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Module 2

Collingwood argues that art is created in the imagination of the artist through a voluntary creative process, not as a conduit for messages or subconscious inspiration. Art exists first in the artist's mind before being given physical form. The work of art itself is an imaginary concept, while any physical object is just a representation used to communicate the artist's thoughts. True art appreciation involves using both sensory experience of a work and imaginative recollection to understand the artist's intent, not just enjoyment of physical attributes.

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26 views

Module 2

Collingwood argues that art is created in the imagination of the artist through a voluntary creative process, not as a conduit for messages or subconscious inspiration. Art exists first in the artist's mind before being given physical form. The work of art itself is an imaginary concept, while any physical object is just a representation used to communicate the artist's thoughts. True art appreciation involves using both sensory experience of a work and imaginative recollection to understand the artist's intent, not just enjoyment of physical attributes.

Uploaded by

Romesor Apol
Copyright
© © All Rights Reserved
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Module 3

COLLINGWOOD - SUMMARY - THE PRINCIPLES OF ART


Interpretation of R.G. Collingwood The Principles of Art

There are many theories that attempt to answer “What is a work of art?” One prominent theory
suggests that artists act as conduits for divine messages. Another suggests the processes of the sub-conscious
inspire the artist. In either case, the acts forming art are neither voluntary nor conscious. The question
becomes not what theory is more correct, but is theory the right approach to answering the question. We are
already familiar with non-theoretical processes that are similar to the activities of art, and we call them
creation.

To create is to voluntarily make something, and it is done as a conscious act. However, the creative act is
absent technical skill, and it does not have to have a final end or purpose. Creating, for our purposes, means
“an artist as making a poem, or a play, or a painting, or a piece of music.” These acts occur through the creative
process, but not necessarily knowing in advance what the final piece will be.

Creativity already exists within the artist. In order for someone to be a nuisance, there must people capable of
being annoyed, and people capable of annoying them. With creativity, the artist must already possess
unexpressed emotions, have will to express them, and be in an environment that allows them to create.

Art is imaginary, only existing in the artist’s mind. For clarity, imaginary means that the thing only exists as
notions within the artist. A thing is considered real when it exists in the real world. The understanding of
imaginary and real have the same meaning as their ordinary usage. One can say the imaginary contains the
form of a thing. It becomes real when matter is imposed on the form. When making art there are two stages,
“(1) Making the plan, which is creating. (2) Imposing that plan on certain matter, which is fabricating.” It is
important to note that creation occurs in the imagination. At this point, the art exists, but it is up to the artist
to find physical expression if they choose to share it with others.

Imagination is central to art, but it is commonly confused with make believe. Make believe uses the
imagination to create fictional realities reflective of our desires. Imagination does not. Imagination is primarily
how we make sense of our world. It fills in the gaps of what we do not see, and it makes assumptions about
the content from past experiences. Imagination is not concerned with desire or aversion, and it is indifferent
to what is real and what is unreal. Imagination enables closure and our ability to form meaning.

We tend to think that works of art are real; physical things existing in the world. However, this is not
accurate as “The work of art proper is something not see or heard, but something imagined.” As described
earlier, art comes into existence in the artist’s mind through the act of creation. Works of art we perceive as
real are mere physical representations used to communicate the artist’s thoughts. This notion provides
distinction between art proper and false art. With false art, the object becomes the work, and it tends to
reflect pleasant stimulations or gratifies desires. With art proper, the object becomes a conduit of
communication that enables the viewer to understand what the artist is portraying.

In context with art proper, communication means a “reproduction of the speaker’s [artist’s] thought by
the hearer [viewer], in virtue of his own active thinking.” There are two processes that occur when one views
art. The first is the physical sensation of seeing or hearing the work, and the second is an imaginative
experience. Recalled “complicated muscular movements,” or store physical memory, are experienced by the
viewer. It is important to note the experiences are imaginary, or recalled, in nature. Enjoying only the physical
attributes of the art object is false art and associated with mere consumption. However, the imaginary
experiences that are recalled are connected to the intent of the artist’s communication, and this is
appreciation of the art proper. Seeing the work and recalling experiences are so infused with each other that it
can be considered a total activity. The total activity which the person enjoying it apprehends, or is conscious
of, by the use of his imagination” is reflective of a work that is art proper.

In summary, the artist, through their imagination, creates art proper. It is reflective of pre-existing
emotions and the will to share to them. The art object is not the art proper itself, but serves as a conduit to
the artist’s intent or message. Experiencing art proper is using the combination of using sensations along with
imaginative experiences in order to reproduce the artist’s message in ways that the viewer can relate.

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