"Art transports us from the world of a mans activity to a world of aesthetic exaltation. for a moment we are shut off from human interests our anticipations and memories are arrested; we are lifted above the stream of life."-Clive Bell
In Bell’s essay “The Aesthetic Hypothesis” he takes a formalist approach to his interpretation of the aesthetic experience. He argues that it is the formal qualities in the work that create a masterpiece, not the concept or context in which the work is produced. This is not to say he believes that a piece must be rid of semiotic or iconographic qualities, but that these qualities are not what move us in the most significant way.
Bell argues that aesthetic experience is one that differs from any other. It is a visual epiphany that nourishes the mind while also allowing it to rest. It does not rely on a cognitive analysis of the work, nor does it rely on an understanding of the artists intention. It relies purely on the elements of design present in the work; lines, plains, and forms. The combination of which these elements are placed, coupled with the use of colour within these elements is what causes a work of art to be successful or unsuccessful in producing an aesthetic experience in the viewer.
Bell argues that aesthetic experience is one that differs from any other. It is a visual epiphany that nourishes the mind while also allowing it to rest. It does not rely on a cognitive analysis of the work, nor does it rely on an understanding of the artists intention. It relies purely on the elements of design present in the work; lines, plains, and forms. The combination of which these elements are placed, coupled with the use of colour within these elements is what causes a work of art to be successful or unsuccessful in producing an aesthetic experience in the viewer.
An aesthetic experience is one that removes us from the context of our lives. It allows us to transport from our reality to one that consists purely of aesthetic ecstasy. It shuts off our sensitivity to anything outside of the work that is the object of our captivation. One dives into the work, swims through the colours, feels the textures on their skin, and revels in the rhythms created. It is an intimate moment shared between the work and the viewer; one that is solely theirs.
Aesthetic experience, is caused by these combinations of lines, plains, and forms. This combination is what Bell refers to as significant form. Significant form does not exclude any of the elements of design; colour, tone, rhythm, balance, etc, all of these elements exist within the placement of these lines, plains, and forms. Significant form also does not exclude any form of visual art, for all two dimensional and three dimensional works must include lines, plains, or forms. However, that is not to say that every piece of art has significant form. Significant form must have the ability to move the viewer to have an aesthetic experience. Therefore the only way to evoke an aesthetic experience is through significant form.
Bell also argues that although having an aesthetic experience is usually upon the instant of viewing a work, that in some cases if involves deeper contemplation of a work before one can truly see the significant form. He asserts that a good critic may be able to make one realize the significant form is present in a work by continually pointing out the parts which unite in combination to produce it. However, one cannot evoke an aesthetic experience in another by just telling them there is significant form, they must allow them to come to the realization for themselves.
Aesthetic experience, is caused by these combinations of lines, plains, and forms. This combination is what Bell refers to as significant form. Significant form does not exclude any of the elements of design; colour, tone, rhythm, balance, etc, all of these elements exist within the placement of these lines, plains, and forms. Significant form also does not exclude any form of visual art, for all two dimensional and three dimensional works must include lines, plains, or forms. However, that is not to say that every piece of art has significant form. Significant form must have the ability to move the viewer to have an aesthetic experience. Therefore the only way to evoke an aesthetic experience is through significant form.
Bell also argues that although having an aesthetic experience is usually upon the instant of viewing a work, that in some cases if involves deeper contemplation of a work before one can truly see the significant form. He asserts that a good critic may be able to make one realize the significant form is present in a work by continually pointing out the parts which unite in combination to produce it. However, one cannot evoke an aesthetic experience in another by just telling them there is significant form, they must allow them to come to the realization for themselves.
Personally I agree with his notion of the aesthetic experience, for I too have be moved in this way by many works of art, not only visual. When creating work for myself, It doesn't feel complete until I can be completely consumed by the work. It produces a fluttering in my chest comparable to that of a first kiss, or the feeling one gets while being applauded after a performance. It’s as if nothing else matters than that moment. When I view a work that moves me I am instantly awed by it, I feel like a newborn discovering the world for the first time. I lose any concept of time and space in my reality and transport into the image. Not in a literal way such as viewing myself walking around in the painting, but more in the way that I am the painting, or at least the painting is a manifestation of me. I can relate to it, have a dialogue with it, all within moments. When I turn away from the work; it now feels like an old friend I may not know every secret and detail, but I understand it’s personality.
