Michael Lacewing enquiries@alevelphilosophy.co.uk Form in art Michael Lacewing enquiries@alevelphilosophy.co.uk © Michael Lacewing

Form and content Emphasis on representation leads to a focus on what is represented, not how. Many aesthetic judgments pick out form – e.g. grace, elegance, balance, harmony. Relation between non-aesthetic elements We do not respond to works of art in the same way as we would if we were seeing what is represented.

Leonardo da Vinci, The Virgin of the Rocks (1491-1508)

Caravaggio’s Salome receives the head of St John the Baptist (1607-10)

Kant on aesthetic pleasure Aesthetic pleasure is ‘disinterested’ Whether what is represented exists is irrelevant. We enjoy simply contemplating it. Approving of what is represented is irrelevant to our enjoyment Whether what is represented is something we want or could use is irrelevant. Aesthetic pleasure is not itself the satisfaction of any independent desire or practical interest. Aesthetic pleasure is a response to form.

How we can respond to form Perception involves two faculties: imagination (which organizes sensory input) and understanding (which provides concepts) Usually, perception is dominated by concepts. In aesthetic response, we free up our imagination. Disinterested, so not concerned with reality Our imagination has ‘free play’ in how it organizes what we see, our understanding has free play in creating new concepts. This free play is enabled by the form of what we experience.

Bell on significant form All art, in fact, every picture, movement, series of sounds, has some form. Aesthetic response is not to form per se, but ‘significant form’. We can only identify whether something has significant form by our aesthetic response to it. Art is about the exploration of form, the contemplation of form for its own sake.

Discussion Perfect forgeries have the same form, but aren’t valued the same. There are no perfect forgeries. Significant form isn’t defined. No further definition can be given. We don’t just respond to the form of an artwork.

Rembrandt, Self-portrait at the age of 63 (1669)

Discussion What is the role of form? It must have some role – representation is not everything. In some art, there is no representation, e.g. music Expressivism can argue that it is the emotions expressed that matter - form is just a means to this. Kant’s theory makes only the aesthetic pleasure of the individual important – but what about communication?