Tolstoy: What is Art?

WhatIsArt? byLeoTolstoy translationbyAlymerMaude(1899)

Explanations and Questions

CHAPTERFOUR(excerpts) Ifwesaythattheaimofanyactivityismerelyourpleasure,anddefineit solelybythatpleasure,ourdefinitionwillevidentlybeafalseone.But thisispreciselywhathasoccurredintheeffortstodefineart.Now,ifwe considerthefoodquestionitwillnotoccurtoanyonetoaffirmthatthe importanceoffoodconsistsinthepleasurewereceivewheneatingit. Everyoneunderstandsthatthesatisfactionofourtastecannotserveasa basisforourdefinitionofthemeritsoffood,andthatwehavetherefore norighttopresupposethatthedinnerswithcayennepepper,Limburg cheese,alcohol,etc.,towhichweareaccustomedandwhichpleaseus, formtheverybesthumanfood. Andinthesameway,beauty,orthatwhichpleasesus,caninnosense serveasthebasisforthedefinitionofart;norcanaseriesofobjectswhich afforduspleasureserveasthemodelofwhatartshouldbe. Toseetheaimandpurposeofartinthepleasurewegetfromitislike assuming(asisdonebypeopleofthelowestmoraldevelopment,e.g.,by savages)thatthepurposeandaimoffoodisthepleasurederivedwhen consumingit. Justaspeoplewhoconceivetheaimandpurposeoffoodtobepleasure cannotrecognizetherealmeaningofeating,sopeoplewhoconsiderthe aimofarttobepleasurecannotrealizeitstruemeaningandpurpose becausetheyattributetoanactivitythemeaningofwhichliesinits connectionwithotherphenomenaoflife,thefalseandexceptionalaimof pleasure.Peoplecometounderstandthatthemeaningofeatingliesinthe nourishmentofthebodyonlywhentheyceasetoconsiderthattheobject ofthatactivityispleasure.Anditisthesamewithregardtoart.People willcometounderstandthemeaningofartonlywhentheyceaseto considerthattheaimofthatactivityisbeauty,i.e.,pleasure.The acknowledgmentofbeauty(i.e.,ofacertainkindofpleasurereceived fromart)asbeingtheaimofartnotonlyfailstoassistusinfindinga definitionofwhatartis,but,onthecontrary,bytransferringthequestion intoaregionquiteforeigntoart(intometaphysical,psychological, physiological,andevenhistoricaldiscussionsastowhysucha productionpleasesoneperson,andsuchanotherdispleasesorpleases someoneelse),itrenderssuchdefinitionimpossible.Andsince discussionsastowhyonemanlikespearsandanotherprefersmeatdo nothelptowardfindingadefinitionofwhatisessentialinnourishment, sothesolutionofquestionsoftasteinart(towhichthediscussionsonart

Tolstoy looks to the AIM or PURPOSE of an activity as the key to defining it, so he endorses FUNCTIONALISM Food has a purpose, and its not pleasure

Likewise, pleasure is not arts purpose

What is the true purpose of eating?

Tolstoy: What is Art? Goodness in art must be linked to its essential purpose

involuntarilycome)notonlydoesnothelptomakeclearinwhatthis particularhumanactivitywhichwecallartreallyconsists,butrenders suchelucidationquiteimpossibleuntilweridourselvesofaconception whichjustifieseverykindofartatthecostofconfusingthewholematter. CHAPTERFIVE(excerpts) Inordercorrectlytodefineart,itisnecessary,firstofall,toceaseto consideritasameanstopleasureandtoconsideritasoneofthe conditionsofhumanlife.Viewingitinthiswaywecannotfailtoobserve thatartisoneofthemeansofintercoursebetweenmanandman. Everyworkofartcausesthereceivertoenterintoacertainkindof relationshipbothwithhimwhoproduced,orisproducing,theart,and withallthosewho,simultaneously,previously,orsubsequently,receive thesameartisticimpression. Speech,transmittingthethoughtsandexperiencesofmen,servesasa meansofunionamongthem,andartactsinasimilarmanner.The peculiarityofthislattermeansofintercourse,distinguishingitfrom intercoursebymeansofwords,consistsinthis,thatwhereasbywordsa mantransmitshisthoughtstoanother,bymeansofarthetransmitshis feelings. Theactivityofartisbasedonthefactthataman,receivingthroughhis senseofhearingorsightanothermansexpressionoffeeling,iscapableof experiencingtheemotionwhichmovedthemanwhoexpressedit.To takethesimplestexample;onemanlaughs,andanotherwhohears becomesmerry;oramanweeps,andanotherwhohearsfeelssorrow.A manisexcitedorirritated,andanothermanseeinghimcomestoasimilar stateofmind.Byhismovementsorbythesoundsofhisvoice,aman expressescourageanddeterminationorsadnessandcalmness,andthis stateofmindpassesontoothers.Amansuffers,expressinghissufferings bygroansandspasms,andthissufferingtransmitsitselftootherpeople; amanexpresseshisfeelingofadmiration,devotion,fear,respect,orlove tocertainobjects,persons,orphenomena,andothersareinfectedbythe samefeelingsofadmiration,devotion,fear,respect,orlovetothesame objects,persons,andphenomena. Anditisuponthiscapacityofmantoreceiveanothermansexpressionof feelingandexperiencethosefeelingshimself,thattheactivityofartis based. Ifamaninfectsanotherorothersdirectly,immediately,byhis appearanceorbythesoundshegivesventtoattheverytimehe experiencesthefeeling;ifhecausesanothermantoyawnwhenhe himselfcannothelpyawning,ortolaughorcrywhenhehimselfis obligedtolaughorcry,ortosufferwhenhehimselfissufferingthat

