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Meaning in the Arts by Louis Arnaud ReidReview by: James W. DavisLeonardo, Vol. 4, No. 3 (Summer, 1971), pp. 294-295Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572315 .

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Books Books Books

different artists, such as Daumier, have examined social problems in the past.

The Indignant Eye is that rarity in art books: a volume that is carefully researched, clearly written, immaculately conceived with regard to illustration layout and motivated by the author's desire to present art from the standpoint of humanistic ideas and social awareness. It is a book that can be read by scholars in the field of graphic art without feeling there are oversimplifications. Laymen, too, may want to see how great artists were involved in the pressing issues of their times. In summation, it is a majestic book that makes an important contribu- tion toward understanding the artist as social critic.

The Esthetics of the Middle Ages. Edgar De Bruyne. Frederick Ungar, New York, 1969. 232 pp., $6.50. Reviewed by: Norman Narotzky*

In this translation of the author's own abridge- ment of his 3-volume work Etudes d'esthetiques medievale, first published in Belgium in 1946, De Bruyne's basic thesis is that the main characteristic of medieval esthetic thought is not the originality of its ideas but the special way in which esthetic ideas taken over from other sources were infused by the spirit of Christianity and thus transformed into something peculiar to the age.

The author begins by showing how the medieval thinkers found their sources in the Bible, the philosophers, technical handbooks and the Church Fathers. He then goes on to discuss the funda- mental principles of the medieval esthetic system: symbolism, allegory and the cult of proportion and brilliance of color, and their various applications. In the section on Art, the medieval concept of both the artist and the work of art are presented, showing the omnipresent influence of religion. 'There is no doubt that he (the artist) creates in the image of God: like the Divine Creator, he visualizes the form that is to be brought into being.' 'The material work of art is not necessarily a faithful copy of the visible form... but it is inevitably a representation of what the artist conceives in his soul.' But, though the artist creates in the image of God, he is human 'all too human. He is not God. He cannot create new substances out of nothing: he can only compose new arrangements of objects already in existence.'

There are interesting concepts here that, despite their age, can still be thought provoking. For example, in the anarchic situation of today's art scene, it might be instructive to consider St. Thomas Aquinas' idea that the artist's goal is not merely to conceive a work of art but to actualize it in matter. 'The quality of the art, therefore, must be judged not on the basis of the poetic intentions, and especi- ally not by the ethical or human intentions of the artist, but by the objective qualities of the work which he has succeeded in creating 'A work of art is adjudged excellent not in terms of the artist, but

different artists, such as Daumier, have examined social problems in the past.

The Indignant Eye is that rarity in art books: a volume that is carefully researched, clearly written, immaculately conceived with regard to illustration layout and motivated by the author's desire to present art from the standpoint of humanistic ideas and social awareness. It is a book that can be read by scholars in the field of graphic art without feeling there are oversimplifications. Laymen, too, may want to see how great artists were involved in the pressing issues of their times. In summation, it is a majestic book that makes an important contribu- tion toward understanding the artist as social critic.

The Esthetics of the Middle Ages. Edgar De Bruyne. Frederick Ungar, New York, 1969. 232 pp., $6.50. Reviewed by: Norman Narotzky*

In this translation of the author's own abridge- ment of his 3-volume work Etudes d'esthetiques medievale, first published in Belgium in 1946, De Bruyne's basic thesis is that the main characteristic of medieval esthetic thought is not the originality of its ideas but the special way in which esthetic ideas taken over from other sources were infused by the spirit of Christianity and thus transformed into something peculiar to the age.

The author begins by showing how the medieval thinkers found their sources in the Bible, the philosophers, technical handbooks and the Church Fathers. He then goes on to discuss the funda- mental principles of the medieval esthetic system: symbolism, allegory and the cult of proportion and brilliance of color, and their various applications. In the section on Art, the medieval concept of both the artist and the work of art are presented, showing the omnipresent influence of religion. 'There is no doubt that he (the artist) creates in the image of God: like the Divine Creator, he visualizes the form that is to be brought into being.' 'The material work of art is not necessarily a faithful copy of the visible form... but it is inevitably a representation of what the artist conceives in his soul.' But, though the artist creates in the image of God, he is human 'all too human. He is not God. He cannot create new substances out of nothing: he can only compose new arrangements of objects already in existence.'

