Creative Intuition in Art and Poetry (The A.W. Mellon by Jacques Maritain

By Jacques Maritain

This is often the Meridian ebook, that's an abbreviated model of the ebook that Pantheon released in its Bollingen sequence. a person who is aware of a PDF of the whole Pantheon/U. of Princeton Press variation can definitely substitute this edition.

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

from that 'cyclopedia:
"A 3rd virtue of Maritain's philosophy of artwork is his account of creative (or what he occasionally calls 'poetic') wisdom. Maritain notes the focal point at the expertise of the self as attribute of artwork 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, quite often, wisdom even though connaturality; it's a form of 'creative intuition' that arises out of "the loose creativity of the spirit" (Creative instinct, p. 112; usual legislations, p. 18). Maritain additionally describes it as a "grasping, by way of the poet, of his personal subjectivity on the way to create" (Creative instinct, p. 113). Maritain areas this information on the point of the preconscious mind. it truly is non-conceptual, non-rational, and "obscure" (Creative instinct, p. 18; see ordinary legislation, p. 18). neither is it, as a lot wisdom is, an information of essences. however, it's nonetheless attached to "intellectual act". it's a wisdom of fact — of a "concrete reality" — albeit person who "tends and extends to the infinite" (Creative instinct, p. 126). this sort of wisdom lies on the foundation, not just of inventive task, but additionally ethical and mystical experience."

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

Sample text

Not in Phidias and Prax­ 36 CREATIVE INTUITION IN ART A ND POETRY iteles only, but in the village carpenter and blacksmith as well, the Doctors of the Middle Ages acknowledged an in­ trinsic development of reason, a nobility of the intellect. The virtue of the craftsman was not, in their eyes, strength of muscle or nimbleness of fingers. * 5. But, in contradistinction to prudence, which is also a perfection of the practical intellect, art is concerned with the good of the work, not with the good of man.

L6 CREATIVE IN TUITION IN ART AND POETRY Some of the traits I just pointed out make Chinese art, in one sense, nearer than Indian art to our own art. It remains, nevertheless, dominated by the supremacy of Things over the human Self which characterizes Oriental art in general. According to this tendency toward sheer objectivity, the motion-giving and life-giving spirit on which Chinese art is intent in Things was to become a kind of typical formula assigned once and for all to the various categories of things.

Then occurs the outburst of individualism commonly pointed out apropos of the Renaissance, baroque art, and our classical art. Here we have not only— together with a prise de conscience of the intellectual energy or virtue of art— a prise de conscience of the working ego, exceedingly stronger than in the Greek artist. This is what happened at first— a sudden beholding of the sublimity of the artist’s calling and of the new power and ambition afforded to him by science, by anatomical *2 CREATIVE INTUITION IN ART AN» POETRY knowledge, mathematics, perspective, and the discovery of three-dimensional representation in painting, which intoxi­ cated with glory the great Italians of the second Rinascimento.

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