Arnold Hauser: Class

Arnold Hauser was Hungarian art historian. Explore interesting quotes on class.
Arnold Hauser: 68   quotes 0   likes

“In spite of the growing differences of income, the ever-increasing concentration of capital and the steady increase of the proletariat, in a word, in spite of the growing opposition between classes, there is everywhere a certain social levelling that, at last, puts a definite end to the privileges of birth. This is the last stage of the trend towards the abolition of social distinctions which had been going on since the days of hereditary monarchy and authoritarian priesthood. The decisive step was due to the Sophists, who invented the completely new rationalistic conception of areté, independent of birth and breeding, to which every Greek without exception could attain. The next step in this levelling is taken by the Stoics, who first enunciated standards of human value that are free from all tinge of race and nationality. The Stoics’ freedom from national prejudice merely expressed a state of affairs already achieved in the kingdoms of Alexander’s successors, just as the liberalism of the Sophists is merely a reflection of the social conditions due to the rise of the commercial and industrial bourgeoisie of the cities.”

Arnold Hauser

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome

Birth , Decision , Freedom

“The eighteenth century is full of contradictions. It is not only that its philosophical attitude wavers between rationalism and anti-rationalism, but its artistic aims are also dominated by two 122 opposite tendencies and at some times approach a strictly classicistic, at others a more unrestrained pictorial conception. And like the rationalism of the period, its classicism is also difficult to define and open to various sociological interpretations, since it is sustained alternately by courtly-aristocratic and middle-class strata of society and ends by developing into the representative artistic style of the revolutionary bourgeoisie.”

Arnold Hauser

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 5. Revolution and Art

Time

“We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest.”

Arnold Hauser

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter I. Prehistoric Times

Family , Art , Feeling , Strong

“The mania for self-observation and self-admiration in literature and the view that a work is the more true and the more convincing, the more directly the author reveals himself in it, are part of the intellectual inheritance of Rousseau. In the next hundred to hundred and fifty years everything of importance in European literature is stamped with this subjectivism. Not only Werther, René, Obermann, Adolphe, Jacopo Ortis, are among the successors of Saint-Preux, but also the heroes in later novels— from Balzac’s Lucien de Rubempré, Stendhal’s Julien Sorel, Flaubert’s Frédéric Moreau and Emma Bovary to Tolstoy’s Pierre, Proust’s Marcel and Thomas Mann’s Hans Castorp—are derived from it. They all suffer from the discrepancy between dream and reality and are the victim of the conflict between their illusions and practical, commonplace, middle-class life.”

Arnold Hauser

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public

Life , Dreams , Literature , Reality

“The structure of the nobility is changed along with that of the state, but it preserves its continuity with the past intact. Knighthood, on the other hand, as the exclusive warrior-class and upholder of secular culture, decays completely. The process is protracted and the ideals of chivalry do not lose their alluring splendour from one day to the next—least of all in the eyes of the middle classes. But behind the scenes everything is set for the fall of Don Quixote.—The decline of the knighthood has been connected with the new methods of warfare introduced in the late Middle Ages, and it has been pointed out that the heavily accoutred cavalry suffered a severe reverse whenever they met the infantry of the new mercenary armies or the foot of the peasant brigades.”

Arnold Hauser

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

Age , Suffering , Change , Past

“The late Middle Ages not merely has a successful middle class—it is in fact a middle-class period.”

Arnold Hauser

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

Age , Success

“… "folk art" signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialized. It is of the essence of this art that those who keep it in being are not only passively receptive, but normally are creative participants in the artistic activities, and yet do not stand out as individuals or claim any personal authorship of the productions. "Popular art" on the other hand is to be understood as artistic or quasi-artistic production for the demand of a half-educated public, generally urban and inclined to mass-behavior. In folk art, producers and consumers are hardly distinguished, and the boundary between them is always fluid; in the case of popular art, we find on the contrary an artistically uncreative, completely passive public, and professional production of artistic goods strictly in response to the demand for them. It is indeed a striking fact that folk art, especially folk-poetry, emerges from the ranks of those who enjoy it, whereas popular songs—the street-ballads and popular "hits"—derive from professionals belonging to and spiritually dependent upon the upper classes.”

Arnold Hauser

Arnold Hauser (1985). The philosophy of art history. p. 279

Education , Art , Music , Behavior

“The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional… All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial.”

Arnold Hauser

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter II. Ancient Oriental Urban cultures

Life , God , Age , World