121:
has no existence or sense apart from the form, cannot actually be referred to, other than speculatively. The content seals the form in an opaque, non-reflective, productive symbol." Here she introduces a broad concept of symbol, an opaque-productive symbol: one that is not transparent to preconceived or predetermined referents and meanings, but rather produces new ones.
1392:
117:, where its principal exponents defend the principle "that all the aesthetic properties of works of art in a select class are formal, and second, that although many works of art outside that class have nonformal aesthetic properties, many of those works also have important formal aesthetic properties that must not be ignored."
141:: "In order to perceive style, and understand it, art historians use 'formal analysis'. This means they describe things very carefully. These descriptions, which may include subjective vocabulary, are always accompanied by illustrations, so that there can be no doubt about what exists objectively".
120:
The philosopher
Michalle Gal has offered a moderate version of formalism, entitled "Deep Formalism", which is a symbolic formalism based on philosophical aestheticism. The artwork is defined by her as deep form: "a form steeped in content that cannot be extracted from it. Artistic content, since it
35:
elements such as color, line, shape, texture, and other perceptual aspects rather than content, meaning, or the historical and social context. At its extreme, formalism in art history posits that everything necessary to comprehending a work of art is contained within the work of art. The context of
103:
According to the observation that works of art can in general contain formal properties and nonformal properties, the philosopher Nick
Zangwill has delineated three types of formalism as they are encountered at the turn of the 21st century. First, Zangwill identifies
80:)... constitute the proper object of the pure judgment of taste." The philosopher Donald Crawford has summarized Kant's position stating: "Thus, for Kant, form consists of the spatial... organization of elements: figure, shape, or delineation... In the parts of the
95:
has defined formalism in art as referring to those properties "that are determined solely by sensory or physical properties—so long as the physical properties in question are not relations to other things and other times." The philosopher and architect
1191:
36:
the work, including the reason for its creation, the historical background, and the life of the artist, that is, its conceptual aspect is considered to be external to the artistic medium itself, and therefore of secondary importance.
112:
thinkers as those who "think that no works of art have formal aesthetic properties." The third type which
Zangwill identifies as representing the transition of the philosophy of aesthetics into the 21st century is that of
1241:
100:
has defined formalism in art and architecture as "the doctrine that states that the aesthetic qualities of works of visual art derive from the visual and spatial properties."
108:
who think "that all works of art are purely formal works—where a work is purely formal if all its aesthetic properties are formal aesthetic properties," then he defines
1171:
453:
423:
31:. Its discussion also includes the way objects are made and their purely visual or material aspects. In painting, formalism emphasizes
378:
1437:
1072:
765:
323:
750:
675:
97:
1374:
1301:
1422:
900:
730:
237:
607:
885:
1261:
1045:
446:
800:
1321:
1271:
825:
695:
242:
1251:
1201:
958:
660:
526:
187:
160:
150:
1379:
953:
906:
815:
640:
613:
587:
521:
207:
928:
84:
in which form is emphasized as the essential aspect of beauty, Kant is consistently a pure formalist."
1427:
1341:
1221:
1211:
1119:
1092:
995:
775:
516:
197:
49:
44:
The historical origin of the modern form of the question of aesthetic formalism is usually dated to
1432:
1417:
1384:
1351:
1326:
1161:
1114:
1109:
923:
880:
870:
840:
820:
705:
557:
511:
506:
501:
496:
439:
217:
28:
795:
1346:
1336:
1306:
1281:
1067:
1005:
865:
665:
572:
491:
476:
212:
1396:
1356:
1231:
1124:
1098:
740:
700:
655:
635:
592:
567:
486:
481:
374:
319:
271:
Greenberg, Clement. "Towards a Newer Laocoön." Partisan Review, 7 (July-August 1940): 296-310.
175:
170:
155:
68:). In the latter case it is either play of figures or the mere play of sensations. The charm (
32:
860:
810:
755:
670:
602:
366:
745:
685:
202:
1331:
1311:
1181:
938:
890:
850:
785:
735:
715:
650:
232:
1411:
1361:
1151:
1010:
933:
875:
790:
770:
630:
582:
165:
92:
45:
965:
830:
710:
690:
542:
192:
259:
1192:
A Philosophical
Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
1134:
1087:
943:
895:
855:
805:
597:
130:
20:
1104:
1082:
975:
760:
720:
680:
547:
462:
370:
222:
1015:
985:
780:
725:
645:
577:
1316:
1050:
1000:
980:
845:
134:
1129:
1077:
1035:
1020:
990:
552:
402:
363:
Aestheticism: Deep
Formalism and the Emergence of Modernist Aesthetics
1062:
1040:
970:
948:
227:
401:, Vol. 19, No. 2 (Summer, 1992), pp. 232–34, Maney Publishing,
397:
edited by
Margaret W. Conkey and Christine A. Hastorf, p. 233,
835:
418:
52:
where Kant states: "Every form of the objects of sense is either
1056:
1030:
305:(Madison: The University of Wisconsin Press, 1974), p. 100.
