With faith in progress and in a new generation of creators and spectators we call together all youth. As youth, we carry the future and want to create for ourselves freedom of life and of movement against the long established older forces. Everyone who reproduces that which drives him to creation with directness and authenticity belongs to us.
Subtitled ‘A Contribution to the Psychology of Style’, Worringer’s essay was written as a doctoral thesis in 1906. It was published as Abstraktion und Einfiihlung in Munich by Piper Verlag in 1908, and was to be continuously reprinted for over forty years. It was influential in countering what Worringer called the ‘European-classical prejudice of our customary historical conception and valuation of arf. It also furnished theoretical support for that widespread Modernist tendency in which enthusiasm for so-called primitive art was conjoined with interest in modern forms of abstraction. The present text is taken from the opening chapter, in the translation by Michael Bullock of the third – 1910 – edition, London and New York, 1953.
[…] Our investigations proceed from the presupposition that the work of art, as an autonomous organism, stands beside nature on equal terms and, in its deepest and innermost essence, devoid of any connection with it, in so far as by nature is understood the visible surface of things. Natural beauty is on no account to be regarded as a condition of the work of art, despite the fact that in the course of evolution it seems to have become a valuable element in the work of art, and to some extent indeed positively identical with it.
This presupposition includes within it the inference that the specific laws of art have, in principle, nothing to do with the aesthetics of natural beauty. It is therefore not a matter of, for example, analysing the conditions under which a landscape appears beautiful, but of an analysis of the conditions under which the representation of this landscape becomes a work of art.
Modern aesthetics, which has taken the decisive step from aesthetic objectivism to aesthetic subjectivism, i.e. which no longer takes the aesthetic as the starting-point of its investigations, but proceeds from the behaviour of the contemplating subject, culminates in a doctrine that may be characterised by the broad general name of the theory of empathy. This theory has been clearly and comprehensively formulated in the writings of Theodor Lipps. […]
… the basic purpose of my essay is to show that this modern aesthetics, which proceeds from the concept of empathy, is inapplicable to wide tracts of art history. Its Archimedian point is situated at one pole of human artistic feeling alone. It will only assume the shape of a comprehensive aesthetic system when it has united with the lines that lead from the opposite pole.
We regard as this counter-pole an aesthetics which proceeds not from man’s urge to empathy, but from his urge to abstraction. Just as the urge to empathy as a pre-assumption of aesthetic experience finds its gratification in the beauty of the organic, so the urge to abstraction finds its beauty in the life-denying inorganic, in the crystalline or, in general terms, in all abstract law and necessity.
We shall endeavour to cast light upon the antithetic relation of empathy and abstraction, by first characterizing the concept of empathy in a few broad strokes.
The simplest formula that expresses this kind of aesthetic experience runs: Aesthetic enjoyment is objectified self-enjoyment. To enjoy aesthetically means to enjoy myself in a sensuous object diverse from myself, to empathize myself into it. ‘What I empathize into it is quite generally life. And life is energy, inner working, striving and accomplishing. In a word, life is activity. But activity is that in which I experience an expenditure of energy. By its nature, this activity is an activity of the will. It is endeavour or volition in motion.’ […]
The presupposition of the act of empathy is the general apperceptive activity. ‘Every sensuous object, in so far as it exists for me, is always the product of two components, of that which is sensuously given and of my apperceptive activity.
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No psychology of the need for art – in the terms of our modern standpoint: of the need for style – has yet been written. It would be a history of the feeling about the world and, as such, would stand alongside the history of religion as its equal. By the feeling about the world I mean the psychic state in which, at any given time, mankind found itself in relation to the cosmos, in relation to the phenomena of the external world. This psychic state is disclosed in the quality of psychic needs, i.e. in the constitution of the absolute artistic volition, and bears outward fruit in the work of art, to be exact in the style of the latter, the specific nature of which is simply the specific nature of the psychic needs. Thus the various gradations of the feeling about the world can be gauged from the stylistic evolution of art, as well as from the theogony of the peoples.
Every style represented the maximum bestowal of happiness for the humanity that created it. This must become the supreme dogma of all objective consideration of the history of art. What appears from our standpoint the greatest distortion must have been at the time, for its creator, the highest beauty and the fulfilment of his artistic volition. Thus all valuations made from our standpoint, from the point of view of our modern aesthetics, which passes judgement exclusively in the sense of the Antique or the Renaissance, are from a higher standpoint absurdities and platitudes. […]
The need for empathy can be looked upon as a presupposition of artistic volition only where this artistic volition inclines toward the truths of organic life, that is toward naturalism in the higher sense. The sensation of happiness that is released in us by the reproduction of organically beautiful vitality, what modern man designates beauty, is a gratification of that inner need for self-activation in which Lipps sees the presupposition of the process of empathy. In the forms of the work of art we enjoy ourselves. Aesthetic enjoyment is objectified self-enjoyment. The value of a line, of a form consists for us in the value of the life that it holds for us. It holds its beauty only through our own vital feeling, which, in some mysterious manner, we project into it.
Recollection of the lifeless form of a pyramid or of the suppression of life that is manifested, for instance, in Byzantine mosaics tells us at once that here the need for empathy, which for obvious reasons always tends toward the organic, cannot possibly have determined artistic volition. Indeed, the idea forces itself upon us that here we have an impulse directly opposed to the empathy
impulse, which seeks to suppress precisely that in which the need for empathy finds its satisfaction.
This counter-pole to the need for empathy appears to us to be the urge to abstraction. [.. .]
