“At first, the science of art may appear to be a material collection of those things that generally pass for beautiful, while the subjective judgment of taste on what is beautiful seems subject to the most extreme variations. The young especially experience this subjective aspect with particular intensity and tend to generalise it. Since they have not yet acquired objective criteria for the evaluation of works of art, and because they have not yet learned to distinguish by seeing and listening, they compensate with the ‘enthusiasm’ proper to their age. They find themselves in or transport themselves to a state of mind, an interior ‘vibration’, which transfigures nature, art, friendship and love in their sight, and which communicates the experience of the beautiful like a drug whose effect, as experience shows, quickly disappears. People who cling to this view of the subjective nature of taste’s judgment have remained immature adolescents. By developing his soul according to the images of the objectively beautiful, the maturing person gradually learns to acquire the art of discrimination, that is, the art of perceiving what is beautiful in itself. In the process of their development, the subjective elements of perception (which, doubtless, include state of mind and fantasy) more and more pass into the service of objective perception. Even in the case of a masterpiece, the mature observer of art can without difficulty give an objective and largely conceptual basis for his judgment.”

— from Hans Urs von Balthasar, The Glory of the Lord: A Theological Aesthetics. I. Seeing the Form

This post was originally published on January 25, 2021.

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