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It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it.
It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it.
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- Bryan Magee
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