Creativity and the artwork: the perspectives of a painter and a philosopher
Creativity in Robert Henri's view is a gratuitous act, shot through with mystery; what is left after such an act is the artwork itself as concrete evidence that such a heightened state of consciousness has been achieved. This paper will examine Henri's understanding of the nature of creati...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Routledge
2009
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| In: |
Journal of beliefs and values
Year: 2009, Volume: 30, Issue: 2, Pages: 123-132 |
| Further subjects: | B
Christopher Lash
B Education B Eliot Deutsch B integral living B minimal self B Robert Henri B Creativity B Wonder |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a Creativity in Robert Henri's view is a gratuitous act, shot through with mystery; what is left after such an act is the artwork itself as concrete evidence that such a heightened state of consciousness has been achieved. This paper will examine Henri's understanding of the nature of creativity from his perspective as a twentieth century New York painter, in conjunction with Eliot Deutsch's theoretical insights as a philosopher deeply interested in the nature of the experience of an artwork. In his Essays on the nature of art, Deutsch presents the view that the experience of an artwork involves the assimilation of the work's aesthetic force, the recognition of its meaning, the discernment of its formal dimensions, and ‘calls for a special appropriation that yields an integrated wholeness’. This paper presents commonalities between Henri's and Deutsch individual perspectives and discusses some value‐centred educational implications that could be drawn from these commonalities. | ||
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