There are interesting concepts here that, despite their age, can still be thought provoking. For example, in the anarchic situation of today's art scene, it might be instructive to consider St. Thomas Aquinas' idea that the artist's goal is not merely to conceive a work of art but to actualize it in matter. 'The quality of the art, therefore, must be judged not on the basis of the poetic intentions, and especi- ally not by the ethical or human intentions of the artist, but by the objective qualities of the work which he has succeeded in creating 'A work of art is adjudged excellent not in terms of the artist, but

different artists, such as Daumier, have examined social problems in the past.

The Indignant Eye is that rarity in art books: a volume that is carefully researched, clearly written, immaculately conceived with regard to illustration layout and motivated by the author's desire to present art from the standpoint of humanistic ideas and social awareness. It is a book that can be read by scholars in the field of graphic art without feeling there are oversimplifications. Laymen, too, may want to see how great artists were involved in the pressing issues of their times. In summation, it is a majestic book that makes an important contribu- tion toward understanding the artist as social critic.

The Esthetics of the Middle Ages. Edgar De Bruyne. Frederick Ungar, New York, 1969. 232 pp., $6.50. Reviewed by: Norman Narotzky*

In this translation of the author's own abridge- ment of his 3-volume work Etudes d'esthetiques medievale, first published in Belgium in 1946, De Bruyne's basic thesis is that the main characteristic of medieval esthetic thought is not the originality of its ideas but the special way in which esthetic ideas taken over from other sources were infused by the spirit of Christianity and thus transformed into something peculiar to the age.

The author begins by showing how the medieval thinkers found their sources in the Bible, the philosophers, technical handbooks and the Church Fathers. He then goes on to discuss the funda- mental principles of the medieval esthetic system: symbolism, allegory and the cult of proportion and brilliance of color, and their various applications. In the section on Art, the medieval concept of both the artist and the work of art are presented, showing the omnipresent influence of religion. 'There is no doubt that he (the artist) creates in the image of God: like the Divine Creator, he visualizes the form that is to be brought into being.' 'The material work of art is not necessarily a faithful copy of the visible form... but it is inevitably a representation of what the artist conceives in his soul.' But, though the artist creates in the image of God, he is human 'all too human. He is not God. He cannot create new substances out of nothing: he can only compose new arrangements of objects already in existence.'

There are interesting concepts here that, despite their age, can still be thought provoking. For example, in the anarchic situation of today's art scene, it might be instructive to consider St. Thomas Aquinas' idea that the artist's goal is not merely to conceive a work of art but to actualize it in matter. 'The quality of the art, therefore, must be judged not on the basis of the poetic intentions, and especi- ally not by the ethical or human intentions of the artist, but by the objective qualities of the work which he has succeeded in creating 'A work of art is adjudged excellent not in terms of the artist, but rather in terms of the work of art itself.'

* Corcega 196, Barcelona 11, Spain.

rather in terms of the work of art itself.'

* Corcega 196, Barcelona 11, Spain.

rather in terms of the work of art itself.'

* Corcega 196, Barcelona 11, Spain.

This book is densely packed with information and ideas. Abridgement has undoubtedly made it even more concentrated. It is not directed towards the layman, for he will find it heavy going, but rather to the specialist for whom it will be a rich source of material.

Meaning in the Arts. Louis Arnaud Reid. George Allen and Unwin, London and Humanities Press, New York, 1969. 317 pp., ?3.25. Reviewed by: James W. Davis*

An essential accomplishment of the author is the development of a relatively comprehensive hypothesis applicable to all of the arts. It is con- densed to the term 'embodiment' for the purpose of providing a pivotal basis for understanding aesthetic meaning.

