He traces its origins back to the oldest known artworks created by human hands. Worringer's classic study argues that in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. […] Popular usage speaks with striking accuracy of ‘losing oneself in the contemplation of a work of art. The need for empathy can be looked upon as a presupposition of artistic volition only where this artistic volition inclines toward the truths of organic life, that is toward naturalism in the higher sense. But such abstraction does not make use of any natural object as a model. Worringer foi um dos primeiros filósofos a valorizar os aspectos abstratos da arte. Customer Book Reviews. The sensation of happiness that is released in us by the reproduction of organically beautiful vitality, what modern man designates beauty, is a gratification of that inner need for self-activation in which Lipps sees the presupposition of the process of empathy. It holds its beauty only through our own vital feeling, which, in some mysterious manner, we project into it. . There are no discussion topics on this book yet. Worringer argued, however, that abstract art was in no way inferior to realist art and was worthy of respect in its own right. The young German scholar, born the same year as Pablo Picasso, completed the dissertation in 1906 at the age of twenty-five. We now know that is demonstrably not the case. It is therefore not a matter of, for example, analysing the conditions under which a landscape appears beautiful, but of an analysis of the conditions under which the representation of this landscape becomes a work of art. Refresh and try again. It will only assume the shape of a comprehensive aesthetic system when it has united with the lines that lead from the opposite pole. The Pyramids were not realistic because they were not an attempt at empathy. Wilhelm Worringer''s landmark study in the interpretation of modern art, first published in 1908, has seldom been out of print. Read 4 reviews from the world's largest community for readers. from Abstraction and Empathy – Wilhelm Worringer culture Our investigations proceed from the presupposition that the work of art, as an autonomous organism, stands beside nature on equal terms and, in its deepest and innermost essence, devoid of any connection with it, in so far as by nature is understood the visible surface of things. He gives us language to help us talk about our intuition that there are some mysteries about this life and this universe that cannot be unraveled. Countless other sensations occur, because inherent in the scribbling experience is the realization that we did something. In “Abstraction and Empathy,” Worringer points out that this dispute between our acceptance and our denial of our organic nature is the reason that throughout time we have simultaneously employed both empathy and abstraction in our art. In the geometric line, however, and in geometrical forms as a whole, they have been taken out of the natural context and the careless flux of the forces of nature, and have become visible on their own' ([Theodor] Lipps, Aesthetik, 249). . The civilized peoples of the East, whose more profound world-instinct opposed development in a rationalistic direction and who saw in the world nothing but the shimmering veil of Maya, they alone remained conscious of the unfathomable entanglement of all the phenomena of life, and all the intellectual mastery of the world-picture could not deceive them as to this. We contemplate its qualities. With an Introduction by Hilton Kramer. This counter-pole to the need for empathy appears to us to be the urge to abstraction. of everything about it that was arbitrary, to render it necessary and irrefragable, to approximate it to its absolute value. Scribbling is an impulse. They were an attempt at transcendence. The philosophical framework Worringer built when he wrote “Abstraction and Empathy” has been relied upon for more than a century to help elevate the public status of abstract art. Indeed, the idea forces itself upon us that here we have an impulse directly opposed to the empathy impulse, which seeks to suppress precisely that in which the need for empathy finds its satisfaction. Goodreads helps you keep track of books you want to read. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Humans know we are part of the natural world, and yet we are compelled to renounce it because it disagrees with our needs for endurance, safety, and control. Not that primitive man sought more urgently for regularity in nature, or experienced regularity in it more intensely; just the reverse: it is because he stands so lost and spiritually helpless amidst the things of the external world, because he experiences only obscurity and caprice in the inter-connection and jilux of the phenomena of the external world, that the urge is so strong in him to divest the things of the external world of their caprice and obscurity in the world-picture and to impart to them a value of necessity and a value of regularity. Everything dies considers the influence of Worringer s thesis and places his book in historical context. `` an of. Just a moment while we sign you in to your Goodreads account kind of aesthetic experience runs aesthetic... 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