Tolstoy postulates arts general purpose

Art must be contrasted with speech, since they have the same general purpose

Speech communicates thought; art must communicate emotion

Why does Tolstoy describe the transmission of emotion as infection? How does it differ from expression?

Art is based on infection (so not all infection is art)

Examples of infection that are not art

Tolstoy: What is Art?

doesnotamounttoart. Artbeginswhenoneperson,withtheobjectofjoininganotherorothers tohimselfinoneandthesamefeeling,expressesthatfeelingbycertain externalindications.Totakethesimplestexample:aboy,having experienced,letussay,fearonencounteringawolf,relatesthat encounter;and,inordertoevokeinothersthefeelinghehasexperienced, describeshimself,hisconditionbeforetheencounter,thesurroundings, thewoods,hisownlightheartedness,andthenthewolfsappearance,its movements,thedistancebetweenhimselfandthewolf,etc.Allthis,if onlytheboy,whentellingthestory,againexperiencesthefeelingshehad livedthroughandinfectsthehearersandcompelsthemtofeelwhatthe narratorhadexperiencedisart.Ifeventheboyhadnotseenawolfbut hadfrequentlybeenafraidofone,andif,wishingtoevokeinothersthe fearhehadfelt,heinventedanencounterwithawolfandrecounteditso astomakehishearerssharethefeelingsheexperiencedwhenhefeared theworld,thatalsowouldbeart.Andjustinthesamewayitisartifa man,havingexperiencedeitherthefearofsufferingortheattractionof enjoyment(whetherinrealityorinimagination)expressesthesefeelings oncanvasorinmarblesothatothersareinfectedbythem.Anditisalso artifamanfeelsorimaginestohimselffeelingsofdelight,gladness, sorrow,despair,courage,ordespondencyandthetransitionfromoneto anotherofthesefeelings,andexpressesthesefeelingsbysoundssothat thehearersareinfectedbythemandexperiencethemastheywere experiencedbythecomposer. Thefeelingswithwhichtheartistinfectsothersmaybemostvarious verystrongorveryweak,veryimportantorveryinsignificant,verybad orverygood:feelingsofloveforonesowncountry,selfdevotionand submissiontofateortoGodexpressedinadrama,rapturesoflovers describedinanovel,feelingsofvoluptuousnessexpressedinapicture, courageexpressedinatriumphalmarch,merrimentevokedbyadance, humorevokedbyafunnystory,thefeelingofquietnesstransmittedby aneveninglandscapeorbyalullaby,orthefeelingofadmirationevoked byabeautifularabesqueitisallart. Ifonlythespectatorsorauditorsareinfectedbythefeelingswhichthe authorhasfelt,itisart. Toevokeinoneselfafeelingonehasonceexperienced,andhaving evokeditinoneself,then,bymeansofmovements,lines,colors,sounds, orformsexpressedinwords,sototransmitthatfeelingthatothersmay experiencethesamefeelingthisistheactivityofart. Artisahumanactivityconsistinginthis,thatonemanconsciously,by meansofcertainexternalsigns,handsontoothersfeelingshehaslived through,andthatotherpeopleareinfectedbythesefeelingsandalso experiencethem.

Art is a conscious infection that is brought about by external indicators what does this mean?

Words are examples of external indicators

Painting and sculpture

Music

The kind of emotion that is communicated does not matter. Any intentional infection by means of external material is art

Art is primarily an activity.

Tolstoy summarizes his definition of art

Tolstoy: What is Art?

