A Quote by Herbert Marcuse

Behind the aesthetic form lies the repressed harmony of sensuousness and reason — © Herbert Marcuse
Behind the aesthetic form lies the repressed harmony of sensuousness and reason
Beauty lies in harmony, not in contrast; and harmony is refinement; therefore, there must be a fineness of the senses if we are to appreciate harmony.
There were lots of lies along the way in life. Lies without arms, lies that were ill, lies that did harm, lies that could kill. Lies on foot, or behind the wheel, black-tie lies, and lies that could steal.
Almost all crime is due to the repressed desire for aesthetic expression.
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
Temperament lies behind mood; behind will, lies the fate of character. Then behind both, the influence of family the tyranny of culture; and finally the power of climate and environment; and we are free, only to the extent we rise above these.
To live well is to live in harmony with ourselves, others and nature, and that idea of harmony is, of course, an aesthetic one.
Beside all the small reasons we assign, there is a great reason for the existence of every extant fact; a reason which lies grandand immovable, often unsuspected behind it in silence.
Beauty is the main positive form of the aesthetic assimilation of reality, in which aesthetic ideal finds it direct expression.
True art takes note not merely of form but also of what lies behind.
A woman’s beauty lies, not in any exaggeration of the specialized zones, nor in any general harmony that could be worked out by means of the sectio aurea or a similar aesthetic superstition; but in the arabesque of the spine. The curve by which the back modulates into the buttocks. It is here that grace sits and rides a woman’s body.
How can any person justify an aesthetic that reduces a woman or child to an emaciated skeleton? Is it art? Surely fashion's aesthetic should enhance and beautify the human form, not destroy it.
There must be repressed truth even in lies.
Accentuated plainness and accentuated vice ought to bring about harmony. Beauty lies in harmony, in style, whether it be the harmony of ugliness or beauty, vice or virtue.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
What lies behind you and what lies in front of you, pales in comparison to what lies inside of you.
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