The photoplay; a psychological study (1916)

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THE MEANS OF THE VARIOUS ARTS to us as persons must not enter into our awareness of it at all. As soon as it does, that complete restfulness of the esthetic en- joyment is lost. Then the object becomes simply a part of our practical surroundings. The fundamental condition of art, therefore, is that we shall be distinctly conscious of the unreality of the artistic production, and that means that it must be absolutely separated from the real things and men, that it must be isolated and kept in its own sphere. As soon as a work of art tempts us to take it as a piece of reality, it has been dragged into the sphere of our practical action, which means our desire to put ourselves into con- nection with it. Its completeness in itself is lost and its value for our esthetic enjoy- ment has faded away. Now we understand why it is necessary that each art should have its particular method for fundamentally changing reality. Now we recognize that it is by no means a weakness of sculpture that the marble statue has not the colors of life but a whiteness un- like any human being. Nor does it appear a deficiency in the painting or the drawing that it can offer two dimensions only and has no 161