Artisnot,asthemetaphysicianssay,themanifestationofsome mysteriousideaofbeautyorGod;itisnot,astheaestheticalphysiologists say,agameinwhichmanletsoffhisexcessofstoredupenergy;itisnot theexpressionofmansemotionsbyexternalsigns;itisnotthe productionofpleasingobjects;and,aboveall,itisnotpleasure;butitisa meansofunionamongmen,joiningthemtogetherinthesamefeelings, andindispensableforthelifeandprogresstowardwellbeingof individualsandofhumanity. As,thankstomanscapacitytoexpressthoughtsbywords,everyman mayknowallthathasbeendoneforhimintherealmsofthoughtbyall humanitybeforehisday,andcaninthepresent,thankstothiscapacityto understandthethoughtsofothers,becomeasharerintheiractivityand canhimselfhandontohiscontemporariesanddescendantsthethoughts hehasassimilatedfromothers,aswellasthosewhichhavearisenwithin himself;so,thankstomanscapacitytobeinfectedwiththefeelingsof othersbymeansofart,allthatisbeinglivedthroughbyhis contemporariesisaccessibletohim,aswellasthefeelingsexperiencedby menthousandsofyearsago,andhehasalsothepossibilityof transmittinghisownfeelingstoothers. Ifpeoplelackedthiscapacitytoreceivethethoughtsconceivedbythe menwhoprecededthemandtopassontootherstheirownthoughts, menwouldbelikewildbeasts,orlikeKasparHouser. Andifmenlackedthisothercapacityofbeinginfectedbyart,people mightbealmostmoresavagestill,and,aboveall,moreseparatedfrom, andmorehostileto,oneanother. Andthereforetheactivityofartisamostimportantone,asimportantas theactivityofspeechitselfandasgenerallydiffused. Weareaccustomedtounderstandarttobeonlywhatwehearandseein theaters,concerts,andexhibitions,togetherwithbuildings,statues, poems,novels....Butallthisisbutthesmallestpartoftheartbywhich wecommunicatewitheachotherinlife.Allhumanlifeisfilledwith worksofartofeverykindfromcradlesong,jest,mimicry,the ornamentationofhouses,dress,andutensils,uptochurchservices, buildings,monuments,andtriumphalprocessions.Itisallartistic activity.Sothatbyart,inthelimitedsenseoftheword,wedonotmean allhumanactivitytransmittingfeelings,butonlythatpartwhichwefor somereasonselectfromitandtowhichweattachspecialimportance. Thisspecialimportancehasalwaysbeengivenbyallmentothatpartof thisactivitywhichtransmitsfeelingsflowingfromtheirreligious perception,andthissmallpartofarttheyhavespecificallycalledart, attachingtoitthefullmeaningoftheword.

Because art is produced to share emotions, it has a kind of union among men as its overall purpose

Tolstoy returns to the parallel beyond speech and art.

Art can make use of speech, but when it does, the purpose is a union of feelings Houser was a child raised with limited human contact Tolstoy speculates what will happen to a society without art

Notice these examples However, our definitions do not aim to cover all art

Tolstoy adds one more criterion to his definition

Tolstoy: What is Art?

ThatwashowmenofoldSocrates,Plato,andAristotlelookedon art.ThusdidtheHebrewprophetsandtheancientChristiansregardart; thusitwas,andstillis,understoodbytheMohammedans,andthusit stillisunderstoodbyreligiousfolkamongourownpeasantry. SometeachersofmankindasPlatoinhisRepublicandpeoplesuchas theprimitiveChristians,thestrictMohammedans,andtheBuddhists havegonesofarastorepudiateallart. Peopleviewingartinthisway(incontradictiontotheprevalentviewof todaywhichregardsanyartasgoodifonlyitaffordspleasure) considered,andconsider,thatart(ascontrastedwithspeech,whichneed notbelistenedto)issohighlydangerousinitspowertoinfectpeople againsttheirwillsthatmankindwilllosefarlessbybanishingallartthan bytoleratingeachandeveryart. Evidentlysuchpeoplewerewronginrepudiatingallart,fortheydenied thatwhichcannotbedeniedoneoftheindispensablemeansof communication,withoutwhichmankindcouldnotexist.Butnotless wrongarethepeopleofcivilizedEuropeansocietyofourclassanddayin favoringanyartifitbutservesbeauty,i.e.,givespeoplepleasure. Formerlypeoplefearedlestamongtheworksofarttheremightchanceto besomecausingcorruption,andtheyprohibitedartaltogether.Nowthey onlyfearlesttheyshouldbedeprivedofanyenjoymentartcanafford, andpatronizeanyart.AndIthinkthelasterrorismuchgrosserthanthe firstandthatitsconsequencesarefarmoreharmful. CHAPTEREIGHT(excerpts) Totheremarkthatifourartisthetruearteveryoneshouldhavethe benefitofit,theusualreplyisthatifnoteverybodyatpresentmakesuse ofexistingartthefaultliesnotintheartbutinthefalseorganizationof society;thatonecanimaginetooneself,inthefuture,astateofthingsin whichphysicallaborwillbepartlysupersededbymachinery,partly lightenedbyitsjustdistribution,andthatlaborfortheproductionofart willbetakeninturns;thatthereisnoneedforsomepeoplealwaystosit belowthestagemovingthedecorations,windingupthemachinery, workingatthepianoorFrenchhorn,andsettingtypeandprintingbooks, butthatthepeoplewhodoallthisworkmightbeengagedonlyafew hoursperday,andintheirleisuretimemightenjoyalltheblessingsof art. Butevenwerewetoadmittheinadmissibleandsaythatmeansmaybe foundbywhichart(thatartwhichamongusisconsideredtobeart)may beaccessibletothewholepeople,anotherconsiderationpresentsitself showingthatfashionableartcannotbethewholeofart,viz.,thefactthat

Mohammedans are Muslims What does he mean by repudiate?

Can arts audience control how it makes them feel? If not, is art dangerous?

Despite its dangers, Tolstoy rejects the total removal of art from society

What does Tolstoy identify as the greater danger?