Reid approaches 'meaning' in art as a sensation accessible only from our aesthetic understanding of it, stating that '.. . the focus upon the aesthetic aspect of art, the keeping of it constantly in mind, is not just a matter of temperamental interest, but is logically necessary if the talk is really to be about art'. There are two basic contentions contained within this: that aesthetics provides the only verbally communicable meaning of art (with this I disagree) and that discussions about art from other than the aesthetic view point (psychological or sociological) give information only about meaning (with this I agree). He feels that 'meaning' springs from within an actual work and that it also depends on our receptiveness to it.

While the author does not at any point give in to the idea of total intrinsic meaning common in early twentieth-century aesthetics, it should still remain obvious from the above that he is primarily con- cerned with the indigenous qualities within works of art. His intention does not seem to be to discard the several complex factors that have more recently formed the conventional framework for under- standing art. He suggests a structure of evaluative and response mechanisms based upon aesthetic feeling, value criteria, symbolism and knowledge, comprising the roots we may use when grasping the 'embodiment' of a work of art.

The 'internal aesthetic meaning' of a work, as Reid describes it, results from the merging of two distinct factors: subject matter and medium (with the latter he also curiously includes several formal elements such as color, texture, shape, etc.). The burden of transforming this duality into a meaning- ful unity is the primary responsibility of the artist.

Reid's concept of 'embodiment' is difficult to comprehend at first reading because it is so compre- hensive. In the broadest sense, he seems to feel that it is the total content of a work, including the back- ground to its development and the context within which it is experienced. It is more than expression

This book is densely packed with information and ideas. Abridgement has undoubtedly made it even more concentrated. It is not directed towards the layman, for he will find it heavy going, but rather to the specialist for whom it will be a rich source of material.

Meaning in the Arts. Louis Arnaud Reid. George Allen and Unwin, London and Humanities Press, New York, 1969. 317 pp., ?3.25. Reviewed by: James W. Davis*

An essential accomplishment of the author is the development of a relatively comprehensive hypothesis applicable to all of the arts. It is con- densed to the term 'embodiment' for the purpose of providing a pivotal basis for understanding aesthetic meaning.

Reid approaches 'meaning' in art as a sensation accessible only from our aesthetic understanding of it, stating that '.. . the focus upon the aesthetic aspect of art, the keeping of it constantly in mind, is not just a matter of temperamental interest, but is logically necessary if the talk is really to be about art'. There are two basic contentions contained within this: that aesthetics provides the only verbally communicable meaning of art (with this I disagree) and that discussions about art from other than the aesthetic view point (psychological or sociological) give information only about meaning (with this I agree). He feels that 'meaning' springs from within an actual work and that it also depends on our receptiveness to it.

While the author does not at any point give in to the idea of total intrinsic meaning common in early twentieth-century aesthetics, it should still remain obvious from the above that he is primarily con- cerned with the indigenous qualities within works of art. His intention does not seem to be to discard the several complex factors that have more recently formed the conventional framework for under- standing art. He suggests a structure of evaluative and response mechanisms based upon aesthetic feeling, value criteria, symbolism and knowledge, comprising the roots we may use when grasping the 'embodiment' of a work of art.

The 'internal aesthetic meaning' of a work, as Reid describes it, results from the merging of two distinct factors: subject matter and medium (with the latter he also curiously includes several formal elements such as color, texture, shape, etc.). The burden of transforming this duality into a meaning- ful unity is the primary responsibility of the artist.

Reid's concept of 'embodiment' is difficult to comprehend at first reading because it is so compre- hensive. In the broadest sense, he seems to feel that it is the total content of a work, including the back- ground to its development and the context within which it is experienced. It is more than expression

This book is densely packed with information and ideas. Abridgement has undoubtedly made it even more concentrated. It is not directed towards the layman, for he will find it heavy going, but rather to the specialist for whom it will be a rich source of material.