Although I agree with Bell’s ideas on what aesthetic emotion is, I don’t agree with how he believes it arises. His idea of sigifigant form, is what I interpret as formal qualities; or the elements of design. I believe that these elements play a great part in the success of a work, but are not the only thing that allows one to achieve aesthetic ecstasy. I also disagree with his notion that aesthetic emotion differs than that of emotion causes by beauty in nature. I receive the same feeling from a painting that moves me as I do when I see aurora borealis, or when I am in a remote place far from any light pollution and I can almost taste the creaminess of the milky way.
Bell agues that art that is representational often relies on human emotions that already exist to move people, not on significant form to create an aesthetic emotion. I see this idea as flawed, because if aesthetic emotion is one that is had by humans, does that not make it a human emotion? I believe aesthetic emotion is a human emotion that is on a higher level than most; but this is not to say that the idea of other emotions being brought on by a work of art aren’t different than an aesthetic one. I believe that understanding a conceptual aspect of a work and elevate it to an aesthetic emotion, that these emotions do not conflict with each other, but instead work together creating something the feeds both the right and left sides of the brain.
An example of this is Josef Albers’ Homage to the Square. Both hard edge painting and minimalism are usually formally based, and seem to be very unobtainable to the general public. I once had the pleasure of explaining the significance of Albers’ work to a friend of mine that, although intellectual, was quite ignorant to the visual art world. Once I explained the colour theory behind the work to him, as well the vast number of these paintings that would be viewed all within the same room he began to see not only the importance of the work, but simplistic beauty of it. He no longer discredited the work because he didn’t understand it, but actually viewed the work and connected with it.
Bell agues that art that is representational often relies on human emotions that already exist to move people, not on significant form to create an aesthetic emotion. I see this idea as flawed, because if aesthetic emotion is one that is had by humans, does that not make it a human emotion? I believe aesthetic emotion is a human emotion that is on a higher level than most; but this is not to say that the idea of other emotions being brought on by a work of art aren’t different than an aesthetic one. I believe that understanding a conceptual aspect of a work and elevate it to an aesthetic emotion, that these emotions do not conflict with each other, but instead work together creating something the feeds both the right and left sides of the brain.
An example of this is Josef Albers’ Homage to the Square. Both hard edge painting and minimalism are usually formally based, and seem to be very unobtainable to the general public. I once had the pleasure of explaining the significance of Albers’ work to a friend of mine that, although intellectual, was quite ignorant to the visual art world. Once I explained the colour theory behind the work to him, as well the vast number of these paintings that would be viewed all within the same room he began to see not only the importance of the work, but simplistic beauty of it. He no longer discredited the work because he didn’t understand it, but actually viewed the work and connected with it.
I too have fallen victim to not being able to full appreciate the work aesthetically until I understood it conceptually; in the case of Louise Bourgeois, although I always appreciated her artwork aesthetically; it was not until I heard her discuss where the work was coming from on a personal level that I too could be succumb to it. Although I could feel her emotions of pain and anger towards her father, as well as the feelings of protection she felt from her mother, I was also elevated to an aesthetic experience that was not confined by this world. It’s almost as if because I could relate to the intention of the artist I could view the body of work as if I was within her mind, while also being within my own.
Bell’s theories on aesthetics are that of a modernist. I agree with the notion that formal qualities alone can produce an aesthetic experience, but I don’t believe they are the only quality that aids in doing so. Art is not simple. Thus how we experience art is not simple. There are many internal reactions one has to take into account when viewing a work of art, both emotional and intellectual. The forces work together in our response to the work, and allow one to be moved to the point of aesthetic experience.
-Kirsten
-Kirsten
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