The Problem of Form in Painting and Sculpture (Classic Reprint) - Softcover

Hildebrand, Adolf

9781330070734: The Problem of Form in Painting and Sculpture (Classic Reprint)

Softcover

ISBN 10: 1330070739 ISBN 13: 9781330070734

Verlag: Forgotten Books, 2018

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Excerpt from The Problem of Form in Painting and SculptureAbout the PublisherForgotten Books publishes hundreds of thousands of rare and classic books.This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. This text has been digitally restored from a historical edition. Some errors may persist, however we consider it worth publishing due to the work's historical value.The digital edition of all books may be viewed on our website before purchase.

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Rese�a del editor

Excerpt from The Problem of Form in Painting and Sculpture

Idea of the architectonic structure into the focus of attention, to develop from this point of view the prob lems which form presents and to show their immediate dependence on our relation to Nature. Let it be noted, however, that this dependence does not exclude an ar tist's individuality. Heart and lungs are requisite for life, yet this necessity does not preclude individual va riations in the human body. A person's individuality does not consist in the presence or absence of particu lar organs, but in their various degrees of development. Just as we are able to demonstrate on what the sound ness of a body depends, so may we also demonstrate the nature of the general problems of art and their solutions without excluding the artist's individuality. For, whatever his individuality may be, his work must give a true answer to the questions which Nature puts to him. It is evident that in accordance with the artist's personal development this or that problem will domi nate and become the main one to be The anarchists solved. In no case, however, is ar Of art. Tistic ability manifest in wilfully ignoring the requirements of the material worked in. Those artists who deny any kind of Objective demands are the anarchists of Art, and are not to be taken seriously. It is characteristic of these artists that their incapacity to develop in architectonic manner that which they strive to achieve through imi tation alone, should awaken in them a vague sense of inefficiency; and that they should seek to compensate for this by the addition of something suggestive'or symbolic, intending thereby to raise their work to a higher poetic plane. But sculpture and painting do not.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Rese�a del editor

Excerpt from The Problem of Form in Painting and Sculpture

Bruno Hildebrand, was forced by the revolution of 1848 to seek in Switzerland freedom from political persecution. Having reached school age, the son attended the gymnasium of Bern, but did not show much enthusiasm for the abstract studies there offered to him. In 1861 his father was called to the University of Jena. The young man now showed such distinctive signs of artistic ability that he was sent by his father to Nuremberg, to take a course in the art school of that city.

At the end of 1867 he left Germany for a prolonged stay in Italy. The influence of the masterpieces of art accumulated in that country proved to be infinitely more beneficial to his artistic development than the school instruction which he had practically out-grown when he entered the art school. In Rome Hildebrand became acquainted with Hans von Marees, whose independence of thought encouraged the younger artist to follow his own bent. After staying in Rome a year and a half Hildebrand returned to Germany and busied himself for some time with sculpture in Berlin.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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