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FORM, ‘We must therefore give up d attempt to judge d work of art by its…

- - - - It is d form dat elates us
- - - - Achieved by d compositional balance of objects w/in d painting itself
- - - - clearer, freer, and purer than d actual
      - It was necessary to give up trying to attempt to judge a work of art by its realism
        
        But to see it instead as d expression of emotions in their own right
- - - - Fry certainly leads us in dat direction
      - He admitted
        
        D ‘logical extreme’ of dis argument would be to give up all attempts at resembling d recognizable would n instead to ‘create a purely abstract lang of form’ w/c he described as ‘visual music’
      - Clive Bell
        
        Argues
        
        all works of visual art, whether they were ancient or modern, Eastern or Western, shared a common n essential quality = ‘significant form’
        
        Combination of lines, colors, n forms w/c worked 2gether to stir r ‘aesthetic emotions’
        
        special n particular emotion provoked by art
        
        Descriptive Painting
        
        Painting dat conveyed info rather dan emotion
        
        If it did not convey emotion by way of form, he argued, then it was not a work of art
        
        did not argue dat representation was bad in itself
        
        But to appreciate a work of art properly, we had to cut ourselves off from d familiarities n realities of ordinary life n bring w/ us nothing more dan a sense of form, color n three-dimensional space
        
        Representation in Art
        
        always ‘irrelevant’
        
        Great art was independent of time and place
      - Fry
        
        Tot d attempt to isolate n explain d aesthetic reaction was d most important advance in modern times in practical aesthetic
        
        He was equally forced to conclude dat d total separation of form from content was not possible