Tolstoy considers an objection

Do people who have more leisure time spend more time with art?

fashionable art is fine art

Tolstoy: What is Art?

itiscompletelyunintelligibletothepeople.Formerlymenwrotepoems inLatin,butnowtheirartisticproductionsareasunintelligibletothe commonfolkasiftheywerewritteninSanscrit.Theusualreplytothisis thatifthepeopledonotnowunderstandthisartofoursitonlyproves thattheyareundeveloped,andthatthishasbeensoateachfreshstep forwardmadebyart.Firstitwasnotunderstood,butafterwardpeople gotaccustomedtoit. Itwillbethesamewithourpresentart;itwillbeunderstoodwhen everybodyisaswelleducatedaswearethepeopleoftheupper classeswhoproducethisart,saythedefendersofourart.Butthis assertionisevidentlyevenmoreunjustthantheformer,forweknowthat themajorityoftheproductionsoftheartoftheupperclasses,suchas variousodes,poems,dramas,cantatas,pastorals,pictures,etc.,which delightedthepeopleoftheupperclasseswhentheywereproduced, neverwereafterwardeitherunderstoodorvaluedbythegreatmassesof mankind,buthaveremainedwhattheywereatfirstamerepastime forrichpeopleoftheirtime,forwhomalonetheyeverwereofany importance.Itisalsooftenurged,inproofoftheassertionthatthepeople willsomedayunderstandourart,thatsomeproductionsofsocalled classicalpoetry,music,orpainting,whichformerlydidnotpleasethe masses,donowthattheyhavebeenofferedtothemfromallsides begintopleasethesesamemasses;butthisonlyshowsthatthecrowd, especiallythehalfspoiledtowncrowd,caneasily(itstastehavingbeen perverted)beaccustomedtoanysortofart.Moreover,thisartisnot producedbythesemasses,norevenchosenbythem,butisenergetically thrustupontheminthosepublicplacesinwhichartisaccessibletothe people.Forthegreatmajorityofworkingpeople,ourart,besidesbeing inaccessibleonaccountofitscostliness,isstrangeinitsverynature, transmittingasitdoesthefeelingsofpeoplefarremovedfromthose conditionsoflaboriouslifewhicharenaturaltothegreatbodyof humanity.Thatwhichisenjoymenttoamanoftherichclassesis incomprehensibleasapleasuretoaworkingman,andevokesinhim eithernofeelingatalloronlyafeelingquitecontrarytothatwhichit evokesinanidleandsatiatedman.Suchfeelingsasformthechief subjectsofpresentdayartsay,forinstance,honor,patriotism,and amorousnessevokeinaworkingmanonlybewildermentandcontempt, orindignation.Sothatevenifapossibilityweregiventothelaboring classesintheirfreetimetosee,toread,andtohearallthatformsthe flowerofcontemporaryart(asisdonetosomeextentintownsbymeans ofpicturegalleries,popularconcerts,andlibraries),theworkingman(to theextenttowhichheisalaborerandhasnotbeguntopassintothe ranksofthosepervertedbyidleness)wouldbeabletomakenothingof ourfineart,andifhedidunderstandit,thatwhichheunderstoodwould notelevatehissoulbutwouldcertainly,inmostcases,pervertit.To thoughtfulandsincerepeopletherecan,therefore,benodoubtthatthe artofourupperclassesnevercanbetheartofthewholepeople.Butifart isanimportantmatter,aspiritualblessing,essentialforallmen(like

Who is the audience for fine art?

What is meant by taste here? Is taste subject to manipulation?

Why DONT truck drivers and construction workers spend more time at the art museum and symphony?

Tolstoy presents a dilemma

Tolstoy: What is Art?

