File:The Genesis of art-form - an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture (1909) (14760488441).jpg

Identifier: genesisofartform00raym (find matches)
Title: The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture
Year: 1909 (1900s)
Authors: Raymond, George Lansing, 1839-1929
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Publisher: New York : G.P. Putnam's Sons
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: Princeton Theological Seminary Library

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sions ;then, after a little, it reappears again, gains strength, andfinally by main force seems to crush the others down, andin the final strain entirely to dominate them. Here, inthe blending of the most intensely spiritual and materialof motives, is incongruity, and with it a comprcJiensivcnessincluding the widest extremes. Yet how artistically thelike features are grouped with like, and each phase ofexpression made to complement the other ; and when thetwo clash, how principality gets the better of what wouldelse be insnbordinate, and reduces all to order/ Incongru-ity in such cases really adds to the general effect of con-grnity, because it suggests, as nothing else could, theoverwhelming power of that tendency to produce a singleeffect upon thought, which finally blends the whole intoa unity.^ Turning now to effects produced in the arts that areseen, it is probable that few of us have not noticed inour- ^ Compare what is said here with tlie arrangement of tlie methods onpage 131.
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144 ^^-^^ GENESIS OF ART-FORM. selves a tendency to expect to find in them certain formsinvariably associated—forms, too, with outlines and colorsnot at all similar, which in fact may belong to objects asdissimilar as human beings, buildings, trees, plains, hills,and clouds. A little thought will reveal that we expectto find these forms associated because we have becomeaccustomed to think of them as associated in nature. Weknow that in the world they go together, therefore in artthey seem congruous. Thus Oriental scenery and Moorisharchitecture, Italian scenery and Renaissance, NorthernFrench and Gothic, are congruous. So are the costumesor attitudes of certain figures and certain places or periods.(See Geromes Pollice Verso, Fig. 26, page 81.) So arecertain outlines or colors, and delineations of war, of peace,of fright ( Death of Ananias, Fig. 94, page 288), of sor-row (Rubenss Descent from the Cross, Fig. 16, page 73),and of merriment (Tenierss Village Dance, Fig. 43, page143). S

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