Art in Theory Overview: John Locke and Berkeley

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Art in Theory Overview
Art in Theory 1648-1815 is a detailed text that covers essential subjects in the study of art, including early discussions on ancient art and modern art considerations (p 105). Some of the intriguing matters enshrined in the book include aspects connected to the contrast in form and imagination. Such aspects were advanced by many philosophers, motivated by the processes of thoughts and ideas of other people. When one considers how humans think, the creation of reality is frequently impacted by the thoughts that flow through their heads; this is how artists work. On the other hand, imagination can be impacted by other items and hence may not be a fully internal process, as art can be generated through such imagination. The concept of creativity as a source of creation in all facets of life was fascinating.
John Locke proposed that life events that have had a significant impact on individuals contribute to the establishment of likes and dislikes for similar things (p 203). The same reveals how people produce artwork based on their experiences when interpreted in art. Artists like Louise Bourgeoise are good examples of this type of art since they reveal how their own experiences influence their work. The same progress can be seen in everyday life when people are drawn to or more compassionate to those who have had comparable experiences. Similarly, art is a mirror of how such experiences are expressed, from thoughts to products.
The significance of distinguishing between beauty and goodness demonstrates the difference between vice and virtue. While Shaftesbury's modern theory does not distinguish between the two, there is a way in which people experience objects that is not uniform and cannot be attributed to the basic cause. On the one hand, an individual may seek beauty in an object, but this does not always imply a desire to acquire it. Addison's portrayal of imagination was divided into two parts: one concerned with the sight of objects and the other with the sight of objects or things that linger in our minds (p 56). The category limits the notion of imagination from the formulation of ideas to the replication of the same in art, despite the fact that this is visible in how artists display artwork and how individuals exhibit their representations in any kind of artistry. In addition to sight and memories, experiences and emotions have a role in the development of art, as Hutcheson explains.
Berkeley's advancement, in which he argues that people's thoughts only exist in the sense that they can perceive them in their minds, ignores an important part of art's inherent existence. Ideas are perceived in mind; nonetheless, failure to acknowledge what is visible does not imply that it does not exist. In the development of the same, the artistry that expresses enthusiasm is also significant. Passion, zeal, and deep thought are required to achieve sublime art.
Art in Theory (1648-1815) Critical Review
From the creation of the French Academy to the end of the Napoleonic Wars, Art in Theory (1648-1815) contains a diverse and extensive set of documents on art theory. Its principal goal is to give students and teachers documentary material for informed and up-to-...