religion,asthedevoteesofartarefondofsaying),thenitshouldbe accessibletoeveryone.Andif,asinourday,itisnotaccessibletoallmen, thenoneoftwothings:eitherartisnotthevitalmatteritisrepresentedto beorthatartwhichwecallartisnottherealthing. Thedilemmaisinevitableandthereforecleverandimmoralpeopleavoid itbydenyingonesideofit,viz.,denyingthatthecommonpeoplehavea righttoart.Thesepeoplesimplyandboldlyspeakout(whatliesatthe heartofthematter),andsaythattheparticipatorsinandutilizersof what,intheiresteem,ishighlybeautifulart,i.e.,artfurnishingthe greatestenjoyment,canonlybeschneGeister[beautifulsouls]the elect,astheromanticistscalledthem,thebermenschen[superior men]astheyarecalledbythefollowersofNietzsche;theremaining vulgarherd,incapableofexperiencingthesepleasures,mustservethe exaltedpleasuresofthissuperiorbreedofpeople.Thepeoplewho expresstheseviewsatleastdonotpretendanddonottrytocombinethe incombinable,butfranklyadmitwhatisthecasethatourartisanartof theupperclassesonly.Soessentiallyarthasbeen,andis,understoodby everyoneengagedinitinoursociety. CHAPTERTEN(excerpts) Moreover,itcannotbesaidthatthemajorityofpeoplelackthetasteto esteemthehighestworksofart.Themajorityalwayshasunderstood,and stillunderstands,whatwealsorecognizeasbeingtheverybestart:the epicofGenesis,thegospelparables,folklegends,fairytales,andfolk songsareunderstoodbyall.Howcanitbethatthemajorityhassuddenly lostitscapacitytounderstandwhatishighinourart? Ofaspeechitmaybesaidthatitisadmirable,butincomprehensibleto thosewhodonotknowthelanguageinwhichitisdelivered.Aspeech deliveredinChinesemaybeexcellentandmayyetremain incomprehensibletomeifIdonotknowChinese;butwhatdistinguishes aworkofartfromallothermentalactivityisjustthefactthatitslanguage isunderstoodbyall,andthatitinfectsallwithoutdistinction.Thetears andlaughterofaChineseinfectmejustasthelaughterandtearsofa Russian;anditisthesamewithpaintingandmusicandpoetrywhenitis translatedintoalanguageIunderstand.ThesongsofaKirghizorofa Japanesetouchme,thoughinalesserdegreethantheytouchaKirghizor aJapanese.IamalsotouchedbyJapanesepainting,Indianarchitecture, andArabianstories.IfIambutlittletouchedbyaJapanesesonganda Chinesenovel,itisnotthatIdonotunderstandtheseproductionsbut thatIknowandamaccustomedtohigherworksofart.Itisnotbecause theirartisaboveme.Greatworksofartareonlygreatbecausetheyare accessibleandcomprehensibletoeveryone.ThestoryofJoseph, translatedintotheChineselanguage,touchesaChinese.Thestoryof SakyaMunitouchesus.Andthereare,andmustbe,buildings,pictures, statues,andmusicofsimilarpower.Sothat,ifartfailstomovemen,it

Here, our art is fine art

Tolstoy offers a list of the very best art

Tolstoy clarifies his criterion of universal accessibility

For Joseph, see Genesis 39; Sakya Muni is Siddhrtha Gautama, the founder of Buddhism

Tolstoy: What is Art?

cannotbesaidthatthisisduetothespectatorsorhearerslackof understanding;buttheconclusiontobedrawnmayandshouldbethat suchartiseitherbadartorisnotartatall. Artisdifferentiatedfromactivityoftheunderstanding,whichdemands preparationandacertainsequenceofknowledge(sothatonecannot learntrigonometrybeforeknowinggeometry),bythefactthatitactson peopleindependentlyoftheirstateofdevelopmentandeducation,that thecharmofapicture,sounds,orofforms,infectsanymanwhateverhis planeofdevelopment. Thebusinessofartliesjustinthistomakethatunderstoodandfelt which,intheformofanargument,mightbeincomprehensibleand inaccessible.Usuallyitseemstotherecipientofatrulyartisticimpression thatheknewthethingbeforebuthadbeenunabletoexpressit. Andsuchhasalwaysbeenthenatureofgood,supremeart;theIliad,the Odyssey,thestoriesofIsaac,Jacob,andJoseph,theHebrewprophets,the psalms,thegospelparables,thestoryofSakyaMuni,andthehymnsof theVedas:alltransmitveryelevatedfeelingsandareneverthelessquite comprehensiblenowtous,educatedoruneducated,astheywere comprehensibletothemenofthosetimes,longago,whowereevenless educatedthanourlaborers.Peopletalkaboutincomprehensibility;butif artisthetransmissionoffeelingsflowingfrommansreligious perception,howcanafeelingbeincomprehensiblewhichisfoundedon religion,i.e.,onmansrelationtoGod?Suchartshouldbe,andhas actuallyalwaysbeen,comprehensibletoeverybodybecauseeverymans relationtoGodisoneandthesame.Andthereforethechurchesandthe imagesinthemarealwayscomprehensibletoeveryone.Thehindranceto understandingthebestandhighestfeelings(asissaidinthegospel)does notatalllieindeficiencyofdevelopmentorlearning,but,onthe contrary,infalsedevelopmentandfalselearning.Agoodandloftywork ofartmaybeincomprehensible,butnottosimple,unpervertedpeasant laborers(allthatishighestisunderstoodbythem)itmaybe,andoften is,unintelligibletoerudite,pervertedpeopledestituteofreligion.And thiscontinuallyoccursinoursocietyinwhichthehighestfeelingsare simplynotunderstood.Forinstance,Iknowpeoplewhoconsider themselvesmostrefinedandwhosaythattheydonotunderstandthe poetryoflovetoonesneighbor,ofselfsacrifice,orofchastity. Sogood,great,universal,religiousartmaybeincomprehensibletoa smallcircleofspoiledpeoplebutcertainlynottoanylargenumberof plainmen.

Tolstoy looks ahead to Chapter Fifteen Notice these examples The Vedas are the four ancient sacred texts of Hindu teachings Does all religious perception recognize the same divinity? In another book, Tolstoy defines religious perception as a relation to the whole immense Infinite in time and space conceived as one whole.

