02777cam a22003253u 450000100060000000300070000600500170001300600020003000700050003200800410003701000130007804000110009104100170010205000060011910000380012524500290016326400510019230000470024333600260029033700260031633800360034250000310037850801770040952016630058653400570224965300150230685600680232185600430238999900190243278154UtSlPG20260610134818.0mcr n260607r20261908utu|||||o|||||||||||||| d  a09001244  aUtSlPG 7aen2iso639-1 4aN1 aGriggs, Edward Howard,d1868-195110aArt and the human spirit 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  aRelease date is 2026-03-09  aAlan, Tim Miller and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)  a"Art and the human spirit" by Edward Howard Griggs is a collection of lectures on aesthetics written in the early 20th century. It presents a clear, purposeful survey of sculpture, painting, music, and poetry, arguing that art is not a luxury, a moral sermon, or mere technique, but a vital means of expressing and enriching life. The work explores the origins of art in religion and myth, the shaping power of race and epoch alongside individual genius, and the distinct functions and limits of each art. It also champions literature’s role in liberal culture and explains how beauty refines the spirit and the “art of living.”

The opening of this work sets the course’s spirit: it corrects popular errors about art’s purpose, asserts “art for life’s sake,” and outlines a study that moves from the unity and idealizing power of the arts to their historical sources and cultural service. It sketches how early religious ritual and mythology feed later masterpieces, how race, epoch, and personality shape style, and how sculpture and painting communicate through form and color while music, unfolding in time, uniquely moves feeling and suggests the infinite. It contrasts poetry’s dual appeal to imagination and ear with the other arts, then shifts to literature’s place in liberal education, proposing four approaches—content, form, and both in historical context. Finally, it frames beauty as the harmonious marriage of form and spirit, urges active cultivation of appreciation in nature and art, and closes with the ideal that everyone can practice the highest art: the art of living. (This is an automatically generated summary.)  pOriginally published:cNew York: B. W. Huebsch, 1908  aAesthetics4 uhttps://archive.org/details/arthumanspiritme00grigiala/mode/2up40uhttps://www.gutenberg.org/ebooks/78154  c118874d118874