I have recently rekindled my interest in German literature. I was briefly obsessed with it in my mid-twenties. So, I am now revisiting some texts from Lessing that I browsed years ago. This time, I have a better understanding of both his place in late Enlightenment critical discourse and in German literary history.

I had read portions of Laocoon previously during my years of doing media studies. However, this is the first time I have read the entire book.

Lessing's book-length essay, which he modestly describes as a collection of "notes," is one of the first modern examinations of ekphrastic theory. It sets in motion discussions of media specificity that continue into the 21st century. Even in the digital age, as the lines between the verbal and the visual continue to blur.

Lessing himself opens the door for his work to be read in these terms. He claims that his ideas apply not only to words and images but to all things beautiful, that is, any artistic aesthetic. His ultimate goal is not to undermine the power of the verbal (i.e., poetry) to express. Instead, he suggests that as an art, it has certain modes of expression exclusive to its medium. And its power (like that of any art) lies not in its imitative ability but in its unique formal constraints.

In that sense, Lessing's theory anticipates everything from Oulipo to New Criticism to digital art. It is an essential text for understanding the written word in its relation to visual theory.

This treatise is a truly raw undertaking.

It is a struggle that closely resembles the one depicted on the cover. Namely, it is the struggle to be like Solon, the lawgiver, giving laws to the wild tribe of artists and intellectuals.

However, it seems doomed to failure. As I read, it feels as if it were me wrestling against the monster snakes with my family.

The task at hand is no easy feat, and the challenges are numerous.

But perhaps, in this struggle, there lies the potential for growth and discovery.

Maybe, through this attempt to impose order on the chaos of the artistic and intellectual world, we can gain a deeper understanding of ourselves and our place within it.

Although the outcome may be uncertain, the journey itself is worth taking.

For it is in the midst of this struggle that we can truly test our mettle and see what we are made of.

So, let us continue this raw undertaking, and see where it leads us.

I thought his point about the fundamental difference between poetry and "art" (painting/sculpture), namely that of time versus place, was very well presented. His readings of passages from the Iliad effectively illustrated this concept.

However, I don't find his theory that visual art is necessarily about the depiction of beauty to be overly convincing. Maybe tastes have evolved, but I find the understated emotion of the Laocoon statue rather amusing than noble and beautiful. Nevertheless, he might be onto something when it comes to Greek sculpture versus Greek poetry/plays. His examples from the Iliad and Sophocles' Philoctetes, where expressive suffering is depicted contrary to his idea of beauty, were quite compelling.

I also don't understand why I should have to contemplate the object's harmony in a holistic way that induces the same unmoving harmony within myself. This association of beauty with holism and stillness becomes an issue for Lessing when dealing with more complex painted scenes. The eye might have to wander or be guided in a similar way to how Homer guides us through Achilles' shield. But the key point is that Homer can't give a holistic impression and is forced to guide us linearly, and thus attempts by poetry to imitate nature-painting and portrait-painting can seem incoherent. The possibility of having multiple types of movement within paintings, such as the implied movement of each separate figure combined with the movement of the eye across the piece, is also not explored, although he does admit the former as a sort of border-zone between the realms of Art and Poetry.

Lessing's discussion of ugliness/disgust came across as a bit unappealing (perhaps even classist?), and there was one shockingly racist passage where he expressed his disgust at Hottentot customs. It is worthwhile to look at the brief article "Laocoön and the Hottentots" by Michael Chaouli, as well as "The Figure of the Black in German Aesthetic Theory" by Sander L. Gilman, for a further discussion of this passage.

This is incredibly incisive.

It cuts right to the heart of the matter, leaving no room for ambiguity or misinterpretation. The author's words are like a sharp knife, slicing through the layers of complexity and revealing the essential truth.

It is rare to come across such a profound and thought-provoking piece of writing. It makes you stop and think, challenging your preconceived notions and forcing you to look at things from a different perspective.

The incisiveness of this article is truly remarkable, and it has the power to inspire and motivate readers to take action and make a change.

The book in question is truly excellent.

The remarkable aspect is that it features a structure that departs from the ordinary.

This unique structure sets it apart from other books in the genre.

It offers a fresh and engaging way of presenting the content, captivating the reader from the very beginning.

The author has skillfully crafted a narrative that unfolds in an unexpected yet logical manner.

This not only keeps the reader on their toes but also allows for a deeper exploration of the subject matter.

The structure serves as a framework that supports the overall message of the book, enhancing its impact and making it a truly memorable read.

Whether you are a casual reader or a serious scholar, this book's extraordinary structure is sure to leave a lasting impression.

As an artist, I have delved deep into this remarkable book and have gleaned a wealth of knowledge from it.

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The book offers unique insights and perspectives that have broadened my artistic horizons and challenged my preconceived notions.

It has made me reflect on the deeper meaning and purpose of art, and how it intersects with our understanding of the world and our place in it.

Through its engaging prose and thought-provoking ideas, I have been inspired to explore new artistic techniques and approaches, and to push the boundaries of my creativity.

Overall, this book has been an invaluable resource for me as an artist, and I highly recommend it to anyone with a passion for philosophy and aesthetics.

A classic in the literature of art, this work holds great significance. The author selects a Laocoon for a comparison test as both a poem and a sculpture have been created on the same subject. Perhaps to maintain alliteration, in the extended essay, it is referred to as 'painting and poetry.'