Tolstoy: What is Art? CHAPTER FIFTEEN Art,inoursociety,hasbeensopervertedthatnotonlyhasbadartcome tobeconsideredgood,buteventheveryperceptionofwhatartreallyis hasbeenlost.Inordertobeabletospeakabouttheartofoursociety,itis, therefore,firstofallnecessarytodistinguishartfromcounterfeitart. Thereisoneindubitableindicationdistinguishingrealartfromits counterfeit,namely,theinfectiousnessofart.Ifaman,withoutexercising effortandwithoutalteringhisstandpointonreading,hearing,orseeing anothermanswork,experiencesamentalconditionwhichuniteshim withthatmanandwithotherpeoplewhoalsopartakeofthatworkofart, thentheobjectevokingthatconditionisaworkofart.Andhowever poetical,realistic,effectful,orinterestingaworkmaybe,itisnotawork ofartifitdoesnotevokethatfeeling(quitedistinctfromallother feelings)ofjoyandofspiritualunionwithanother(theauthor)andwith others(thosewhoarealsoinfectedbyit). Itistruethatthisindicationisaninternalone,andthattherearepeople whohaveforgottenwhattheactionofrealartis,whoexpectsomething elseformart(inoursocietythegreatmajorityareinthisstate),andthat thereforesuchpeoplemaymistakeforthisaestheticfeelingthefeelingof diversionandacertainexcitementwhichtheyreceivefromcounterfeits ofart.Butthoughitisimpossibletoundeceivethesepeople,justasitis impossibletoconvinceamansufferingfromDaltonismthatgreenisnot red,yet,forallthat,thisindicationremainsperfectlydefinitetothose whosefeelingforartisneitherpervertednoratrophied,anditclearly distinguishesthefeelingproducedbyartfromallotherfeelings. Thechiefpeculiarityofthisfeelingisthatthereceiverofatrueartistic impressionissounitedtotheartistthathefeelsasiftheworkwerehis ownandnotsomeoneelsesasifwhatitexpresseswerejustwhathe hadlongbeenwishingtoexpress.Arealworkofartdestroys,inthe consciousnessofthereceiver,theseparationbetweenhimselfandthe artistnotthatalone,butalsobetweenhimselfandallwhoseminds receivethisworkofart.Inthisfreeingofourpersonalityfromits separationandisolation,inthisunitingofitwithothers,liesthechief characteristicandthegreatattractiveforceofart. Ifamanisinfectedbytheauthorsconditionofsoul,ifhefeelsthis emotionandthisunionwithothers,thentheobjectwhichhaseffected thisisart;butiftherebenosuchinfection,iftherebenotthisunionwith theauthorandwithotherswhoaremovedbythesameworkthenitis notart.Andnotonlyisinfectionasuresignofart,butthedegreeof infectiousnessisalsothesolemeasureofexcellenceinart. Thestrongertheinfection,thebetteristheartasart,speakingnowapart fromitssubjectmatter,i.e.,notconsideringthequalityofthefeelingsit How does exclusive art relate to counterfeit art?

Infection is accompanied by a second feeling, that of a union that gives us joy when we experience it. Art in the limited sense is now identified as real art

Daltonism is a type of color blindness

An important paragraph: Tolstoy says more about his idea of a feeling of union with artist and the rest of the audience Art creates a community Tolstoy again insists that TWO feelings occur in real art (infection of emotion PLUS a feeling of union)

He sets subject matter aside

Tolstoy: What is Art?

transmits. Andthedegreeoftheinfectiousnessofartdependsonthreeconditions: 1.Onthegreaterorlesserindividualityofthefeelingtransmitted; 2.onthegreaterorlesserclearnesswithwhichthefeelingis transmitted; 3.onthesincerityoftheartist,i.e.,onthegreaterorlesserforcewith whichtheartisthimselffeelstheemotionhetransmits. Themoreindividualthefeelingtransmittedthemorestronglydoesitact onthereceiver;themoreindividualthestateofsoulintowhichheis transferred,themorepleasuredoesthereceiverobtain,andthereforethe morereadilyandstronglydoeshejoininit. Theclearnessofexpressionassistsinfectionbecausethereceiver,who minglesinconsciousnesswiththeauthor,isthebettersatisfiedthemore clearlythefeelingistransmitted,which,asitseemstohim,hehaslong knownandfelt,andforwhichhehasonlynowfoundexpression. Butmostofallisthedegreeofinfectiousnessofartincreasedbythe degreeofsincerityintheartist.Assoonasthespectator,hearer,orreader feelsthattheartistisinfectedbyhisownproduction,andwrites,sings,or playsforhimself,andnotmerelytoactonothers,thismentalconditionof theartistinfectsthereceiver;andcontrariwise,assoonasthespectator, reader,orhearerfeelsthattheauthorisnotwriting,singing,orplaying forhisownsatisfactiondoesnothimselffeelwhathewishestoexpress butisdoingitforhim,thereceiver,aresistanceimmediatelysprings up,andthemostindividualandthenewestfeelingsandthecleverest techniquenotonlyfailtoproduceanyinfectionbutactuallyrepel. Ihavementionedthreeconditionsofcontagiousnessinart,buttheymay beallsummedupintoone,thelast,sincerity,i.e.,thattheartistshouldbe impelledbyaninnerneedtoexpresshisfeeling.Thatconditionincludes thefirst;foriftheartistissincerehewillexpressthefeelingashe experiencedit.Andaseachmanisdifferentfromeveryoneelse,his feelingwillbeindividualforeveryoneelse;andthemoreindividualitis themoretheartisthasdrawnitfromthedepthsofhisnaturethe moresympatheticandsincerewillitbe.Andthissamesinceritywill impeltheartisttofindaclearexpressionofthefeelingwhichhewishesto transmit. Thereforethisthirdconditionsincerityisthemostimportantofthe three.Itisalwayscompliedwithinpeasantart,andthisexplainswhy suchartalwaysactssopowerfully;butitisaconditionalmostentirely absentfromourupperclassart,whichiscontinuallyproducedbyartists actuatedbypersonalaimsofcovetousnessorvanity.

real art provides pleasure (even if thats not its purpose) How could an emotion be unclear?