435:
1025:
138:
431:
318:(Ithaca, NY: Cornell University Press, 2001), p. 56,
339:(New York: Princeton Architectural Press, ), p. 51.
258:
New York: Frederick A. Stokes
Company Publishers. 1914.
27:
is the study of art by analyzing and comparing form and
16:
Study of art by analyzing and comparing form and style
1242:
The Work of Art in the Age of
Mechanical Reproduction
1294:
1143:
916:
623:
535:
469:
72:) of colors... may be added, but the delineations (
264:Denis, Maurice. 'Definition of Neo-Traditionism.'
447:
8:
1172:The Literary Mind and the Carving of Dragons
129:A formal analysis is an academic method in
454:
440:
432:
281:
393:Review by: Clemency Chase Coggins of
347:
345:
7:
424:Internet Encyclopedia of Philosophy
14:
182:Topics Related to Formalism (art)
1390:
395:The Uses of Style in Archaeology
145:Formalism in Other Disciplines
1:
365:. Peter Lang AG. p. 14.
98:Branko Mitrovic (philosopher)
1302:Aestheticization of politics
399:Journal of Field Archaeology
1454:
351:Zangwill 2001, p. 84.
238:Post-painterly abstraction
1370:
371:10.3726/978-3-0351-0787-6
337:Philosophy for architects
316:The Metaphysics of Beauty
76:) in the... composition (
1322:Evolutionary aesthetics
1272:The Aesthetic Dimension
303:Kant's Aesthetic Theory
243:Washington Color School
88:Contemporary definition
48:and the writing of his
1438:Formalism (aesthetics)
1252:Avant-Garde and Kitsch
1202:Lectures on Aesthetics
361:Gal, Michalle (2015).
188:Abstract expressionism
161:Formalism (philosophy)
151:Formalism (literature)
1397:Philosophy portal
419:"Aesthetic Formalism"
208:Geometric abstraction
1342:Philosophy of design
1222:In Praise of Shadows
1212:The Critic as Artist
290:Critique of Judgment
198:Color field painting
82:Critique of Judgment
1352:Philosophy of music
1327:Mathematical beauty
218:Lyrical Abstraction
125:Uses in art history
1423:Visual arts theory
1347:Philosophy of film
1337:Patterns in nature
1307:Applied aesthetics
1282:Why Beauty Matters
1068:Life imitating art
929:Art for art's sake
266:Art and Criticism.
213:Hard-edge painting
133:and criticism for
115:moderate formalism
106:extreme formalists
1405:
1404:
1357:Psychology of art
1232:Art as Experience
335:Branko Mitrović,
301:Donald Crawford,
260:Project Gutenberg
176:Russian formalism
171:Progressive music
156:Formalism (music)
1445:
1395:
1394:
1393:
1287:
1277:
1267:
1257:
1247:
1237:
1227:
1217:
1207:
1197:
1187:
1177:
1167:
1157:
456:
449:
442:
433:
428:
405:
391:
385:
384:
358:
352:
349:
340:
333:
327:
312:
306:
299:
293:
286:
1453:
1452:
1448:
1447:
1446:
1444:
1443:
1442:
1408:
1407:
1406:
1401:
1391:
1389:
1366:
1290:
1285:
1275:
1265:
1262:Critical Essays
1255:
1245:
1235:
1225:
1215:
1205:
1195:
1185:
1175:
1165:
1155:
1139:
912:
826:Ortega y Gasset
619:
531:
465:
460:
417:
414:
409:
408:
392:
388:
381:
360:
359:
355:
350:
343:
334:
330:
314:Nick Zangwill,
313:
309:
300:
296:
292:. Section 14.8.
