Abstraction And Empathy Pdf

• Abstraction And Empathy German Impresionism
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Oct 11, 2018  Abstraction and Empathy. Dhika Himura rated it liked it Sep wilhelm worringer abstraction and empathy, Their spiritual dread of space, their instinct for empsthy relativity of all that is, did not stand, as with primitive peoples, before cognition, but above cognition. ABSTRACTION and EMPATHY A Contribution to the Psychology of Style by WILHELM WORRINGER Translated from the German by Michael Bullock With an Introduction by HILTON KRAMER ELEPHANT PAPERBACKS Ivan R. Dee, Publisher, Chicago. PDF The inconsistent definition of empathy has had a negative impact on both research and practice. The aim of this article is to review and critically appraise a range of definitions of empathy.

Worringer’s classic study argues that in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform. We regard as this counter-pole an aesthetics which proceeds not from man’s urge to empathy, but from his urge to abstraction. Just as the urge to empathy as a. Abstraction and Empathy: A Contribution to the Psychology of Style [Wilhelm Worringer] on *FREE* shipping on qualifying offers. Reprint of.

Worringer posited a direct relationship between the perception of art and the individual.

Alasdair Ekpenyong rated it it was amazing Jan 06, Recollection of the lifeless form of a pyramid or of the suppression of life that is manifested, for instance, in Byzantine mosaics tells us at once that here the need for empathy, which for obvious reasons always tends toward the organic, cannot possibly have determined artistic volition.

Veronica rated it liked it Jan 02, By its nature, this activity is an activity of the will. Aesthetic enjoyment is objectified self-enjoyment. Many people according to Worringer assume Renaissance artists were copying nature, a emppathy imitation. Wilhelm Robert Worringer 13 January in Aachen — 29 March in Munich was a German art historian known for his theories about abstract art and its relation to avant-garde movements such as German Expressionism.

Abstraction And Empathy German Impresionism

Duncan Berry rated it it was amazing Apr 28, Thus the various gradations of the feeling about the world can be gauged from the stylistic evolution of art, as well as from the theogony of the peoples. This presupposition includes within it the wworringer that the specific laws of art have, in principle, nothing to do with the aesthetics of natural beauty.

Abstraction and Empathy: A Contribution to the Psychology of Style

Jacopo Sanna rated it liked it Dec 07, Aug 06, Will rated it it was amazing Shelves: Maria-Luisa Worringet rated it really liked it Feb 28, In other projects Wikisource.

Rachael rated it really liked it Dec 08, In a word, life is activity.

By the feeling about the world I mean the psychic state in which, at any given time, mankind found itself in relation to the cosmos, in relation to the phenomena of the external world. Paint the town red download full version.

Empathy Workbook Pdf

Thus all valuations made from our standpoint, from the point of view of our modern aesthetics, which passes judgement exclusively in the empathyy of the Antique or the Renaissance, are from a higher standpoint absurdities and platitudes.

Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Their spiritual dread of space, their instinct for the relativity of all that is, did not stand, as with primitive peoples, before cognition, but above cognition. Published October 28th by Ivan R. In the forms of the work of art we enjoy ourselves. And life is energy, inner working, striving and accomplishing. Wilhelm Worringer’s Abstraction and Empathy was published in and was a critical and commercial success.

Key Writers on Art: Peter Collins rated it liked it Dec 07, Post a Comment Note: Thanks for telling us about the problem. I will always look at empathizing differently from this point on. Wilhelm Worringer’s landmark study in the interpretation of modern art, first published inhas seldom been out of print. That which constitutes its essence does, of course, pertain to nature.

This book is not yet featured on Listopia. Every style represented the maximum bestowal of happiness for the humanity that created it.

Anthony rated it really liked it May 12, Mario Petillo rated it really liked it Oct 10, Their most powerful urge was, so to speak, to wrest the object of the external world out of its natural context, out of the unending flux of being, to purify it of all its dependence upon life, i. As soon as man became a biped, and as such solely dependent upon his eyes, a slight feeling of insecurity was inevitably left behind.

Bog rated it it was ok Nov 19, This page was last edited on 30 Marchat And the further proposition may be stated: Worringer’s little book is an enduring classic.

Anv rated it really liked it Mar 14, Capturing the German Eye: It is endeavour or volition in motion. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: That which was previously instinct is now the ultimate product of cognition.

Wilhelm Worringer – Wikipedia

But such a “We therefore put forward the proposition: Now what are the psychic presuppositions for the urge to abstraction? A landmark interpretation of modern art. Juan rated it really liked it Mar sorringer, In the enpathy line, however, and in geometrical mepathy 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, Just as the urge to empathy as a pre-assumption of aesthetic experience finds its gratification in the beauty of the organic, so the urge to abstraction finds its beauty in the life-denying inorganic, in the crystalline or, in general terms, in all abstract law and necessity.

Conrad Leibel rated it really liked it Jun 26, The simplest formula that expresses this kind of aesthetic experience runs: We might describe this state as an immense spiritual dread of space, […] Comparison with the physical dread of open places, a pathological condition to absttraction certain people are prone, will perhaps better explain what we mean by this spiritual dread of space.