Can you think of an example of insincere art?

Is sincerity really enough to allow clear communication of an emotion?

Peasant art would be a type of folk art For whom is most art created?

Tolstoy: What is Art? A summary of Chapter Fifteens central point

Sucharethethreeconditionswhichdivideartfromitscounterfeits,and whichalsodecidethequalityofeveryworkofartapartfromitssubject matter. Theabsenceofanyoneoftheseconditionsexcludesaworkformthe categoryofartandrelegatesittothatofartscounterfeits.Ifthework doesnottransmittheartistspeculiarityoffeelingandisthereforenot individual,ifitisunintelligiblyexpressed,orifithasnotproceededfrom theauthorsinnerneedforexpressionitisnotaworkofart.Ifallthese conditionsarepresent,eveninthesmallestdegree,thenthework,evenif aweakone,isyetaworkofart. Thepresenceinvariousdegreesofthesethreeconditions individuality,clearness,andsinceritydecidesthemeritofaworkofart asart,apartfromsubjectmatter.Allworksofarttakerankofmerit accordingtothedegreeinwhichtheyfulfillthefirst,thesecond,andthe thirdoftheseconditions.Inonetheindividualityofthefeeling transmittedmaypredominate;inanother,clearnessofexpression;ina third,sincerity;whileafourthmayhavesincerityandindividualitybut bedeficientinclearness;afifth,individualityandclearnessbutless sincerity;andsoforth,inallpossibledegreesandcombinations. Thusisartdividedfromthatwhichisnotart,andthusisthequalityof artasartdecided,independentlyofitssubjectmatter,i.e.,apartfrom whetherthefeelingsittransmitsaregoodorbad. Buthowarewetodefinegoodandbadartwithreferencetoitssubject matter? CHAPTERSIXTEEN(excerpts) Itmustbetheart,notofsomeonegroupofpeople,norofoneclass, norofonenationality,norofonereligiouscult;thatis,itmustnot transmitfeelingswhichareaccessibleonlytoamaneducatedinacertain way,oronlytoanaristocrat,oramerchant,oronlytoaRussian,ora nativeofJapan,oraRomanCatholic,oraBuddhist,etc.,butitmust transmitfeelingsaccessibletoeveryone.Onlyartofthiskindcanbe acknowledgedinourtimetobegoodart,worthyofbeingchosenout fromalltherestofartandencouraged. Christianart,i.e.,theartofourtime,shouldbecatholicintheoriginal meaningoftheword,i.e.,universal,andthereforeitshoulduniteallmen. Andonlytwokindsoffeelingdouniteallmen:first,feelingsflowing fromtheperceptionofoursonshiptoGodandofthebrotherhoodof man;andnext,thesimplefeelingsofcommonlife,accessibletoeveryone withoutexceptionsuchasthefeelingofmerriment,ofpity,of cheerfulness,oftranquility,etc.Onlythesetwokindsoffeelingscannow supplymaterialforartgoodinitssubjectmatter.

Is sincere art ALWAYS better than insincere (and therefore counterfeit) art?

How can we determine the DEGREE of sincerity in a work of art?

Subject matter is independently discussed because it affects accessibility The most accessible art is the best In the past, art only needed to unify small groups. Today, it is imperative that it unite all men There are two ways to do this

Tolstoy: What is Art?

