Form (art)

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The term form (Latin forma ) generally denotes the outer shape, the outline, and its meaning developed in connection with the Greek term eidos , which defines the finite configuration of matter . The content of what is formed is not taken into account

Visual arts

In the fine arts, form cannot be seen in isolation from matter, content and expression. In addition, a distinction must be made between the form perception of reality and the form representations based on the artistic activity. In his essay The Problem of Form in Fine Art , Adolf von Hildebrand distinguished between the form of existence (the physical form of objects), the form of action (the appearance of objects) and the form of representation (the artistic form obtained from a relationship equation of form of existence and form of action Work form). All of these forms of work are linked to the material substances to be realized by the artist ( oil painting , watercolor painting ) and, due to psychological effects, can never be seen without content.

Form and content

Form and content (shape, content), an important pair of terms in aesthetics as well as in art and literature since the 18th century , are inseparably related to one another and are correlates of one and the same work. This correspondence of form and content is of decisive importance for the statement and its quality. As long as the correlative connection remains, a formal treatment of the artist's artistic tasks does justice to the work and is justified as long as the content of the forms formed by the artist is still seen by him. But if only the questions of form are of interest alone - if the content were missing - "the absolutized question of form negates the basic psychological component and a tendency towards aestheticism can be recognized", with formalism gaining the upper hand, which in turn would make such a work vulnerable.

painting

Art is when the content, the content, is transformed into a shape. Since Paul Cézanne, design has been subordinated to the motif in painting . It no longer depends on the things, but on the way of seeing things. Cézanne was the first artist to start breaking down objects into simple geometric shapes. In his frequently quoted letter of April 15, 1904, he wrote to the painter and art theorist Émile Bernard : “Treat nature according to cylinder, sphere and cone and bring the whole thing into the right perspective so that each side of an object, a surface leads to a central point [...]. "

Abstract art

Within abstract art , and thus also abstract painting , the reproduction of realities is no longer treated, but rather "in the Platonic term 'poetic' art that is inventive in the geometric ideogram [...]". According to Wassily Kandinsky , abstract forms no longer designate real objects, but are - like the simple geometric forms of Plato - abstract beings with their own life in their own area.

music

The music, which has no substance, but content and form, draws its strength from the “basic processes of psychic life” and the “time soul”. Absolute music has no objectivity, "it is only power and its radiation in sound material."

literature

Individual evidence

  1. ↑ a b c editorial office for art of the Bibliographisches Institut (ed.): Meyers Kleines Lexikon. Art . Bibliographical Institute, Mannheim / Vienna / Zurich 1986, p. 185
  2. ↑ R. Schwinger: Form and Content , in Jochim Ritter / Karlfried Gründer (eds.): Historical Dictionary of Philosophy , Volume 2. Schwabe & Co Ag, Basel 1972, p. 975
  3. ↑ R. Schwinger: Form and Content , in Jochim Ritter / Karlfried Gründer (eds.): Historical Dictionary of Philosophy , Basel 1972, p. 976
  4. ↑ Götz Adriani: Cézanne - Life and Work , p. 47 f.
  5. ^ Leopold Ziegler , quoted from Joachim Ritter / Karlfried Gründer (eds.), P. 976
  6. ↑ Wassily Kandinsky: About the Spiritual in Art , after R. Schwinger: Form and Content , in Jochim Ritter / Karlfried Founder (eds.), P. 976
  7. ↑ a b Ernst Kurth , quoted from R. Schwinger: Form und Inhalt , in Jochim Ritter / Karlfried Gründer (eds.), P. 976