287:
283:
278:
251:
203:Elements of art
184:
147:
127:
90:
42:
17:
12:
11:
5:
1451:
1449:
1441:
1440:
1435:
1430:
1425:
1420:
1410:
1409:
1403:
1402:
1400:
1399:
1387:
1382:
1377:
1371:
1368:
1367:
1365:
1364:
1359:
1354:
1349:
1344:
1339:
1334:
1332:Neuroesthetics
1329:
1324:
1319:
1314:
1312:Arts criticism
1309:
1304:
1298:
1296:
1292:
1291:
1289:
1288:
1278:
1268:
1258:
1248:
1238:
1228:
1218:
1208:
1198:
1188:
1182:On the Sublime
1178:
1168:
1158:
1147:
1145:
1141:
1140:
1138:
1137:
1132:
1127:
1122:
1117:
1112:
1107:
1102:
1095:
1090:
1085:
1080:
1075:
1070:
1065:
1060:
1053:
1048:
1046:Interpretation
1043:
1038:
1033:
1028:
1023:
1018:
1013:
1008:
1003:
998:
993:
988:
983:
978:
973:
968:
963:
962:
961:
956:
946:
941:
939:Artistic merit
936:
931:
926:
920:
918:
914:
913:
911:
910:
903:
898:
893:
888:
883:
878:
873:
868:
863:
858:
853:
848:
843:
838:
833:
828:
823:
818:
813:
808:
803:
798:
793:
788:
783:
778:
773:
768:
763:
758:
753:
748:
743:
738:
733:
728:
723:
718:
713:
708:
703:
698:
693:
688:
683:
678:
673:
668:
663:
658:
653:
648:
643:
638:
633:
627:
625:
621:
620:
618:
617:
610:
605:
600:
595:
590:
588:Psychoanalysis
585:
580:
575:
570:
565:
560:
555:
550:
545:
539:
537:
533:
532:
530:
529:
524:
519:
514:
509:
504:
499:
494:
489:
484:
479:
473:
471:
467:
466:
461:
459:
458:
451:
444:
436:
430:
429:
413:
412:External links
410:
407:
406:
386:
379:
353:
341:
328:
307:
294:
280:
279:
277:
274:
273:
272:
269:
262:
250:
247:
246:
245:
240:
235:
233:Post-modernism
230:
225:
220:
215:
210:
205:
200:
195:
190:
183:
180:
179:
178:
173:
168:
163:
158:
153:
146:
143:
126:
123:
110:anti-formalist
89:
86:
50:third Critique
41:
38:
15:
13:
10:
9:
6:
4:
3:
2:
1450:
1439:
1436:
1434:
1431:
1429:
1426:
1424:
1421:
1419:
1416:
1415:
1413:
1398:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1372:
1369:
1363:
1362:Theory of art
1360:
1358:
1355:
1353:
1350:
1348:
1345:
1343:
1340:
1338:
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1313:
1310:
1308:
1305:
1303:
1300:
1299:
1297:
1293:
1284:
1283:
1279:
1274:
1273:
1269:
1264:
1263:
1259:
1253:
1249:
1243:
1239:
1234:
1233:
1229:
1224:
1223:
1219:
1213:
1209:
1204:
1203:
1199:
1194:
1193:
1189:
1184:
1183:
1179:
1174:
1173:
1169:
1164:
1163:
1159:
1154:
1153:
1152:Hippias Major
1149:
1148:
1146:
1142:
1136:
1133:
1131:
1128:
1126:
1123:
1121:
1118:
1116:
1113:
1111:
1108:
1106:
1103:
1101:
1100:
1096:
1094:
1091:
1089:
1086:
1084:
1081:
1079:
1076:
1074:
1071:
1069:
1066:
1064:
1061:
1059:
1058:
1054:
1052:
1049:
1047:
1044:
1042:
1039:
1037:
1034:
1032:
1029:
1027:
1024:
1022:
1019:
1017:
1014:
1012:
1011:Entertainment
1009:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
969:
967:
964:
960:
957:
955:
952:
951:
950:
947:
945:
942:
940:
937:
935:
934:Art manifesto
932:
930:
927:
925:
924:Appropriation
922:
921:
919:
915:
909:
908:
904:
902:
899:
897:
894:
892:
889:
887:
884:
882:
879:
877:
874:
872:
869:
867:
864:
862:
859:
857:
854:
852:
849:
847:
844:
842:
839:
837:
834:
832:
829:
827:
824:
822:
819:
817:
816:Merleau-Ponty
814:
812:
809:
807:
804:
802:
799:
797:
794:
792:
789:
787:
784:
782:
779:
777:
774:
772:
769:
767:
764:
762:
759:
757:
754:
752:
749:
747:
744:
742:
739:
737:
734:
732:
729:
727:
724:
722:
719:
717:
714:
712:
709:
707:
704:
702:
699:
697:
694:
692:
689:
687:
684:
682:
679:
677:
674:
672:
669:
667:
664:
662:
659:
657:
654:
652:
649:
647:
644:
642:
639:
637:
634:
632:
631:Abhinavagupta
629:
628:
626:
622:
616:
615:
611:
609:
606:
604:
601:
599:
596:
594:
591:
589:
586:
584:
583:Postmodernism
581:
579:
576:
574:
571:
569:
566:
564:
561:
559:
556:
554:
551:
549:
546:
544:
541:
540:
538:
534:
528:
525:
523:
520:
518:
515:
513:
510:
508:
505:
503:
500:
498:
495:
493:
490:
488:
485:
483:
480:
478:
475:
474:
472:
468:
464:
457:
452:
450:
445:
443:
438:
437:
434:
426:
425:
420:
416:
415:
411:
404:
400:
396:
390:
387:
382:
380:9783035199925
376:
372:
368:
364:
357:
354:
348:
346:
342:
338:
332:
329:
325:
321:
317:
311:
308:
304:
298:
295:
291:
285:
282:
275:
270:
267:
263:
261:
257:
254:Bell, Clive.
