“The production of a work of art is determined by the material and intellectual climate in which a man lives and dies.”

Philosophy of Art (1865)

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Hippolyte Taine 3
French critic and historian 1828–1893

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“In the social production of their life, men enter into definite relations that are indispensable and independent of their will; these relations of production correspond to a definite stage of development of their material forces of production. The sum total of these relations of production constitutes the economic structure of society — the real foundation, on which rises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life determines the social, political and intellectual life process in general. It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness.”

Preface to ' (1859).
Source: A Contribution to the Critique of Political Economy
Context: In the social production of their life, men enter into definite relations that are indispensable and independent of their will; these relations of production correspond to a definite stage of development of their material forces of production. The sum total of these relations of production constitutes the economic structure of society — the real foundation, on which rises a legal and political superstructure and to which correspond definite forms of social consciousness. The mode of production of material life determines the social, political and intellectual life process in general. It is not the consciousness of men that determines their being, but, on the contrary, their social being that determines their consciousness. [Es ist nicht das Bewußtsein der Menschen, das ihr Sein, sondern umgekehrt ihr gesellschaftliches Sein, das ihr Bewusstsein bestimmt. ] At a certain stage of their development, the material productive forces in society come in conflict with the existing relations of production, or — what is but a legal expression for the same thing — with the property relations within which they have been at work before. From forms of development of the productive forces these relations turn into fetters. Then begins an epoch of social revolution. With the change of the economic foundation the entire immense superstructure is more or less rapidly transformed. In considering such transformations a distinction should always be made between the material transformation of the economic conditions of production, which can be determined with the precision of natural science, and the legal, political, religious, aesthetic or philosophic — in short, ideological forms in which men become conscious of this conflict and fight it out. Just as our opinion of an individual is not based on what he thinks of himself, so we can not judge of such a period of transformation by its own consciousness; on the contrary, this consciousness must be explained rather from the contradictions of material life, from the existing conflict between the social productive forces and the relations of production. No social order ever disappears before all the productive forces for which there is room in it have been developed; and new, higher relations of production never appear before the material conditions of their existence have matured in the womb of the old society itself. Therefore, mankind always sets itself only such tasks as it can solve; since, looking at the matter more closely, we will always find that the task itself arises only when the material conditions necessary for its solution already exist or are at least in the process of formation. In broad outlines we can designate the Asiatic, the ancient, the feudal, and the modern bourgeois modes of production as so many progressive epochs in the economic formation of society. The bourgeois relations of production are the last antagonistic form of the social process of production — antagonistic not in the sense of individual antagonism, but of one arising from the social conditions of life of the individuals; at the same time the productive forces developing in the womb of bourgeois society create the material conditions for the solution of that antagonism. This social formation constitutes, therefore, the closing chapter of the prehistoric stage of human society.

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“No man who continues to add something to the material, intellectual, and moral well-being of the place in which he lives is long left without proper reward.”

Booker T. Washington (1856–1915) African-American educator, author, orator, and advisor

Source: 1900s, Up From Slavery (1901), Chapter XVI: Europe

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“Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part IV, Chapter VII
Les voix du silence [Voices of Silence] (1951)
Context: Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.

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“True intellectual culture and the demand for higher interests in life does not become possible until man has achieved a certain material standard of living, which makes him capable of these. Without this preliminary any higher intellectual aspirations are quite out of the question.”

Source: Anarcho-Syndicalism (1938), Ch. 5 "The Methods of Anarcho-Syndicalism"
Context: True intellectual culture and the demand for higher interests in life does not become possible until man has achieved a certain material standard of living, which makes him capable of these. Without this preliminary any higher intellectual aspirations are quite out of the question. Men who are constantly threatened by direst misery can hardly have much understanding of the higher cultural values. Only after the workers, by decades of struggle, had conquered for themselves a better standard of living could there be any talk of intellectual and cultural development among them. But it is just these aspirations of the workers which the employers view with deepest distrust. For capitalists as a class, the well-known saying of the Spanish minister, Juan Bravo Murillo, still holds good today:"We need no men who can think among the workers; what we need is beasts of toil."

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“Talent works for money and fame; the motive which moves genius to productivity is, on the other hand, less easy to determine.”

Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Talent works for money and fame; the motive which moves genius to productivity is, on the other hand, less easy to determine. It isn’t money, for genius seldom gets any. It isn’t fame: fame is too uncertain and, more closely considered, of too little worth. Nor is it strictly for its own pleasure, for the great exertion involved almost outweighs the pleasure. It is rather an instinct of a unique sort by virtue of which the individual possessed of genius is impelled to express what he has seen and felt in enduring works without being conscious of any further motivation. It takes place, by and large, with the same sort of necessity as a tree brings forth fruit, and demands of the world no more than a soil on which the individual can flourish.

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“The product of movement and counter-movement is tension. When tension — working strength — is expressed, it endows the work of art with the living effect of coordinated, though opposing, forces.”

Hans Hofmann (1880–1966) American artist

"Excerpts from the Teaching of Hans Hofmann", p. 66
Search for the Real and Other Essays (1948)

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“The most sensational of all the sick literary lives was that of Maupassant, who died mad at forty-three and whose hatred of God, man and nature - manifested in literary productions which give us immense pleasure: how is that to be explained?”

Anthony Burgess (1917–1993) English writer

spring from a kind of mother fixation as well as a terror of the cold. He was a bull of a man much given to boats and riparian dalliance, but he had bad circulation. He had other things too, including a Chinese-style priapism which enabled him to copulate, usually in public, six times in a row, the secret being his failure to detumesce. This, of course, like acne and the common cold, can be a symptom of tertiary syphilis, which Maupassant certainly had.
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

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