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Arts and morals Books
Best books
Leo Tolstoy
What Is Art?
"What Is Art?" by graf Leo Tolstoy is a philosophical work completed in 1897. Tolstoy questions the very nature of art, rejecting beauty-based definitions to propose that art is anything communicating emotion—from jokes to church services. Yet his Christian moralism leads him to dismiss celebrated masters like Beethoven, Wagner, and Shakespeare, along with most of his own writings. He condemns the obscurity and artificiality of contemporary art, insisting that true art must be accessible to all and serve humanity's moral evolution by evoking brotherhood and love.
Leo Tolstoy
Che cosa è l'arte?
"Che cosa è l'arte?" by graf Leo Tolstoy is a philosophical treatise completed in 1897. In this provocative work, Tolstoy challenges conventional definitions of art, dismissing beauty as a standard and instead proposing that art is anything that communicates emotion. He controversially rejects accepted masters like Beethoven, Shakespeare, and Wagner, applying his radical Christian ethics to evaluate artworks. Tolstoy argues that true art should be accessible to all, unite humanity through shared feelings, and serve a moral purpose in human development.
Leo Tolstoy
Mitä on taide?
"Mitä on taide?" by graf Leo Tolstoy is a philosophical treatise written in the late 19th century. It examines what art is, why it matters, and whom it should serve, sharply challenging the era’s worship of “beauty” and the prestige institutions of opera, ballet, museums, and criticism. The work pushes toward an ethical, socially grounded understanding of art rather than elite entertainment. The opening of the work portrays a world saturated with arts coverage and lavishly funded cultural institutions, then contrasts this with the exhausting, demeaning labor behind a fashionable opera rehearsal—petty tyrannies, empty spectacle, and a trivial, artificial plot—while calling ballet’s erotic display immoral. From there it asks who benefits from such “art,” whether its vast costs are justified, and why criticism is so contradictory. It questions the common identification of art with “beauty,” noting how the term stretches absurdly to cooking, dress, and even smell and touch, and then surveys a cacophony of aesthetic theories (from Baumgarten and Winckelmann through Kant, Schiller, Fichte, Schelling, Hegel, Herbart, Schopenhauer, and others) to show their incompatibility and obscurity. The start thus sets up a rigorous inquiry by demonstrating that current definitions of art and beauty are confused, unstable, and ethically unmoored.
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