Meaning in the Arts. Louis Arnaud Reid. George Allen and Unwin, London and Humanities Press, New York, 1969. 317 pp., ?3.25. Reviewed by: James W. Davis*

An essential accomplishment of the author is the development of a relatively comprehensive hypothesis applicable to all of the arts. It is con- densed to the term 'embodiment' for the purpose of providing a pivotal basis for understanding aesthetic meaning.

Reid approaches 'meaning' in art as a sensation accessible only from our aesthetic understanding of it, stating that '.. . the focus upon the aesthetic aspect of art, the keeping of it constantly in mind, is not just a matter of temperamental interest, but is logically necessary if the talk is really to be about art'. There are two basic contentions contained within this: that aesthetics provides the only verbally communicable meaning of art (with this I disagree) and that discussions about art from other than the aesthetic view point (psychological or sociological) give information only about meaning (with this I agree). He feels that 'meaning' springs from within an actual work and that it also depends on our receptiveness to it.

While the author does not at any point give in to the idea of total intrinsic meaning common in early twentieth-century aesthetics, it should still remain obvious from the above that he is primarily con- cerned with the indigenous qualities within works of art. His intention does not seem to be to discard the several complex factors that have more recently formed the conventional framework for under- standing art. He suggests a structure of evaluative and response mechanisms based upon aesthetic feeling, value criteria, symbolism and knowledge, comprising the roots we may use when grasping the 'embodiment' of a work of art.

The 'internal aesthetic meaning' of a work, as Reid describes it, results from the merging of two distinct factors: subject matter and medium (with the latter he also curiously includes several formal elements such as color, texture, shape, etc.). The burden of transforming this duality into a meaning- ful unity is the primary responsibility of the artist.

Reid's concept of 'embodiment' is difficult to comprehend at first reading because it is so compre- hensive. In the broadest sense, he seems to feel that it is the total content of a work, including the back- ground to its development and the context within which it is experienced. It is more than expression

* Art Department, Western Illinois University, Macomb, Ill. 61455, U.S.A.

* Art Department, Western Illinois University, Macomb, Ill. 61455, U.S.A.

* Art Department, Western Illinois University, Macomb, Ill. 61455, U.S.A.

294 294 294

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Books Books

or expressiveness and involves transmutations and the discovery of a newer more personal 'knowing'.

He agrees with Susanne Langer (cf. Mind: An Essay on Human Feeling, Vol. 1 (Baltimore: Johns Hopkins Press, 1967)) that 'a work of art is an expressive form' having more than one meaning, all legitimate in different circumstances and culminating in a whole- ness from the relations of mutually dependent factors. Further, he accepts expressive forms as unities 'unabstractable from the works that exhibit them'. Going 'beyond' Langer's concept of a 'felt life' objectified in a work of art is a formidable task but the author claims to accomplish just that. Langer's contention is that a work of art is a metaphorical symbol that exists as an intense extension of human thought and activity, and that transcends through import rather than through meaning. I, personally, believe that it is impossible to go 'beyond' this contention. Indeed, the artist reconstructs from life but he also constructs a new objectified vision to which we may attach our atten- tion, perhaps re-experiencing a number of analogues to our daily lives but on an even more immediate level, totalizing a particular experience of a moment. According to Reid, this experience is one of embodi- ment and, therefore, 'meaning' through which we can become identified with the work to an extent that it becomes like a felt appendage of our consciousness and physicality.

The author apprehends this felt-life most readily through the more literal aspects of art: naturalism in painting, subject matter in poetry and the libretto in music. He states: 'the "life" subject matter of music (and other "abstract" arts) raises ... far more difficult questions, but it can be plausibly said that sometimes at least music has some sort of life theme; in music with words this is most obviously true.'

He feels that implicit life meanings exist in the abstract arts that are not specific and are difficult to talk about because they are non-verbal in nature. To exemplify this, the author uses a parallel between 'the psycho-physical feelings of the statics and dynamics of some life-situations, the feelings of the statics and dynamics of some music'.

