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The Project Gutenberg eBook, Art, by Clive Bell This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Art Author: Clive Bell Release Date: October 21, 2005 [eBook #16917] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK ART*** E-text prepared by Suzanne Shell, Janet Blenkinship, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 16917-h.htm or 16917-h.zip: (http://www.gutenberg.net/dirs/1/6/9/1/16917/16917-h/16917-h.htm) or (http://www.gutenberg.net/dirs/1/6/9/1/16917/16917-h.zip) ART by CLIVE BELL 1913 [Illustration: WEI FIGURE, FIFTH CENTURY _In M. Vignier's Collection_] New York Frederick A. Stokes Company Publishers Printed in Great Britain All rights reserved PREFACE In this little book I have tried to develop a complete theory of visual art. I have put forward an hypothesis by reference to which the respectability, though not the validity, of all aesthetic judgments can be tested, in the light of which the history of art from palaeolithic days to the present becomes intelligible, by adopting which we give intellectual backing to an almost universal and immemorial conviction. Everyone in his heart believes that there is a real distinction between works of art and all other objects; this belief my hypothesis justifies. We all feel that art is immensely important; my hypothesis affords reason for thinking it so. In fact, the great merit of this hypothesis of mine is that it seems to explain what we know to be true. Anyone who is curious to discover why we call a Persian carpet or a fresco by Piero della Francesca a work of art, and a portrait-bust of Hadrian or a popular problem-picture rubbish, will here find satisfaction. He will find, too, that to the familiar counters of criticism--_e.g._ "good drawing," "magnificent design," "mechanical," "unfelt," "ill-organised," "sensitive,"--is given, what such terms sometimes lack, a definite meaning. In a word, my hypothesis works; that is un
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