Arnold Hauser: Quotes about art

“Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences.”

Arnold Hauser

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

Art , Reality , Decision , Science

“The new Christian ideal of life did not at first alter the outward forms of art, but did alter its social function.”

Arnold Hauser

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

Life , Art

“Early Christian art during the first two or three centuries of its existence was merely a development or even a variant of late Roman art. So great is the similarity between late pagan and early Christian work that the decisive change of style must have occurred between the classical and post-classical, not between the pagan and Christian eras.”

Arnold Hauser

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

Art , Decision , Change

“It would never have been possible for Byzantine court art to become the Christian art par excellence, if the Church itself had not become an absolute authority and had not felt itself to be mistress of the world. In other words, the Byzantine style was only able to gain a footing everywhere where there was a Christian art, because the Catholic Church in the West desired to become the power the Emperor was already in Byzantium.”

Arnold Hauser

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

World , Art

“Folk-art signifies the poetical, musical and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialised.”

Arnold Hauser

Arnold Hauser, cited in: Bihar Tribal Research Institute (1961). Bulletin of the Bihar Tribal Research Institute. Vol. 3-4, p. 144

Art , Music

“The art of representing the human figure in the ancient world begins and ends with ‘frontality’.”

Arnold Hauser

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

World , Art

“But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique.”

Arnold Hauser

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

Faith , Art , Nature , Sense

“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 historical importance of the Carracci is extraordinary; the history of the whole of modern ‘church art’ begins with them.”

Arnold Hauser

Source: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 9. The Baroque of the Catholic Courts

Art , History

“The partial absorption of art by domestic industry and by domestic female crafts, that is to say, the fusion of artistic activity with other activities, is a retrogression from the standpoint of the division of labour and professional differentiation.”

Arnold Hauser

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

Art

“There can be no question that such a gap existed in early Christian art. What has been praised in it as deliberate simplification, masterly concentration or conscious idealizing and intensifying of the actual is in reality often just incapacity and poverty, just a helpless inability to render natural forms correctly, and a primitive bungling of the drawing.This clumsiness and ungainliness of early Christian art is not mastered until after the Edict of Toleration, when it became the official art of state and court, of aristocratic and educated circles.”

Arnold Hauser

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

Education , Art , Question , Nature

“The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death.”

Arnold Hauser

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

Death , Men , God , War

“Mannerism came so late into the foreground of research on the history of art, that the depreciatory verdict implied in its very name is often still taken to be adequate, and the unprejudiced conception of this style as a purely historical category has be.”

Arnold Hauser

Source: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 5. The Concept of Mannerism

Art , History

“The ‘spirituality’ of this art, in which scholars have tried to find all the essentials of the later medieval conceptions of art, is in reality only the same indefinite sort of spirituality which inspired the last centuries of paganism.”

Arnold Hauser

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

Art , Reality

“… "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

“As an artistic style, mannerism conformed to a divided outlook on life which was, nevertheless, spread uniformly all over Western Europe; the baroque is the expression of an intrinsically more homogeneous worldview, but one which assumes a variety of shapes in the different European countries. Mannerism, like Gothic, was a universal European phenomenon, even if it was restricted to much narrower circles than the Christian art of the Middle Ages; the baroque, on the other hand, embraces so many ramifications of artistic endeavour, appears in so many different forms in the individual countries and spheres of cultures, that it seems doubtful at first sight whether it is possible to reduce them all to a common denominator.”

Arnold Hauser

'Chapter 8. The Concept of Baroque
The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999

Life , Age , Art , Universe

“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

“The extraordinary significance that music holds for Delacroix, and which contributes most to his admiration for Chopin, is a symptom of the new hierarchy of the arts and the prominent position which music occupies in it. It is the romantic art par excellence and Chopin the most romantic of all the romantics. In his relation to Chopin, Delacroix’s intimate connection with romanticism is brought most clearly to light.”

Arnold Hauser

Source: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 6. German and Western Romanticism

Art , Music , Light

“If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the presuppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion.”

Arnold Hauser

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

Lie , Art , Way , Democracy