Tolstoy: What is Art? involuntarily come) not only does not help to make clear in what this particular human activity which we call art really consists, but renders such elucidation quite impossible until we rid ourselves of a conceptionFile Size: KB. · Tolstoy characterizes art in terms of the relationship of the observer/perceiver both to the artist and to others who perceive the work. What is the nature of that relationship? He believes that art is an important condition of human life, as it is used to communicate human feelings or emotions. What are examples of this communication? · What Tolstoy means is that we view art as a thing that affects us like an emotion that expresses our feelings. For example, like he stated in his text “if a man is infected with the condition of soul” and he feels the emotion and union with others.
Leo Tolstoy, like the Greek philosopher Plato, believed art too important to be judged in terms of art alone. Because art is capable of making people better or worse, the social and ethical. Tolstoy contends that much of European art since the Renaissance is not "true" art but "counterfeit" art, marked by being mannered, imitative, sensationalist, and overly intellectual. Leo Tolstoy Theory on art Лев Николаевич Толстой or known in English as Leo Tolstoy, was a famous Russian writer who is also known as one of the greatest authors of all time. Leo Tolstoy was a self-confident man and was sure of his rightness. However, this self-confidence may have caused him involuntarily, to feel envious.
Art is a means of communication, and is an important means of expression of any experience, or of any aspect of the human condition. Tolstoy defines art as an expression of a feeling or experience in such a way that the audience to whom the art is directed can share that feeling or experience. Art does not belong to any particular class of society. Tolstoy: What is Art? involuntarily come) not only does not help to make clear in what this particular human activity which we call art really consists, but renders such elucidation quite impossible until we rid ourselves of a conception. A work of art that united every one with the author, and with one another, would be perfect art. Tolstoy, in his emphatic way, speaks of works of “universal” art, and (though the profound critics hasten to inform us that no work of art ever reached everybody) certainly the more nearly a work of art approaches to such expression of feeling that every one may be infected by it—the nearer (apart from all question of subject-matter) it approaches perfection.
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