Lessing contends that what delights the eye is not the actual scene witnessed but the scene as imagined through the power of imagination. The essay is meant to be relished, offering the reader much to ponder. Here's a small sample of the sort of material the reader is likely to come across:

Charm is beauty in motion, and thus is less suited to the painter than to the poet. The painter can imply motion, yet his figures truly lack it. Therefore, charm in a picture turns into a grimace, while in poetry, it remains what it is, a fleeting beauty that we long to see repeated. It appears and disappears, and since we can recall a motion more vividly and effortlessly than mere forms and colors, charm must have a stronger impact on us than beauty under the same circumstances. Gotthold Ephraim Lessing, Laocoon: An Essay upon the Limits of Painting and Poetry, (Boston: Roberts Brothers, 1890), 137

For those individuals who have a keen interest in aesthetic theory, this piece is an absolute must-read.

It delves deep into the fascinating world of aesthetics, exploring various concepts and ideas that are central to the field.

Even for those who may not consider themselves experts or enthusiasts in aesthetic theory, this essay remains engaging and accessible.

The author presents the information in a clear and straightforward manner, making it easy for readers to follow along and understand.

Whether you are looking to expand your knowledge of aesthetics or simply seeking an interesting and thought-provoking read, this essay is sure to satisfy.

So, pick up a copy and embark on a journey through the captivating realm of aesthetic theory.

Though this book is very much a product of the eighteenth century, Lessing's thoughts and musings on the differences between painting and poetry are still relevant today.

Scholars interested in all the various art mediums, including television/film, painting, sculpture, performance art, plays, novels, poetry, and etc., will find use and interesting musings in Lessing's work. Here, he charges poetry and painting with the task of depicting beauty, using the Laocoön statue as his main lens.

Because it is written in a more meandering way than a nonfiction book with the same idea would be written today, it's hard to figure out which exactly Lessing decides is the "better" art form. His long digressions and considerations of other thinkers mean that each possible side is considered however.

It should be noted that Lessing mostly defines 'beauty' in a way that we might describe as emotionally moving, and 'ugly' as art that makes us uncomfortable. However, he also uses those terms to rate and describe physical beauty.

There are three big problems with Lessing's essay. Firstly, he conflates sculpture and painting into the same thing: A visual art, ignoring that they have different strengths and weaknesses. A comparison of the strengths of all three separately, that is painting v. sculpture v. poetry, would be an interesting follow up. Secondly, he conflates poetry and prose into the same thing, while generally disparaging of prose. This totally ignores the differences between them. Thirdly, he is a white guy from the 18th century in northern Europe, and so his definition of physical beauty is narrow. He believes that white is the only beautiful skin color, and there are specific requirements for women's and men's beauty. Art that doesn't depict subjects this way is considered lesser in his writing.

Unfortunately, Lessing never finished this project. He intended to write two or three more volumes but died before he could. It would be fascinating to hear where he intended to go with this and to see a further treatment of his opinions on music, plays, and performances, which he only mentions in passing in Laocoön.

This copy is the ideal one. It is a definitive translation of Lessing's writing and contains a lovely biography of him and his education. It also includes biographical information for people mentioned, long chapter notes to illuminate the references he makes, and translations of the long sections of non-English and non-German writings that he quotes.

Essential is, perhaps, the most crucial book for anyone with the aspiration to direct either on-stage or in the cinema, or to embark on a journey to become a professional artist. This remarkable volume serves as an invaluable guide, offering a wealth of knowledge and insights that are essential for success in these creative fields.

Whether you are a budding director eager to bring your vision to life on the stage or a filmmaker with dreams of making a mark in the world of cinema, Essential has something to offer. It delves deep into the art and craft of directing, covering everything from the initial concept and script development to the final execution and presentation.

For those aspiring to be professional artists, this book provides a comprehensive understanding of the creative process, including tips on how to develop your unique style, build a strong portfolio, and navigate the competitive art world. With its engaging writing style and practical advice, Essential is a must-read for anyone looking to make their mark in the world of performing arts or cinema.

I am currently engaged in crafting a more comprehensive write-up.

This particular book has proven to be quite vexing.

In order to truly understand the author's argument, one has to detach oneself as a reader and transport oneself to an entirely different aesthetic culture.

Nevertheless, it is extremely difficult to refrain from constantly pondering whether Lessing had an overly narrow perception of what visual art is capable of achieving.

Could it be that her perspective was limited, preventing her from fully grasping the vast potential and diverse manifestations of visual art?

These questions linger in the mind as one delves deeper into the text, adding an extra layer of complexity to the reading experience.

Perhaps a more in-depth analysis will shed light on these uncertainties and provide a more nuanced understanding of Lessing's views on visual art.

The text "много очень красивых деталей
Поразила 12 глава о «видимом» и «невидимом» в живописи и литературе" can be rewritten and expanded as follows:

There are numerous extremely beautiful details. The 12th chapter about the "visible" and "invisible" in painting and literature is really amazing.

It seems that this chapter explores the profound and mysterious aspects of the relationship between the visible and the invisible in these two art forms. Maybe it delves into how artists use various techniques to convey the hidden or intangible elements within their works.

Perhaps it also examines how the concept of the visible and the invisible can evoke different emotions and interpretations in the viewers or readers. This chapter might offer valuable insights into the creative process and the power of art to reveal the unseen.

Overall, it sounds like a fascinating topic that could enhance our understanding and appreciation of painting and literature.