The extent to which the urge to abstraction has determined artistic volition we can gather from actual works of art … We shall then find that the artistic volition of savage peoples, in so far as they possess any at all, then the artistic volition of all primitive epochs of art and, finally, the artistic volition of certain culturally developed Oriental peoples, exhibit this abstract tendency. Thus the urge to abstraction stands at the beginning of every art and in the case of certain peoples at a high level of culture remains the dominant tendency, whereas with the Greeks and other Occidental peoples, for example, it slowly recedes, making way for the urge to empathy. […]
Now what are the psychic presuppositions for the urge to abstraction? We must seek them in these peoples’ feeling about the world, in their psychic attitude toward the cosmos. Whereas the precondition for the urge to empathy is a happy pantheistic relationship of confidence between man and the phenomena of the external world, the urge to abstraction is the outcome of a great inner unrest inspired in man by the phenomena of the outside world; in a religious respect it corresponds to a strongly transcendental tinge to all notions. We might describe this state as an immense spiritual dread of space. […]
Comparison with the physical dread of open places, a pathological condition to which certain people are prone, will perhaps better explain what we mean by this spiritual dread of space. In popular terms, this physical dread of open places may be explained as a residue from a normal phase of man’s development, at which he was not yet able to trust entirely to visual impression as a means of becoming familiar with a space extended before him, but was still dependent upon the assurances of his sense of touch. As soon as man became a biped, and as such solely dependent upon his eyes, a slight feeling of insecurity was inevitably left behind. In the further course of his evolution, however, man freed himself from this primitive fear of extended space by habituation and intellectual reflection.
The situation is similar as regards the spiritual dread of space in relation to the extended, disconnected, bewildering world of phenomena. The rationalistic development of mankind pressed back this instinctive fear conditioned by man’s feeling of being lost in the universe. The civilized peoples of the East, whose more profound world-instinct opposed development in a rationalistic direction and who saw in the world nothing but the shimmering veil of Maya, they alone remained conscious of the unfathomable entanglement of all the phenomena of life, and all the intellectual mastery of the world-picture could not deceive them as to this. Their spiritual dread of space, their instinct for the relativity of all that is, did not stand, as with primitive peoples, before cognition, but above cognition.
Tormented by the entangled inter-relationship and flux of the phenomena of the outer world, such peoples were dominated by an immense need for tranquillity. The happiness they sought from art did not consist in the possibility of projecting themselves into the things of the outer world, of enjoying themselves in them, but in the possibility of taking the individual thing of the external world out of its arbitrariness and seeming fortuitousness, of eternalizing it by approximation to abstract forms and, in this manner, of finding a point of tranquillity and a refuge from appearances. Their most powerful urge was, so to speak, to wrest the object of the external world out of its natural context, out of the unending flux of being, to purify it of all its dependence upon life, i.e. of everything about it that was arbitrary, to render it necessary and irrefragable, to approximate it to its absolute value. Where they were successful in this, they experienced that happiness and satisfaction which the beauty of organic-vital form affords us; indeed, they knew no other beauty, and therefore we may term it their beauty. […]
If we accept this proposition … we are confronted by the following fact: The style most perfect in its regularity, the style of the highest abstraction, most strict in its exclusion of life, is peculiar to the peoples at their most primitive cultural level. A causal connection must therefore exist between primitive culture and the highest, purest regular art-form. And the further proposition may be stated: The less mankind has succeeded, by virtue of its spiritual cognition, in entering into a relation of friendly confidence with the appearance of the outer world, the more forceful is the dynamic that leads to the striving after this highest abstract beauty.
Not that primitive man sought more urgently for regularity in nature, or experienced regularity in it more intensely; just the reverse: it is because he stands so lost and spiritually helpless amidst the things of the external world, because he experiences only obscurity and caprice in the inter-connection and jilux of the phenomena of the external world, that the urge is so strong in him to divest the things of the external world of their caprice and obscurity in the world-picture and to impart to them a value of necessity and a value of regularity. To employ an audacious comparison: it is as though the instinct for the ‘thing in itself were most powerful in primitive man. Increasing spiritual mastery of the outside world and habituation to it mean a blunting and dimming .of this instinct. Only after the human spirit has passed, in thousands of years of its evolution, along the whole course of rationalistic cognition, does the feeling for the ‘thing in itself re-awaken in it as the final resignation of knowledge. That which was previously instinct is now the ultimate product of cognition. Having slipped down from the pride of knowledge, man is now just as lost and helpless vis-a-vis the world-picture as primitive man, once he has recognized that ‘this visible world in which we are is the work of Maya, brought forth by magic, a transitory and in itself unsubstantial semblance, comparable to the optical illusion and the dream, of which it is equally false and equally true to say that it is, as that it is not’ (Schopenhauer, Kritik der Kantisehen Philosophie).
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In the urge to abstraction the intensity of the self-alienative impulse is . . . not characterized, as in the need for empathy, by an urge to alienate oneself from individual being, but as an urge to seek deliverance from the fortuitousness of humanity as a whole, from the seeming arbitrariness of organic existence in general, in the contemplation of something necessary and irrefragable. Life as such is felt to be a disturbance of aesthetic enjoyment. […] Popular usage speaks with striking accuracy of ‘losing oneself in the contemplation of a work of art.
In this sense, therefore, it cannot appear over-bold to attribute all aesthetic enjoyment – and perhaps even every aspect of the human sensation of happiness – to the impulse of self-alienation as its most profound and ultimate essence. […]