Arnold Hauser cytaty
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Arnold Hauser – węgierski historyk sztuki i socjolog, także pisarz.

✵ 8. Maj 1892 – 28. Styczeń 1978

Arnold Hauser: 38 Cytatów 0 Polubień

Arnold Hauser słynne cytaty

„Poezja dworsko-rycerska nie odkryła miłości, ale obdarzyła ją nowym sensem.”

Arnold Hauser

Społeczna historia sztuki i literatury

„Idea geniuszu, jako wrodzonej i nieprzekazywalnej siły twórczej, nauka o własnym i doniosłym prawie, któremu może i winien być posłuszny geniusz, usprawiedliwienie odrębności i samowoli genialnego artysty – cała ta doktryna powstaje dopiero w społeczeństwie renesansowym (…).”

Arnold Hauser

Społeczna historia sztuki i literatury

„Każde dzieło kultury jest wytworem określonego społeczeństwa, wehikułem jego samorealizacji i środkiem porozumienia jego członków; jako takie są więc dzieła sztuki ze sobą zawsze porównywalne i czytelne.”

Arnold Hauser

Źródło: Konrad Onasch, Annemarie Schneiper, Ikony. Fakty i legendy, Arkady, Warszawa 2007, s. 31.

„W miarę jak środki i podstawy powodzenia gospodarczego wymykają się spod indywidualnego wpływu, coraz silniejsze staje się w ludziach uczucie niepewności i wrażenie, że są całkowicie zależni od samowoli potwora (…) wszelką własność, pozycję i wpływ trzeba z dnia na dzień na nowo nabywać, zdobywać i wymuszać; wszystko sprawia wrażenie prowizorycznego, nic nie wydaje się być godne zaufania ani stałe, stąd powszechny sceptycyzm, stąd uczucie dławiącego strachu przed życiem.”

Arnold Hauser

Społeczna historia sztuki i literatury
Źródło: Tomasz Weiss, Młoda Polska, wyd. II, WSiP, Warszawa 1989, s. 17.

Arnold Hauser: Cytaty po angielsku

“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.”

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Arnold Hauser

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

“The contrast between Tolstoy’s discretion and Dostoevsky’s exhibitionism, between the restraint of the one and the ‘dancing about naked in public’ of the other—as someone says in The Possessed—is attributable to the same social gap as separated Voltaire from Rousseau.”

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Arnold Hauser

' Chapter 1. Naturalism and Impressionism
The Social History of Art, Volume IV. Naturalism, impressionism, the film age, 1999

“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.”

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Arnold Hauser

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

“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.”

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Arnold Hauser

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