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By Henry G. Hartman

Initially released in 1919. This quantity from the Cornell collage Library's print collections was once scanned on an APT BookScan and switched over to JPG 2000 layout by way of Kirtas applied sciences. All titles scanned disguise to hide and pages might comprise marks notations and different marginalia found in the unique quantity.

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The charge made against both psychologists and philosophers is that, with their usual viewpoints, they lose the actual arts by a conversion of them into some thing else. Perhaps the more accurate correlation of psychology and art, then, may be gleaned from the direct exponents of art, namely, the artist and the critic. Since a large part of this book will be devoted to the scientific theorists, we may safely neglect the latter for the present. There can be no doubt of our dependence upon and critics for a real and proper orientation in the varied fields of art.

Nor do the feelings and the ideas, associated with painting, exist wholly apart from the specific objects that en gage and define them. We must not forget the laws of psychology when dazzled by art. The feelings aroused by painting are definable only within the context of its constituent aims. And the ideas that are aroused, are suggested by the constructive manipu lation of the material either in its technical or in its representative character; for an artist paints with his brain as well as with his hands.

But art is art and psychology is psychology; the two things are not one. It is obvious that art has a psychological side; first, in the fact that the materials of the arts are largely of an order designated in psychology as sensations and perceptions; and, secondly, in the fact that art grows out of the needs of man and caters to many of his natural and cultivated interests. way theorists Let us then note the commonly construe the and psychology, and the correction relation of art of which they stand in need.

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