One of the major criticisms I have of this book is that there is the implication that while the area of art philosophy has changed and developed, the arts themselves have not. In the book there is a great deal of reliance upon the literal aspects of the art of the past but an unwillingness to discuss concepts in relation to contemporary works. On the other hand, the writing itself assumes a contemporary stance. While reading the book, I had the awful vision that I was in a musty lecture hall with a sign over the entrance door paradoxically saying 'twentieth- century concepts in art'. Perhaps as an artist, I am particularly sensitive to the need for philosophical writings that reflect the mood in art today.

A brief discussion is made of Gabo's constructi- vism (especially as drawn from the artist's Realistic

or expressiveness and involves transmutations and the discovery of a newer more personal 'knowing'.

He agrees with Susanne Langer (cf. Mind: An Essay on Human Feeling, Vol. 1 (Baltimore: Johns Hopkins Press, 1967)) that 'a work of art is an expressive form' having more than one meaning, all legitimate in different circumstances and culminating in a whole- ness from the relations of mutually dependent factors. Further, he accepts expressive forms as unities 'unabstractable from the works that exhibit them'. Going 'beyond' Langer's concept of a 'felt life' objectified in a work of art is a formidable task but the author claims to accomplish just that. Langer's contention is that a work of art is a metaphorical symbol that exists as an intense extension of human thought and activity, and that transcends through import rather than through meaning. I, personally, believe that it is impossible to go 'beyond' this contention. Indeed, the artist reconstructs from life but he also constructs a new objectified vision to which we may attach our atten- tion, perhaps re-experiencing a number of analogues to our daily lives but on an even more immediate level, totalizing a particular experience of a moment. According to Reid, this experience is one of embodi- ment and, therefore, 'meaning' through which we can become identified with the work to an extent that it becomes like a felt appendage of our consciousness and physicality.

The author apprehends this felt-life most readily through the more literal aspects of art: naturalism in painting, subject matter in poetry and the libretto in music. He states: 'the "life" subject matter of music (and other "abstract" arts) raises ... far more difficult questions, but it can be plausibly said that sometimes at least music has some sort of life theme; in music with words this is most obviously true.'

He feels that implicit life meanings exist in the abstract arts that are not specific and are difficult to talk about because they are non-verbal in nature. To exemplify this, the author uses a parallel between 'the psycho-physical feelings of the statics and dynamics of some life-situations, the feelings of the statics and dynamics of some music'.

One of the major criticisms I have of this book is that there is the implication that while the area of art philosophy has changed and developed, the arts themselves have not. In the book there is a great deal of reliance upon the literal aspects of the art of the past but an unwillingness to discuss concepts in relation to contemporary works. On the other hand, the writing itself assumes a contemporary stance. While reading the book, I had the awful vision that I was in a musty lecture hall with a sign over the entrance door paradoxically saying 'twentieth- century concepts in art'. Perhaps as an artist, I am particularly sensitive to the need for philosophical writings that reflect the mood in art today.

A brief discussion is made of Gabo's constructi- vism (especially as drawn from the artist's Realistic Manifesto) as it reinforces the author's concept of 'embodiment'. The more recent developments of assemblage, Pop and environmental art could have

Manifesto) as it reinforces the author's concept of 'embodiment'. The more recent developments of assemblage, Pop and environmental art could have

provided other avenues involving the idea of the artist constructing a totality more directly from the daily materials of life.

The sections in the book that do touch upon contemporary art are devoted to determining whether, in fact, much of it is art. Dada and action painting served as tempting examples for the author, as they have for many other writers and philosophers on art in this respect.

A section titled 'Art and Games' (games defined as personal engagement without necessarily practical goals) skims another possible area that could have been related more to recent examples. Reid con- siders art similar to a game in that both involve rules but he says: 'a game must at least obey the rules ... art may do so; but it need not.' He concludes the section stating that 'art is serious as games are not'.

