Hippolyte Taine's approach to art blends historical context with philosophical inquiry, presenting art as a scientific exploration of observable facts. His works, such as "The History of English Literature" and "The Origins of Contemporary France," reflect this dual interest, suggesting that both history and philosophy can be seen as sciences. In his "Philosophy of Art," Taine explores the interplay between historical data and philosophical generalizations, covering art from Greece to Italy and the Netherlands.

The Interconnected Nature of Art

Taine posits that art does not exist in isolation; understanding any artwork or the essence of art requires examining the conditions that shaped its creation. He asserts that an artist, though a key influence on a work, is significantly shaped by cultural forces. Artworks, according to Taine, embody the character of their time and place. He elaborates, "The work of art is determined by an aggregate which is the general state of the mind and surrounding manners." He illustrates this through examples: Greek art's focus on the human form reflects their athletic culture, Medieval art mirrors the moral turmoil due to feudal oppression, and industrial democracy's art conveys scientific era restlessness.

Artistic Conditioning

For Taine, artworks exhibit the style of the artist, the prevailing aesthetic of an artistic school, and the social milieu's influence. The artist's style is a constant thread in their creations, while the school of artists offers a common aesthetic ground. Finally, the artwork reflects the era's societal values and convictions. Taine succinctly states, "To comprehend a work of art, an artist or a group of artists, we must clearly comprehend the general social and intellectual condition of the times to which they belong."

The Influence of Moral Temperature

Taine also emphasizes the "moral temperature," the spiritual and moral climate influencing the artist and their work. His philosophy aims to explore the conditions under which art is produced in different times and places, eventually distilling a universal philosophy of art. His examination reveals general conditions that underlie artistic creation.

Imitation in Art

In Taine's aesthetic exploration, imitation emerges as a central feature, especially in poetry, sculpture, and painting. He questions whether exact imitation is art's ultimate goal but concludes otherwise, noting that photography, while accurate, lacks the profound artistic quality of painting or sculpture. Taine argues that art does not strive for exact replication but aims to capture the essence and relationships within an object or scene.

Taine's Essential Imitation

According to Taine, a different kind of imitation is fundamental to art: the imitation of "relationships and mutual dependence of parts." Artists do not aim for deception through exact representation but rather strive to reveal the essential character of their subjects. For instance, in painting a lion, its carnivorous nature is central; in depicting the Low Countries, their alluvial essence is key. This approach highlights the predominant features of subjects as influenced by their temporal and spatial contexts.

The Artist's Reflection of the Age

While acknowledging that artists may diverge from nature's dominant features, Taine insists that art ultimately reflects an era's essential quality. Artists capture the prevailing mood and spirit of their times. In the second part of "Philosophy of Art," Taine explores artistic production, noting, "The end of a work of art is to manifest some essential or salient character... more completely than is attainable from real objects." Art achieves this by systematically modifying relationships among its components.

The Law of Art Production

Taine defends the principle that art is shaped by the general state of mind and circumstances, using experience to support his claim. He explores how melancholy, as a characteristic mood of an era,...