EHRENZWEIG THE HIDDEN ORDER OF ART PDF

But fortunately this does not really matter. The principal ideas of the book can be understood even if From the Preface:The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion. The other aspects merely add stereoscopic depth to the argument, but not really new substance.

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Related Books About the Book From the Preface:The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument. But fortunately this does not really matter. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion.

The other aspects merely add stereoscopic depth to the argument, but not really new substance. May I, then, ask the reader not to be irritated by the obscurity of some of the material, to take out from the book what appeals to him and leave the rest unread? In a way this kind of reading needs what I will call a syncretistic approach. Children can listen breathlessly to a tale of which they understand only little. They are still able to profit from this incomplete understanding.

This ability of understanding- and it is an ability may be due to their syncretistic capacity to comprehend a total structure rather than analysing single elements. Child art too goes for the total structure without bothering about analytic details. I myself seem to have preserved some of this ability. This enables me to read technical books with some profit even if I am not conversant with some of the technical terms.

This book is certainly not for the man who can digest his information only within a well-defined range of technical terms. What he meant was that the argument had a tendency to jump from high psychological theory to highly practical recipes for art teaching and the like; scientific jargon mixed with mundane everyday language.

This kind of treatment may well appear chaotic to an orderly mind. Yet I feel quite unrepentant. Hence creativity requires a diffuse, scattered kind of attention that contradicts our normal logical habits of thinking. Is it too high a claim to say that the polyphonic argument of my book must be read with this creative type of attention?

I do not think that a reader who wants to proceed on a single track will understand the complexity of art and creativity in general anyway. So why bother about him? Even the most persuasive and logical argument cannot make up for his lack of sensitivity. On the other hand I have reason to hope that a reader who is attuned to the hidden substructure of art will find no difficulty in following the diffuse and scattered structure of my exposition.

There is of course an intrinsic order in the progress of the book. Like most thinking on depth-psychology it proceeds from the conscious surface to the deeper levels of the unconscious. The first chapters deal with familiar technical and professional problems of the artist.

Gradually aspects move into view that defy this kind of rational analysis. For instance the plastic effects of painting pictorial space which are familiar to every artist and art lover tum out to be determined by deeply unconscious perceptions. They ultimately evade all conscious control.

In this way a profound conflict between conscious and unconscious spontaneous control comes forward. Conscious thought is sharply focused and highly differentiated in its elements; the deeper we penetrate into low-level imagery and phantasy the more the single track divides and branches into unlimited directions so that in the end its structure appears chaotic.

The creative thinker is capabte of alternating between differentiated and undifferentiated modes of thinking, harnessing them together to give him service for solving very definite tasks. The uncreative psychotic succumbs to the tension between conscious differentiated and unconscious undifferentiated modes of mental functioning. As he cannot integrate their divergent functions, true chaos ensues.

The unconscious functions overcome and fragment the conscious surface sensibilities and tear reason into shreds. Modern art displays this attack of unreason on reason quite openly. Yet owing to the powers of the creative mind real disaster is averted.

Reason may seem to be cast aside for a moment. Modern art seems truly chaotic. The modern artist may attack his own reason and single-track thought; but a new order is already in the making. Reviews "One of the most intelligent books ever written about the psychology of artistic creativity. The Two Kinds of Attention 3. Unconscious Scanning 4. The Fertile Motif and the Happy Accident 5. The Inner Fabric 7. The Three Phases of Creativity 8. Enveloping Pictorial Space The Minimum Content of Art The Self-Creating God The Scattered and Buried God Towards a Revision of Current Theory Ego Dissociation.

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The Hidden Order of Art by Anton Ehrenzweig

Jump to navigation Jump to search Anton Ehrenzweig 27 November — 5 December was an Austrian -born British theorist on modern art and modern music. Ehrenzweig was born into an eminent Jewish legal family in Vienna with Czech and Galician roots. He fled Austria immediately after the Anschluss with Germany in and settled in England with his brother Albert Ehrenzweig and parents following him later that year. He along with all other Jewish internees was released in

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The Hidden Order of Art: A Study in the Psychology of Artistic Imagination

But fortunately this does not really matter. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion. The other aspects merely add stereoscopic depth to the argument, but not really new substance. May I, then, ask the reader not to be irritated by the obscurity of some of the material, to take out from the book what appeals to him and leave the rest unread? In a way this kind of reading needs what I will call a syncretistic approach.

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