The final section deals with the arts in education. The author describes those aspects of education that fit his theory of embodiment, which stretch to include the traditional concept of 'liberal arts' train- ing. Little consideration is given to more con- centrated training many artists receive today in specialized art schools. He views the aims of art education according to the now familiar dilemma arising from a duality between doing and theory ('practice' and 'appreciation'). The marriage of the two usually has been awkward, at best, except when practice and theory have been taken as being extensions of one and the same thing-art.

Principles of Perception. Second edition. S. H. Hart- ley. Harper & Row, New York, 1969. 518 pp., illus. Reviewed by: Jacques Mandelbrojt*

This is a reliable text book on a subject that obviously is of concern to all artists. The presenta- tion is very clear and as complete as is possible within the limitation of the size of the book. The most significant recent experiments up to this second edition are presented and discussed. Tech- nical terms are clearly defined so that the text is accessible to a reader having no previous technical knowledge of the subject. Each chapter begins with an introduction that orients the subject matter discussed and ends with a summary. Finally, the book contains an index of authors and of subjects and a copious bibliography.

It is dedicated 'to those who most wish psychology to be a science', hence, no doubt, the emphasis of the author on experimental facts rather than on general theories, which are only briefly described in the last chapter. 'Most of the book is a description of the separate sense modalities, one at a time. As this description unfolds, the interrelation of the senses are dealt with. These interrelations are taken up more comprehensively in the last chapter.'

I found of particular interest for visual artists the chapters on 'Perception of Color', 'Perceptual Constancies', 'Space Perception', 'Perception of

provided other avenues involving the idea of the artist constructing a totality more directly from the daily materials of life.

The sections in the book that do touch upon contemporary art are devoted to determining whether, in fact, much of it is art. Dada and action painting served as tempting examples for the author, as they have for many other writers and philosophers on art in this respect.

A section titled 'Art and Games' (games defined as personal engagement without necessarily practical goals) skims another possible area that could have been related more to recent examples. Reid con- siders art similar to a game in that both involve rules but he says: 'a game must at least obey the rules ... art may do so; but it need not.' He concludes the section stating that 'art is serious as games are not'.

The final section deals with the arts in education. The author describes those aspects of education that fit his theory of embodiment, which stretch to include the traditional concept of 'liberal arts' train- ing. Little consideration is given to more con- centrated training many artists receive today in specialized art schools. He views the aims of art education according to the now familiar dilemma arising from a duality between doing and theory ('practice' and 'appreciation'). The marriage of the two usually has been awkward, at best, except when practice and theory have been taken as being extensions of one and the same thing-art.

Principles of Perception. Second edition. S. H. Hart- ley. Harper & Row, New York, 1969. 518 pp., illus. Reviewed by: Jacques Mandelbrojt*

This is a reliable text book on a subject that obviously is of concern to all artists. The presenta- tion is very clear and as complete as is possible within the limitation of the size of the book. The most significant recent experiments up to this second edition are presented and discussed. Tech- nical terms are clearly defined so that the text is accessible to a reader having no previous technical knowledge of the subject. Each chapter begins with an introduction that orients the subject matter discussed and ends with a summary. Finally, the book contains an index of authors and of subjects and a copious bibliography.

It is dedicated 'to those who most wish psychology to be a science', hence, no doubt, the emphasis of the author on experimental facts rather than on general theories, which are only briefly described in the last chapter. 'Most of the book is a description of the separate sense modalities, one at a time. As this description unfolds, the interrelation of the senses are dealt with. These interrelations are taken up more comprehensively in the last chapter.'

I found of particular interest for visual artists the chapters on 'Perception of Color', 'Perceptual Constancies', 'Space Perception', 'Perception of Figures and Forms', 'Perception of Movement',

* Le Bastidon, 13-Eguilles, France.

Figures and Forms', 'Perception of Movement',

* Le Bastidon, 13-Eguilles, France.

295 295

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