|Author:||Leo Tolstoy,Almyer Maude,Vincent Tomas|
|Title:||What Is Art (Library of Liberal Arts)|
|Format:||mobi docx rtf txt|
|ePUB size:||1702 kb|
|FB2 size:||1206 kb|
|DJVU size:||1989 kb|
|Category:||History and Criticism|
|Publisher:||Pearson College Div (June 1, 1960)|
Published 1960 by Bobbs-Merrill in Indianapolis. The Library of liberal arts no. 51. Classifications.
What is art? found in the catalog.
More than ninety years later this work remains, as Vincent Tomas observed, one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written. More than ninety years later this work remains, as Vincent Tomas observed, one of the most rigorous attacks on formalism and on the doctrine of art for art's sake ever written.
The oldest book in the library was published in 1613 in Köln with the parallel texts in Greek.
In his younger years, Leo Tolstoy read and tried to follow Benjamin Franklin’s 13 virtues, a list of good traits to practice every day. It struck a chord with Tolstoy, who struggled with carnal desires. Like Franklin, Tolstoy kept a daily journal of activities, but unlike Franklin, who kept notes about the virtues he practiced, Tolstoy wrote down his shortcomings. Tolstoy endowed his fictional characters with a love of Franklin’s works. Levin in Anna Karenina said: I'm sure Benjamin Franklin felt just as worthless and had the same distrust of himself as I when he summed himself up. Henry George’s follower. He translated and published Henry Thoreau’s essay, Civil Disobedience, which resonated with Tolstoy’s thoughts on resistance against an unjust state.
What Is Art? Leo Tolstoy Translation by Aylmer Maude Introduction by Vincent Tomas. More than ninety years later this work remains, as Vincent Tomas observed, one of the most rigorous attacks on formalism and on the doctrine of art for art’s sake ever written.
Tolstoy presents a detailed sampling of what philosophers and aestheticians have written about art and beauty throughout history, particularly since the eighteenth century, when aesthetics became a subject unto itself. The theories range from art being an expression of divine truth to art being a titillation of the senses of seeing, hearing, feeling and even tasting and smelling.
by Tolstoy, Leo, graf, 1828-1910; Maude, Aylmer, 1858-1938. Publication date 1904. Topics Arts - Philosophy, Arts and morals. Publisher New York : Funk & Wagnalls. Collection trinitycollege; toronto. Digitizing sponsor MSN. Contributor Trinity College - University of Toronto. Call number AFF-6209. John W. Graham Library, Trinity College. Uploaded on September 7, 2006. SIMILAR ITEMS (based on metadata).
Like all great writers, Leo Tolstoy has inspired a great many visual adaptations of his work, of varying degrees of quality. Just this past month, the Volgograd Fine Arts Museum in Russia held an exhibition of 92 graphic works from the collection of the Yasnaya Polyana Estate-Museum, the author’s country estate and birthplace. Directly above, see a sketch for his ABC book, a primer he created for his peasant schools at Yasnaya Polyana. Tolstoy didn’t only illustrate his own work; he also made some sketches of his contemporary Jules Verne’s Around the World in Eighty Days-see one above-which he read in French with his children. Over forty years after making these drawings, Tolstoy published his thoughts on art in essay called What is Art?.
Like all great works of art, Tolstoy's masterpiece has the capacity, on each successive reading, to transform our understanding of the world. On any first reading, War and Peace is bound to dazzle with its immense panorama of humanity. The whole of life appears to be contained in its pages. Tolstoy presents us with a cast of several hundred characters. Like all great works of art, it certainly defies all conventions. Set against the historical events of the Napoleonic Wars, its complex narrative development is a long way from the tidy plot structure of the European novel in its nineteenth-century form. Tolstoy's novel does not even have a clear beginning, middle and end, though it does, in one sense, turn on a moment of epiphany, the year of 1812, when Russia's liberation from Napoleon is made to coincide with the personal liberation of the novel's central characters.