Persian carpet or a fresco by Piero della Francesca a work of art, and a portrait-bust of Hadrian or a popular problem-picture rubbish, will here find satisfaction. He will find, too, that to the familiar counters of criticism--_e.g._ "good drawing," "magnificent design," "mechanical," "unfelt," "ill-organised," "sensitive,"--is given, what such terms sometimes lack, a definite meaning. In a word, my hypothesis works; that is unusual: to some it has seemed not only workable but true; that is miraculous almost.
In fifty or sixty thousand words, though one may develop a theory adequately, one cannot pretend to develop it exhaustively. My book is a simplification. I have tried to make a generalisation about the nature of art that shall be at once true, coherent, and comprehensible. I have sought a theory which should explain the whole of my aesthetic experience and suggest a solution of every problem, but I have not attempted to answer in detail all the questions that proposed themselves, or to follow any one of them along its slenderest ramifications. The science of aesthetics is a complex business and so is the history of art; my hope has been to write about them something simple and true. For instance, though I have indicated very clearly, and even repetitiously, what I take to be essential in a work of art, I have not discussed as fully as I might have done the relation of the essential to the unessential. There is a great deal more to be said about the mind of the artist and the nature of the artistic problem. It remains for someone who is an artist, a psychologist, and an expert in human limitations to tell us how far the unessential is a necessary means to the essential--to tell us whether it is easy or difficult or impossible for the artist to destroy every rung in the ladder by which he has climbed to the stars.
My first chapter epitomises discussions and conversations and long strands of cloudy speculation which, condensed to solid argument, would still fill two or three stout volumes: some day, perhaps, I shall write one of them if my critics are rash enough to provoke me. As for my third chapter--a sketch of the history of fourteen hundred years--that it is a simplification goes without saying. Here I have used a series of historical generalisations to illustrate my theory; and here, again, I believe in my theory, and am persuaded that anyone who will consider the history of art in its light will find that history more intelligible than of old. At the same time I willingly admit that in fact the contrasts are less violent, the hills less precipitous, than they must be made to appear in a chart of this sort. Doubtless it would be well if this chapter also were expanded into half a dozen readable volumes, but that it cannot be until the learned authorities have learnt to write or some writer has learnt to be patient.
Those conversations and discussions that have tempered and burnished the theories advanced in my first chapter have been carried on for the most part with Mr. Roger Fry, to whom, therefore, I owe a debt that defies exact