Full Description
A discussion of sensibility, sensation, perception and painting, Scotland and the Origins of Modern Art is an original work which argues that the eighteenth-century Scottish philosophy of moral sense played a central role in shaping ideas explored by figures such as Cézanne and Monet over one hundred years later.
Proposing that sensibility not reason was the basis of morality, the philosophy of moral sense gave birth to the idea of the supremacy of the imagination. Allied to the belief that the imagination flourished more freely in the primitive history of humanity, this idea became a potent inspiration for artists. The author also highlights Thomas Reid's method in his philosophy of common sense of using art and artists to illustrate how perception and expression are intuitive. To be truly expressive, artists should unlearn what they have learned and record their raw sensations, rather than the perceptions that derive from them.
Exploring the work of key philosophical and artistic protagonists, this thought-provoking book unearths the fascinating exchanges between art, philosophy and literature during Enlightenment in Scotland that provided the blueprint for modernism.
Contents
Introduction; Part 1: Moral Sense and the New Primitive, 1. David Hume and Allan Ramsay; 2. The True Homer; 3. Heroines of Moral Sense; 4. A New Art; 5. J.L.David; Part 2: Common Sense, 6. Reid's theory of Perception and Expression; 7. Art and Expression; 8. Perception and Association; Part 3: Paris, 9. New Ideas from Scotland; 10. Walter Scott, Wilkie and the French Painters; 11. From Courbet to Cézanne; Part 4: Scotland, 12. The legacy of the Enlightenment; Epilogue; Index.
