as the expression of feelings or emotion (sometimes
called expressionism in art). Such theories
first acquired major importance in the nineteenth
century in connection with the rise of
Romanticism. Expression theories are as various
as the different views about what counts as
expressing emotion. There are four main variants.
(1) Expression as communication. This requires
that the artist actually have the feelings that are
expressed, when they are initially expressed.
They are “embodied” in some external form, and
thereby transmitted to the perceiver. Leo Tolstoy
(1828–1910) held a view of this sort.
(2) Expression as intuition. An intuition is the
apprehension of the unity and individuality of
something. An intuition is “in the mind,” and
hence the artwork is also. Croce held this view,
and in his later work argued that the unity of an
intuition is established by feeling.
(3) Expression as clarification. An artist starts out
with vague, undefined feelings, and expression is
a process of coming to clarify, articulate, and
understand them. This view retains Croce’s idea
that expression is in the artist’s mind, as well as
his view that we are all artists to the degree that
we articulate, clarify, and come to understand
our own feelings. Collingwood held this view.
(4) Expression as a property of the object. For an
artwork to be an expression of emotion is for it
to have a given structure or form. Suzanne K.
Langer (1895–1985) argued that music and the
other arts “presented” or exhibited structures or
forms of feeling in general.
KEYWORD SEARCH:
AESTHETICS,
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THEORY OF ART.
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