253:
252:
248:
244:
241:
239:
236:
234:
231:
229:
226:
224:
221:
219:
216:
214:
211:
209:
206:
204:
201:
199:
196:
194:
191:
189:
186:
185:
181:
177:
174:
172:
169:
167:
166:New Formalism
164:
162:
159:
157:
154:
152:
149:
148:
144:
142:
140:
136:
132:
124:
122:
118:
116:
111:
107:
101:
99:
94:
93:Nick Zangwill
87:
85:
83:
79:
75:
71:
67:
63:
59:
55:
51:
47:
46:Immanuel Kant
39:
37:
34:
33:compositional
30:
26:
22:
1280:
1270:
1260:
1230:
1220:
1200:
1190:
1180:
1170:
1160:
1150:
1097:
1073:Magnificence
1055:
905:
871:Schopenhauer
706:Coomaraswamy
624:Philosophers
612:
562:
543:Aestheticism
422:
398:
394:
389:
362:
356:
336:
331:
315:
310:
302:
297:
289:
284:
268:August 1890.
265:
255:
193:Josef Albers
128:
119:
114:
109:
105:
102:
91:
81:
77:
73:
69:
65:
61:
57:
53:
43:
24:
18:
1428:Art history
1166:(c. 335 BC)
1156:(c. 390 BC)
1135:Work of art
1088:Picturesque
944:Avant-garde
901:Winckelmann
776:Kierkegaard
701:Collingwood
671:Baudrillard
598:Romanticism
568:Historicism
502:Mathematics
131:art history
78:Komposition
21:art history
1433:Modern art
1418:Aesthetics
1412:Categories
1105:Recreation
1083:Perception
976:Creativity
676:Baumgarten
666:Baudelaire
548:Classicism
463:Aesthetics
324:0801438209
276:References
223:Minimalism
1110:Reverence
1016:Eroticism
986:Depiction
959:Masculine
861:Santayana
821:Nietzsche
766:Hutcheson
756:Heidegger
741:Greenberg
696:Coleridge
661:Balthasar
646:Aristotle
608:Theosophy
603:Symbolism
578:Modernism
563:Formalism
137:works of
135:analyzing
74:Zeichnung
25:formalism
1385:Category
1317:Axiology
1186:(c. 500)
1176:(c. 100)
1051:Judgment
1006:Emotions
1001:Elegance
981:Cuteness
954:Feminine
917:Concepts
886:Tanizaki
866:Schiller
851:Richards
841:Rancière
811:Maritain
746:Hanslick
686:Benjamin
558:Feminism
527:Theology
507:Medieval
497:Japanese
492:Internet
1380:Outline
1295:Related
1162:Poetics
1130:Tragedy
1120:Sublime
1093:Quality
1078:Mimesis
1036:Harmony
1021:Fashion
996:Ecstasy
991:Disgust
907:more...
876:Scruton
801:Lyotard
736:Goodman
716:Deleuze
651:Aquinas
641:Alberti
614:more...
593:Realism
573:Marxism
553:Fascism
536:Schools
522:Science
477:Ancient
249:Sources
58:Gestalt
40:History
1286:(2009)
1276:(1977)
1266:(1946)
1256:(1939)
1246:(1935)
1236:(1934)
1226:(1933)
1216:(1891)
1206:(1835)
1196:(1757)
1063:Kitsch
1041:Humour
971:Comedy
949:Beauty
891:Vasari
881:Tagore
856:Ruskin
796:Lukács
786:Langer
731:Goethe
656:Balázs
636:Adorno
517:Nature
482:Africa
377:
322:
288:Kant.
228:Op Art
54:figure
1375:Index
1144:Works
1125:Taste
1115:Style
896:Wilde
836:Plato
831:Pater
791:Lipps
751:Hegel
721:Dewey
711:Danto
691:Burke
512:Music
487:India
470:Areas
403:JSTOR
66:Spiel
60:) or
29:style
1099:Rasa
1057:Kama
1031:Gaze
966:Camp
846:Rand
781:Klee
771:Kant
761:Hume
681:Bell
375:ISBN
320:ISBN
256:Art.
70:Reiz
62:play
1026:Fun
806:Man
726:Fry
367:doi
139:art
19:In
1414::
1254:"
1244:"
1214:"
421:.
373:.
344:^
23:,
1250:"
1240:"
1210:"
455:e
448:t
441:v
427:.
383:.
369::
326:.
64:(
56:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.