Andtheactionofthesetwokindsofart,apparentlysodissimilar,isone andthesame.ThefeelingsflowingfromperceptionofoursonshiptoGod andofthebrotherhoodofmansuchasafeelingofsurenessintruth, devotiontothewillofGod,selfsacrifice,respectforandloveofman evokedbyChristianreligiousperception;andthesimplestfeelingssuch asasoftenedoramerrymoodcausedbyasongoranamusingjest intelligibletoeveryone,orbyatouchingstory,oradrawing,oralittle doll:bothalikeproduceoneandthesameeffect,thelovingunionofman withman.Sometimespeoplewhoaretogetherare,ifnothostiletoone another,atleastestrangedinmoodandfeelingtillperchanceastory,a performance,apicture,orevenabuilding,butmostoftenofallmusic, unitesthemallasbyanelectricflash,andinplaceoftheirformer isolationorevenenmitytheyareallconsciousofunionandmutuallove. Eachisgladthatanotherfeelswhathefeels;gladofthecommunion established,notonlybetweenhimandallpresent,butalsowithallnow livingwhowillyetsharethesameimpression;andmorethanthat,he feelsthemysteriousgladnessofacommunionwhich,reachingbeyond thegrave,unitesuswithallmenofthepastwhohavebeenmovedbythe samefeelings,andwithallmenofthefuturewhowillyetbetouchedby them.Andthiseffectisproducedbothbythereligiousartwhich transmitsfeelingsoflovetoGodandonesneighborandbyuniversalart transmittingtheverysimplestfeelingscommontoallmen. Theartofourtimeshouldbeappraiseddifferentlyfromformerart chieflyinthis,thattheartofourtime,i.e.,Christianart(basingitselfona religiousperceptionwhichdemandstheunionofman),excludesfromthe domainofartgoodinsubjectmattereverythingtransmittingexclusive feelingswhichdonotunite,butdivide,men.Itrelegatessuchworktothe categoryofartbadinitssubjectmatter,while,ontheotherhand,it includesinthecategoryofartgoodinsubjectmatterasectionnot formerlyadmittedtodeservetobechosenoutandrespected,namely, universalart,transmittingeventhemosttriflingandsimplefeelingsif onlytheyareaccessibletoallmenwithoutexceptionandthereforeunite them.Suchartcannotinourtimebutbeesteemedgood,foritattainsthe endwhichthereligiousperceptionofourtime,i.e.,Christianity,sets beforehumanity. Christianarteitherevokesinmenthosefeelingswhich,throughloveof Godandofonesneighbor,drawthemtogreaterandevergreaterunion andmakethemreadyforandcapableofsuchunion,orevokesinthem thosefeelingswhichshowthemthattheyarealreadyunitedinthejoys andsorrowsoflife.AndthereforetheChristianartofourtimecanbeand isoftwokinds:(1)arttransmittingfeelingsflowingfromareligious perceptionofmanspositionintheworldinrelationtoGodandtohis neighborreligiousartinthelimitedmeaningoftheterm;and(2)art transmittingthesimplestfeelingsofcommonlife,butsuch,always,asare accessibletoallmeninthewholeworlduniversalart

While religious perception is our awareness of our relationship to the universe as a whole, the Christian religious perception involves recognition of our absolute equality as human beings How art gives us joy

Tolstoy: What is Art?

CHAPTEREIGHTEEN(excerpts) Thereligiousperceptionofourtimewhichconsistsin acknowledgingthattheaimoflife(bothcollectiveandindividual)isthe unionofmankindisalreadysosufficientlydistinctthatpeoplehave nowonlytorejectthefalsetheoryofbeautyaccordingtowhich enjoymentisconsideredtobethepurposeofart,andreligiousperception willnaturallytakeitsplaceastheguideoftheartofourtime. Andassoonasthereligiousperception,whichalreadyunconsciously directsthelifeofman,isconsciouslyacknowledged,thenimmediately andnaturallythedivisionofartintoartforthelowerandartforthe upperclasseswilldisappear.Therewillbeonecommon,brotherly, universalart,andfirstthatartwillnaturallyberejectedwhichtransmits feelingsincompatiblewiththereligiousperceptionofourtime,feelings whichdonotunite,butdividemen,andthenthatinsignificant,exclusive artwillberejectedtowhichanimportanceisnowattachedtowhichit hasnoright. Andassoonasthisoccurs,artwillimmediatelyceasetobewhatithas beeninrecenttimes,ameansofmakingpeoplecoarserandmorevicious, anditwillbecomewhatitalwaysusedtobeandshouldbe,ameansby whichhumanityprogressestowardunityandblessedness. Theartofourtimeandofourcirclehasbecomeaprostitute.Andthis comparisonholdsgoodeveninminutedetails.Likeheritisnotlimitedto certaintimes,likeheritisalwaysadorned,likeheritisalwayssalable, andlikeheritisenticingandruinous. Arealworkofartcanonlyariseinthesoulofanartistoccasionallyasthe fruitofthelifehehaslived,justasachildisconceivedbyitsmother.But counterfeitartisproducedbyartisansandhandicraftsmencontinually,if onlyconsumerscanbefound. Realart,likethewifeofanaffectionatehusband,needsnoornaments. Butcounterfeitart,likeaprostitute,mustalwaysbedeckedout. Thecauseoftheproductionofrealartistheartistsinnerneedtoexpress afeelingthathasaccumulated,justasforamotherthecauseofsexual conceptionislove.Thecauseofcounterfeitart,asofprostitution,isgain. Theconsequenceoftrueartistheintroductionofanewfeelingintothe intercourseoflife,astheconsequenceofawifesloveisthebirthofanew manintolife. Theconsequencesofcounterfeitartaretheperversionofman,pleasure whichneversatisfies,andtheweakeningofmansspiritualstrength. Tolstoy returns to the religious perception of our time (implying that it has changed over time)

Is Tolstoy too optimistic?

What does this imply about highly productive artists, such as Picasso?

Do commercial motives ruin art?

Tolstoy: What is Art?

Andthisiswhatpeopleofourdayandofourcircleshouldunderstandin ordertoavoidthefilthytorrentofdepravedandprostitutedartwith whichwearedeluged.