Wilhelm Robert Worringer (13 January 1881 in Aachen – 29 March 1965 in Munich) was a German art historian known for his theories about abstract art and its relation to avant-garde movements such as German Expressionism. Through his influence on the art critic T. E. Hulme, his ideas were influential in the development of early British modernism, especially Vorticism.^{[citation needed]}

Biography[edit]

Worringer studied art history in Freiburg, Berlin, and Munich before moving to Bern, where he got his Ph.D. in 1907.^[1] His thesis was published the following year under the title Abstraction and Empathy: Essay in the Psychology of Style and remains his best-known work.^[1]

He taught at Bern University from 1909 to 1914.^[1] During this period he got to know members of the Blue Rider group, and he worked with his sister Emmy Worringer to arrange lectures and exhibitions at the avant-garde artists' association known as the Gereonsklub.^[2] In 1907 he married Marta Schmitz, a friend of Emmy's who later became a well-known and successful Expressionist artist under her married name of Marta Worringer.

After doing military service in World War I, he taught for some years at Bonn University, where he became a professor in 1920.^[1] One of his students there was Heinrich Lützeler. Around this time, his interest in avant-garde art began to wane as his interest in German philosophy waxed.^[1] He later taught at the universities of Königsberg (1928–44) and Halle (1946–50).^[1] In 1950, he moved to Munich, where he remained for the rest of his life.^[3]

Works[edit]

In Worringer's first book, the widely read and influential Abstraction and Empathy, he divided art into two kinds: the art of abstraction (which in the past was associated with a more 'primitive' world view) and the art of empathy (which had been associated with realism in the broadest sense of the word, and which was dominant in European art since the Renaissance).^[3] Worringer argued, however, that abstract art was in no way inferior to realist art and was worthy of respect in its own right.^[3] Following the Austrian art historian Alois Riegl, he argued that what he called 'the urge to abstraction' arises not because of cultural incompetence at mimesis but out of a 'psychological need to represent objects in a more spiritual manner'.^[3] This turned out to be a broadly appealing justification for the increased use of abstraction in early 20th century European art.

Worringer posited a direct relationship between the perception of art and the individual. His claim that 'we sense ourselves in the forms of a work of art' led to a formula, 'The aesthetic sense is an objectivized sense of the self.'^[4]:36 He also stated, 'Just as the desire for empathy as the basis for aesthetic experience finds satisfaction in organic beauty, so the desire for abstraction finds its beauty in the life-renouncing inorganic, in the crystalline, in a word, in all abstract regularity and necessity.'^[4]:36

Abstraction and Empathy was widely discussed and was especially influential among the German artists of Die Brücke; it also helped spur growing interest in the art of Africa and Southeast Asia.^[3] He is credited by philosopher Gilles Deleuze in A Thousand Plateaus as being the first person to see abstraction 'as the very beginning of art or the first expression of an artistic will.'^[5]

His second book, Form in the Gothic (1911) expanded on ideas in the concluding section of his first book.^[3] Focused on Gothic art and architecture, it drew sharp distinctions between northern and southern European versions of the style.^[3] He wrote several more books, but none caught on to the same extent as the first two.^[3] He consistently championed northern, especially Germanic, forms and styles over those from the Mediterranean, and like fellow art historian Heinrich Wölfflin he argued that there was a German style of art that reflected the national character.^[6] Some of his ideas were used to prop up Nazism's racialized aesthetics, although the Nazis rejected the German Expressionist art he favored, terming it 'degenerate art'.^[3][6]

Publications[edit]

• Abstraction and Empathy (Abstraktion und Einfühlung, 1907)
• Form in the Gothic (Formprobleme der Gotik, 1911)
• Old German Book Illustration (Die altdeutsche Buchillustration, 1912)
• Egyptian Art (Agyptische Kunst, 1927)
• Greek and Gothic (Griechentum und Gotik, 1928)

Family[edit]

In 1907, he married Marta Schmitz, a friend of his sister Emmy, who became known as an artist under her married name of Marta Worringer.^[7] They had three daughters.^[7]

References[edit]

1. ^ ^abcdefMurray, Chris. Key Writers on Art: The Twentieth Century
2. ^Association August Mackehaus (ed.) Der Gereonsklub: Europas Avantgarde im Rheinland (The Gereonsklub: Europe's avant-garde in the Rhineland). Bonn 1993, ISBN3-929607-08-5.
3. ^ ^abcdefghi'Worringer, Wilhelm'. Dictionary of Art Historians.
4. ^ ^abWorringer, Robert. Abstraction & Empathy, p. 36.
5. ^Deleuze & Guattari. A Thousand Plateaus Trans. Brian Massumi. London, Athlone. 1988. p 496.
6. ^ ^abGoldstein, Cora Sol. Capturing the German Eye: American Visual Propaganda in Occupied Germany, pp. 70-72.
7. ^ ^abBussmann, Annette. 'Marta Worringer'. Fembio. Accessed Aug. 22, 2017. (In German)

External links[edit]

• Works by or about Wilhelm Worringer at Internet Archive