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Excerpt from The Psychology of Impressionism
The modern expansion of art-forms and the inauguration of psychological research have given a new direction to aesthetic theories. In conformity with the scientific trend of our age beauty is thought of in some such phrase as characteristic expressiveness for sense-perception or the harmonious functioning of the organism, rather than as Hegel's shining of the idea through matter or Schelling's perception of the infinite in the finite. A well-known psychologist, realizing that aesthetic canons are bound up with problems of physiology and psychology looks forward to the time when the work of art will be produced according to scientific prescription. There is no more striking instance of this relation than Impressionistic painting in its application of the results of Helmholtz, Chevreul and Fechner. It was a kind of protest, in the light of these researches, against the accepted psychology Of art. This paper preposes to examine how far recent psychological investigation has justified the grounds of that protest.
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