Creative Intuition in Art and Poetry (The A.W. Mellon by Jacques Maritain

By Jacques Maritain

This can be the Meridian e-book, that's an abbreviated model of the publication that Pantheon released in its Bollingen sequence. someone who is familiar with of a PDF of the whole Pantheon/U. of Princeton Press version can definitely substitute this edition.

The name sums it up: intellect/intuition in artwork and poetry from the Greeks to the Moderns. Maritain's Stanford Encyclopedia of Philosophy access will supply a few historical past to the guy:

from that 'cyclopedia:
"A 3rd virtue of Maritain's philosophy of artwork is his account of creative (or what he occasionally calls 'poetic') wisdom. Maritain notes the focal point at the understanding of the self as attribute of paintings from the time of the German romantics, and recognises its price as far as it demanding situations the emphasis on cause and mechanical method. This inventive wisdom is an example of what Maritain calls, mostly, wisdom notwithstanding connaturality; it's a form of 'creative intuition' that arises out of "the loose creativity of the spirit" (Creative instinct, p. 112; common legislation, p. 18). Maritain additionally describes it as a "grasping, by way of the poet, of his personal subjectivity with a view to create" (Creative instinct, p. 113). Maritain areas this data on the point of the preconscious mind. it really is non-conceptual, non-rational, and "obscure" (Creative instinct, p. 18; see traditional legislation, p. 18). neither is it, as a lot wisdom is, a data of essences. however, it's nonetheless attached to "intellectual act". it's a wisdom of truth — of a "concrete reality" — albeit person who "tends and extends to the infinite" (Creative instinct, p. 126). this sort of wisdom lies on the foundation, not just of creative task, but additionally ethical and mystical experience."

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Additional info for Creative Intuition in Art and Poetry (The A.W. Mellon Lectures in the Fine Arts) (Bollingen Series)

Sample text

But the virtue of art is, of itself, never wrong. Art is a virtue of the practical intellect— that particular virtue of the practical intellect which deals with the creation of objects to be made. We see, then, how essential is the relationship between art and reason. Art is intellectual by essence, as the odor of the rose pertains to the rose, or spark to fire. Art, or the proper virtue of working reason, is— in the realm of making— an intrinsic perfection of the intellect. Not in Phidias and Prax­ 36 CREATIVE INTUITION IN ART A ND POETRY iteles only, but in the village carpenter and blacksmith as well, the Doctors of the Middle Ages acknowledged an in­ trinsic development of reason, a nobility of the intellect.

While endeavoring to disclose and manifest the artist’s Self, the poetic perception which animates art catches and manifests at the same time what matters most in Things, the transapparent reality and secret significance on which they live. What does this mean? What is the philosophical impact of this factual conclusion? Our descriptive and inductive in­ quiry suggests that at the root of the creative act there must be a quite particular intellectual process, without par­ 50 CREATIVE INTUITION IN ART AND POETRY allel in logical reason, through which Things and the Self are grasped together by means of a kind of experience or knowledge which has no conceptual expression and is ex­ pressed only in the artist's work.

As I observed at the beginning, the prime obligation of philosophy is to bring out and circumscribe the nature or essence of the given thing, taken in itself, which it considers: for instance the nature or essence of art taken in itself or in its own basic and Art as a Virtue of the Practical Intellect 37 constitutive requirements. Yet the trouble is that in actual existence we do not deal with essences taken in themselves, but with essences embodied in concrete reality. Art in itself pertains to a sphere separate from, and independent of, the sphere of morality.

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