BAUMGARTEN’S AESTHETICA. MARY J. GREGOR. Although the content of Alexander Gottlieb Baumgarten’s. Aesthetica1 seems to be familiar in German. The theory of aesthetics started controversies over its legitimate existence as a fully developed science. Alexander Baumgarten was the first who used the word . On the 26th of May , German philosopher Alexander Gottlieb Baumgarten was born in Frankfurt (Oder), Brandenburg. He famously.

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It is in this sense that poetry can present more truth to us than either painting or music alone.

Wolff does not explicitly extend this complex analysis of perfection to other arts, although it is not difficult to imagine how that extension might go: On the contrary, the argument of the essay on Shakespeare is that the best art of different times and places—for example, the theater of Sophocles and that of Shakespeare—must differ superficially precisely because at the deepest level they are committed to the same principle— the truthful imitation of nature —but have different natures to imitate.

Instead, Herder argues that the phenomenon of distance that Riedel mistakenly characterizes as general quality of disinterestedness in all aesthetic response is a specific feature of the visual perception of beauty, indeed that beauty is properly speaking a property only of the visual. No trivia or quizzes yet. It became central to the aesthetic theories of Kant and Schiller alexanrer the Critique of the Power of Judgment and the Letters on the Aesthetic Education of Mankind In Gottsched’s views, judgments of taste, even if they are not made on the basis of explicit knowledge of objective rules about the perfection of things, track those objective rules when they are in fact aesthstica.

But at thirty-one he got a position as a librarian for aestgetica nobleman in Dresden, and gained access to the court of the Elector of Saxony, home of one of the great art collections of Europe, and also a Catholic court aledander ultimately gave him access to Rome. Herder insists that visible beauty arises only from the most superficial features of objects, not from their full reality, and that only feeling—by which he here means the sense of touch—can put us into direct contact with reality, or with the deeper truth about physical reality.

Leave a Reply Cancel reply Enter your comment here Wolff’s discussion of architecture alexnder it clear that in order for us to perceive it as beautiful, a building must display both the formal perfection of coherence as aestuetica as the aestbetica perfection of being suitable, aessthetica comfortable for its intended use.


Lessing, like Mendelssohn born inwas the oldest of thirteen children of a Saxon pastor, and at twelve he entered the monastic school at Meissen; at seventeen he went to Leipzig to study theology, then changed to medicine, and then to the university at Wittenberg.

Winckelmann took it to be a classical Greek work. In other words, although as a rationalist metaphysician Mendelssohn maintains the formal distinction between the mind and the body the mind is simple and indivisible, while body is essentially divisibleas a psychologist and aesthetician he nevertheless sees them as in the most intimate interaction, with the perception of harmony by the body infusing the mind with a pleasant alexandr of harmony that alexande further stimulates the harmonious condition of the body.

Could you give some references? We find more to baumgatren in a rose by Huysum than in the image that every river can reflect of this queen of the flowers; and the most enchanting landscape in a camera obscura does not charm us as much as it can through the brush of a great landscape painter.

Alexander Gottlieb Baumgarten | German philosopher |

The program notes he wrote in that capacity became his Hamburg Dramaturgyhis most extended critical work. Baumgargen first charge is that Lessing fails to explain why beauty must be the first law of the visual arts.

AfterWolff’s philosophy enjoyed an influence in most parts of Germany similar to that which the philosophy of Locke exercised in most quarters in Britain by then and in France beginning a decade or two later.

Inhe returned to philosophy one last time with Morning Lessonsa magisterial summary of his own version of Wolffianism.

Greece enjoyed artists and philosophers in the same persons; and the wisdom of more than one Metrodorus directed art, and inspired its figures with more than common souls. This science concerns itself with everything that can be assigned in more detail to sensible cognition and to its presentation.

18th Century German Aesthetics

His brother, Siegmund Jakob Baumgarten, was an influential Wolffian theologian. Here Baumgarten is importing the traditional rhetorical concepts of inventiodispositio and elocutio into his system, and conceiving of the latter two, the harmony of the thoughts and the harmony of the expression with the thoughts, as the dimensions in which the potentials for pleasure within our distinctively sensible manner of representing and thinking are realized.

In the first of the Groves of CriticismHerder argues that Lessing’s distinction between the visual arts as the representation of objects in space at a single moment in time and poetry as the representation of a succession of events in time confuses poetry with music. Our editors will review what you’ve submitted, and if it meets our criteria, we’ll add it to the article.


From to he collaborated with Lessing and Nicolai on the Library of Fine Sciences and Liberal Artsfor which he wrote two dozen reviews of new works in aesthetics and literature, and from to he contributed nearly one hundred reviews to Nicolai’s Letters concerning the newest Literaturediscussing works not only in aesthetics and literature but also metaphysics, mathematics, natural science, and politics Gesammelte Schriftenvol.

The central tenets of his metaphysics and psychology are that the human mind is essentially representational, so that desire and will as well as cognition are forms of representation, and that the ultimate source of all of our pleasurable sentiments is the unhindered activity of our capacity for representation. A world of external things ranged alongside one another is revealed in an instant.

But before doing so, we must complete our survey of Mendelssohn’s baumgaren with a comment on his discussion of the sublime. For many years, Kant used Baumgarten’s Metaphysica as a handbook or aesthetic for his lectures on that topic.

For psychology, to know is to seeand its xesthetica pleasure is beauty …. Baumgarten’s recognition of the perfection of sensible cognition as well as the perfection of what is represented as a distinct source of pleasure in beauty leads him to recognize not just one but in fact three different potential sources of beauty in a work of art: Leibniz then says that sensory perception is clear but indistinct or confused knowledge, and illustrates his general thesis about sense perception with a remark about the perception and judgment of art: Fine art aims to produce pleasure both by setting our cognitive powers into activity through the formal and material beauties of its products and by arousing our deepest feelings.

Aesthetica by Alexander Gottlieb Baumgarten

Read More on This Topic. He expands upon this contrast in the essay on Sculpture:.

But for Gottsched a fable is. It will be noted, however, that throughout Herder’s aesthetics the notion of play has hardly figured at all; it has been mentioned only in connection with the superficial art of bxumgarten rather than with the deeper arts of sculpture, poetry, and even music.