DOC Hiding in the Light: On Images and Things (Comedia) by Dick Hebdige in Arts-Photography

Review

9 of 10 people found the following review helpful. Pater is sui generisBy giocondaI repurchased this book because I enjoy Paters writing style. It will be apparent to those who read and understand this book that "art for arts sake" (never said by Pater) did not sanction the labelling of the kitchen sink as art. His standards are quite exacting.This edition is limited to the lectures themselves and a short preface and conclusion. The typeface is clear and well spaced. There are no annotations to assist with the occasional foreign phrase.19 of 28 people found the following review helpful. Impressionism in criticism...travel at your own risk...By A CustomerThis work by Walter Pater; published in 1873; asa volume of collected (previously published) essaysalong with an essay on "Winckelmann"; a Preface; anda Conclusion was [and perhaps still is] an extremelyinfluential work of aesthetic criticism. The volumehelped shape [influence] the perceptions; theattitudes; and the approaches of many youthful readersin the late 1880s and 1890s. It is very interestingto read; immensely engaging to consider and muse about;but also offers cautions to the overenthusiastic;easily influenced [or persuaded] disciple. This volume consists of an Introduction [by theeditor; Adam Philips]; a Preface [by Pater]; 9 chapters;and a Conclusion (in this particular editionby Oxford Classics there is also a chronology; aSelective Bibliography; an Appendix titled "Diaphaneite;"and Explanatory Notes in the back. The chapter titles(after Paters Preface) are: Two Early French Stories;Pico Della Mirandola; Sandro Botticelli; Luca DellaRobbia; The Poetry of Michelangelo; Leonardo da Vinci;The School of Giorgione; Joachim Du Bellay; Winckelmann;and Conclusion. * * * * * * * * * * Whats the problem here? Well; unfortunately; Pateris not completely reliable as an objective perceiveror critic. He tends to be a bit eccentric in hisindividualistic perceptions and interpretations ofthe art works; but he goes ahead and defends thisapproach in a very "modern" sounding fashion --which seems to include a bit of "situational perceptions;"subjective impressions of perception and response;and subjective criticism. Which makes for extremelyengaging [sometimes irritating] reading; but leavessomething to be desired as far as objective andjudicious thoughtfulness and truthfulness. Paterseems to believe that it is acceptable to "bend"or even create facts to further his own it-pleases-me-to-think-that-this-is-or-should-be-so desires. We know that we are on a slippery critical slope[though it will sound all too familiar to modernears and modern apologetics] when the editor Phillipsinforms us: "In Paters first published writing; hisessay on Coleridge of 1866; he had suggested that --Modern thought is distinguished from ancient by itscultivation of the "relative" spirit in place of the"absolute" ... To the modern spirit nothing is; orcan be rightly known; except relatively and underconditions." It doesnt take much time to realizethat such a critical position is going to lead toan end-position of aesthetic; critical; and moralrelativism ("You cant tell me Im wrong; becausethere is no one set way of seeing; analyzing;believing; or evaluating."-- the spoiled; indulged childsself-justification for the validity of its ownego supremacy and authority against that of anyparental or adult restrictions. Such a position usuallymeans a lack of any meaningful in-depth self questioningor objective evaluating of personal motives; and awelcoming of lack of restraints in the pursuit ofpleasure and non-self discipline. And this; of course;is the critical negative refrain that often comesagainst the decadent followers of Paters credo.] The second fall-out effect of Paters evaluationsand pronouncements is that some of his disciples[self-styled] went farther than even he was willingto approve with their hedonism and purposefullyshocking lifestyles and "decadent" behaviors andaesthetic appetites. But it came from statements like this; which Patermay have meant one way; but which their subjective;individualistic perceptions took another way: "Theaesthetic critic; then; regards all the objects withwhich he has to do; all works of art; and the fairerforms of nature and human life; as powers or forcesproducing PLEASURABLE SENSATIONS [caps are mine]; eachof a more or less peculiar or unique kind. [We valuethem --he says] for the property each has of affectingone with a special; a unique; impression of pleasure.Our education becomes complete in proportion as ourSUSCEPTIBILITY to these impressions increases -- indepth and VARIETY." Let the perceiver and the critic -- and theexperiencer -- proceed with extreme caution and goodjudgment. * * * * * * * * *26 of 29 people found the following review helpful. Pater and the Renaissance: Aesthetic Self-HelpBy A CustomerThis book has changed many lives in a very peculiar way: although its evaluations are quite wrong at times; particularly the chapter on the School of Giorgione(if you care; checkout the edition with an introduction byKenneth Clark); Paters Renaissance still shines with the very same light that made it a cult among Victorian youngmen. The "gemstone flame"; the pervasive feelings of which Pater invited us to share have not vanished (in spite of the attempts of the so-called modern art); and the books invaluable lesson is that you simply do not need a fancy objet dart to see what true beauty is all about. So basically this is what I have to say: if you have ever derived aesthetic pleasure from anything at all in life; you should read this little book tomorrow. If you never felt any such pleasure; you must read The Renaissance right now; or youll simply let the good things pass you by. I mean it.