Aesthetics and the Artist

Leorrci~~/o, Vol. 7, pp. 349-356. Pergamon Press 1974. Printed in Great Britain AESTHETICS AND THE ARTIST* Thomas Munro (1897-1974)** Should an artist or prospective artist study aesthetics? What, if anything, can he get from it which will help him in his work? I am often asked this question, especially in advising university students. My usual answer is that it depends on the kind of artist, and the kind of aesthetics. Some artists are disposed by nature and education to like theoretical discussions of art, and to profit from them; others are not. Some kinds of aesthetic theory are relevant to an artist’s problems and can help him think them out. Others will probably seem to him tiresome and useless. If these are forced upon him as a student, they may do him more harm than good. For most art students, there is no great risk in taking a simple, elementary course in aesthetics or the principles of criticism, of the kind which is given in many colleges today; one which conveys a few basic facts about the arts and their place in civilization, together with some of the principal issues and theories of aesthetic value. If properly taught, such a course can stimulate interest in the arts and enrich the student’s general background. It issuited to thecollegeor even the advanced secondary level. In France, an introductory course in philosophy, including a brief section on aesthetics, is now given to many students in the lycke or secondary school; it is commonly considered as a valuable part of a liberal education. Countless European artists have had such an introduction to philosophy. But we know so little at present about the best education for a creative artist that I would hesitate to require any course on aesthetics of all prospective artists, or to urge that any such student go very far in it unless he feels a strong inclination toward theoretical studies. For some, it may be well to avoid all philosophy, psychology, and other intellectual analysis; especially that which leads the artist to analyze himself and his art, and to plan his work in a highly conscious way. This question will be considered more carefully in the following pages. I. SOME OBSTACLES TO UNDERSTANDING AND COOPERATION Aesthetics and the practice of the arts have been far apart in the past. They are still far apart in their aims and methods, but are moving a little closer together in some ways. I believe that this rapprochement will continue . The present article will examine some resemblances and differences between the work of the artist * This article first appeared in The Jolrrrial of Aesthetics arid Art Criticisrii9, 397(1953). Published with permission. ** Thomas Munro, aesthetician and art educator, died at Sarasota, Florida, U.S.A.,on 14 April 1974. He was a Leonardo Honorary Editorial Advisor from the inception of thejournal in 1968. He will be greatly missed, especially by artists and art teachers, for he was particularly concerned with the development of aesthetics for use in their work. and that of the aesthetician: some ways in which their aims and methods diverge and some in which they overlap. By the word ‘artist’ I shall mean a performer, practitioner, or creative producer in any of the arts, including not only painting, sculpture, and architecture, but also literature, music, dance, and theater. The present development of aesthetics in this country is attracting the attention of more and more artists in various fields. Not a few are writing articles and letters about theoretical problems in the arts. Some ask, what has all this to do with me and my work? Often the answers are negative. An artist happens to read a book or article on aesthetics, or attend a meeting on the subject, and finds it tediously abstract and bookish. He may resent some of the things that are said about artists by college professors. Aestheticians and artists are, on the whole, farther apart in the United States than in Europe, where aesthetics is an older subject and more widely taught. Artists, critics, and philosophers there have had more opportunity to learn about each other, although they work along different lines and...