Art

Chapter 47: THE END

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About This Book

The author advances a compact formalist theory arguing that what makes visual objects art is their arrangement of line, colour, and form into configurations that generate a distinctive aesthetic emotion, which he calls significant form. He tests this hypothesis against historical and contemporary examples, sketches a concise history of artistic development, and examines debates around Post-Impressionism. The book clarifies critical terminology, weighs the relation between essential and incidental elements in artworks, and reflects on the critic's and artist's roles, acknowledging counterarguments encountered in debates with contemporaries.

FOOTNOTES:

[27] An example of this was the temporary police-court set up recently in Francis Street, just off the Tottenham Court Road. I do not know whether it yet stands; if so, it is one of the few tolerable pieces of modern architecture in London.

[28] We may hope much from the Omega Workshops in London; but at present they employ only trained artists. We have yet to see what effect they will have on the untrained.

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