Brian Harrell: Outside Reading (Severyn T. Bruyn)
Professor Severyn T. Bruyn's View of Art and Aesthetics
Boston College Professor Severn T. Bruyn takes on the critique of art and its aesthetics. In his work, Bruyn takes on a new approach of Aesthetics, giving his own idea of "New Aesthetics". He begins his portrayal of these "New Aesthetics" describing a concept known as Theoretical Aesthetics. He states that in art, this concept shines through to the viewer, connecting the art work itself with the viewer, filling their mind with subjects such as philosophy and the social sciences.
Moving on, Bruyn continues his defense of his "New Aesthetics" referencing the philosopher D.W. Gotshalk. He summarizes his arguments stating, "The materials of the artist – the pigments, tones, timbre, marble, etc. – are part of the artist’s tools, and usually involved with the artist’s intent. The proper resolution in the differences in these materials (as red vs. blue in painting, or as faster vs. slower in music) is critical to understanding a work of art. In painting, pigments have different hues and values of intensity that must be brought together to create an aesthetic experience. In music, tones contrast in pitch, timbre, and volume and they must find an aesthetic connection. In sculpture, marble has its contrarieties in grain, color, texture, and sheen, etc. In creating a work of art these contrasting qualities must join aesthetically."
I find that Gotshalk gives a good argument for this new aesthetic connection but, his arguments made lack some major points that would truly define this new-found idea.
Boston College Professor Severn T. Bruyn takes on the critique of art and its aesthetics. In his work, Bruyn takes on a new approach of Aesthetics, giving his own idea of "New Aesthetics". He begins his portrayal of these "New Aesthetics" describing a concept known as Theoretical Aesthetics. He states that in art, this concept shines through to the viewer, connecting the art work itself with the viewer, filling their mind with subjects such as philosophy and the social sciences.
Moving on, Bruyn continues his defense of his "New Aesthetics" referencing the philosopher D.W. Gotshalk. He summarizes his arguments stating, "The materials of the artist – the pigments, tones, timbre, marble, etc. – are part of the artist’s tools, and usually involved with the artist’s intent. The proper resolution in the differences in these materials (as red vs. blue in painting, or as faster vs. slower in music) is critical to understanding a work of art. In painting, pigments have different hues and values of intensity that must be brought together to create an aesthetic experience. In music, tones contrast in pitch, timbre, and volume and they must find an aesthetic connection. In sculpture, marble has its contrarieties in grain, color, texture, and sheen, etc. In creating a work of art these contrasting qualities must join aesthetically."
I find that Gotshalk gives a good argument for this new aesthetic connection but, his arguments made lack some major points that would truly define this new-found idea.
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