Download e-book for kindle: Creative Intuition in Art and Poetry (The A.W. Mellon by Jacques Maritain

By Jacques Maritain

This can be the Meridian ebook, that's an abbreviated model of the e-book that Pantheon released in its Bollingen sequence. a person who understands of a PDF of the entire Pantheon/U. of Princeton Press variation can definitely substitute this edition.

The name sums it up: intellect/intuition in artwork and poetry from the Greeks to the Moderns. Maritain's Stanford Encyclopedia of Philosophy access will supply a few historical past to the fellow:

from that 'cyclopedia:
"A 3rd virtue of Maritain's philosophy of paintings is his account of creative (or what he occasionally calls 'poetic') wisdom. Maritain notes the focal point at the understanding of the self as attribute of paintings from the time of the German romantics, and recognises its worth as far as it demanding situations the emphasis on cause and mechanical method. This inventive wisdom is an example of what Maritain calls, as a rule, wisdom even though connaturality; it's a type of 'creative intuition' that arises out of "the unfastened creativity of the spirit" (Creative instinct, p. 112; usual legislation, p. 18). Maritain additionally describes it as a "grasping, via the poet, of his personal subjectivity with a view to create" (Creative instinct, p. 113). Maritain areas this data on the point of the preconscious mind. it's non-conceptual, non-rational, and "obscure" (Creative instinct, p. 18; see common legislations, p. 18). neither is it, as a lot wisdom is, a data of essences. however, it's nonetheless hooked up to "intellectual act". it's a wisdom of truth — of a "concrete reality" — albeit one who "tends and extends to the infinite" (Creative instinct, p. 126). this type of wisdom lies on the foundation, not just of creative task, but in addition ethical and mystical experience."

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Additional info for Creative Intuition in Art and Poetry (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series)

Example text

It is so because creative subjectivity cannot awaken to itself except in communing with Things. Thus the rela­ tionship with Nature has been changed, but has not been abolished. Nature, for the painter, is no longer a separate thing-in-itself, but Nature, in some of her inner aspects, has reached the heart of creative subjectivity, as a germ of that object which is the work to be born. Accordingly, the painter (who henceforth is simply nothing if he lacks poetic vision) sees deeper into Things, though in the dark of Things and of his own Self.

It is more clearly analyzable in the poet than in the painter, for the painter, whatever happens, remains completely held in the world of the eyes. Let us indicate only a few points. It has become a commonplace to observe that modern painting has freed it­ self from the dominion of the subject (be it the imaginary spectacle of which I spoke a moment ago) and, by the same token, from the requirements for objective and rational con­ sistency in the externals of the things shown. The object 26 CREATIVE INTUITION IN ART A ND POETRY henceforth is uniquely the work.

12. I do not know what the future of modern painting is, or what the next phase in the evolution of art will be. What interests me is the fact that as a given moment mod­ ern painting, in the Occident, has offered the characteristics I just tried to point out. The great protagonists of modern painting, each in his own way, Manet or Whistler, Monet or Bonnard, van Gogh or Henri Rousseau, Seurat, Renoir, Ma­ tisse, Braque or Picasso, Rouault or Chagall, give in this connection a similar testimony.

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Creative Intuition in Art and Poetry (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series) by Jacques Maritain

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