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In the face of a great work of art, we so often stand mute, struck dumb. Is this a function—perhaps the first and foremost—of aesthetic experience? Or do we lack the words to say what we feel? Countering current assumptions that art is valued only according to taste or ideology, Peter de Bolla gives a voice—and vocabulary—to the wonder art can inspire. Working toward a better understanding of what it is to be profoundly moved by a work of art, he forces us to reconsider the importance of art works and the singular nature and value of our experience of them.
In many ways a "practical aesthetics," Art Matters proceeds by way of example. Through chapters attending to three works of art—Barnett Newman's painting Vir Heroicus Sublimis, pianist Glenn Gould's second recording of Bach's Goldberg Variations, and William Wordsworth's poem "We Are Seven"—de Bolla plots a personal history of aesthetic experience that opens up the general forms of art appreciation. His book invites us to a closer encounter with art, and to a deeper appreciation and clearer expression of what such an encounter might hold.
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Peter de Bolla is Fellow of King's College at Cambridge University and author of Harold Bloom and The Discourse of the Sublime.From Publishers Weekly:
In four short chapters and an introduction, Cambridge University Fellow de Bolla (The Discourse of the Sublime) mulls over his reactions to art, especially what he calls "mutism: being struck dumb" by a work. Among the cases he examines in detail are a painting by American modernist Barnett Newman ("Vir Heroicus Sublimus"), Canadian pianist Glenn Gould's second recording of Bach's "Goldberg Variations" and a poem by Wordsworth, "We Are Seven." Although most of the text is in dense philosophical-speak, rife with references to Kant and other names familiar to readers who have taken a course or two in philosophy, a wry pragmatism peeps through, such as when de Bolla states that some students "refuse to talk about" their aesthetic responses, either out of "fear of losing something valuable to them" or else because of the "mundane mechanics" of the Cambridge University grading system. Elsewhere, de Bolla cannily refuses to consider Newman's abstract canvas separately from its context and location, New York's Museum of Modern Art. On Glenn Gould, de Bolla mixes references to jazz and classical performance, which are intrinsically different art forms, with some biographical errors, such as the false notion that Gould lived "in almost complete physical seclusion." On Wordsworth the author is more secure, making folksy observations such as, "Reading is a far more risky business than is often assumed, or than we care to admit, but it is said that there is often scant reward where there is no risk." There are plenty of both here. 10 color illustrations not seen by PW. (Nov.) Forecast: Despite the challenging writing style, there is enough donnish Brit charm here to appeal to readers with a cursory acquaintance with philosophy and the arts. Good for larger collections on the arts, although the desultory chapter on Gould can be safely skipped by music fans. Readers looking for unsentimental paths to art-based solace might be pointed here.
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Book Description Harvard University Press. PAPERBACK. Condition: New. 0674011104 New Condition. Seller Inventory # NEW7.1187949
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Book Description Harvard University Press, 2003. Paperback. Condition: New. Seller Inventory # DADAX0674011104