The Philosophy of Art of Karl Marx Quotes

“Thus the distinction between physical and mental powers is identified with the need of conscious labour. This distinction does not always take the form of inimical relationships, however. Only where the worker derives no satisfaction from his work, only where the will and the attention must overcome instinctive repugnance, only there begins the Kantian opposition between work and play. This inimical relationship between the senses and reason, between the poetical play of fantasy and the prose of life — a relationship raised by idealist aesthetics to the level of a fatal division of the human spirit — has its foundation in definite forms of production.”
― Mikhail Lifshitz, The Philosophy of Art of Karl Marx

“Hegel comprehended quite correctly the abstract character of revolutionary self-consciousness of-Fichte's 'Ego = Ego' and French 'egalite'. However, the transition from the abstract to the concrete he interpreted not as a continuous revolutionary process in which the citizens become differ­entiated and class interests concretized, but on the contrary, as an advance from the turbulence of the cosmic spirit in its 'years of discipleship' to bold reconciliation with reality.
Hegel's cosmic spirit goes through all the successive stages of the post-revolutionary 'transitory period' of bourgeois society — from Thermidor to constitutional monarchy. True enough, he subjects bourgeois society to sharp criticism; but not in its historically determined form — rather as the material aspect of a society par excellence. This negation is next declared to be abstract and in its transition from the abstract to the concrete is declared to be a return to material, sensuous existence, i.e. to bourgeois society­ with this difference, however, that the prosaic and sordid character of bourgeois relations here acquires a deep mys­tical significance as the embodiment of the active essence of the spirit. Such, briefly, is the meaning of the 'speculat­tive methods' of German idealist philosophy.”
― Mikhail Lifshitz, The Philosophy of Art of Karl Marx

“The decline of Greek democracy was brought about not by the realism of antiquity (where, according to Marx's German Ideology 'communal life was a "truth", whereas in modern times it has become an idealistic lie'). Quite the contrary, the seed of its destruction lay in the idealism of abstract civic freedom, which is incapable of mastering material development. The historical limitation of ancient sculpture was not its adherence to life, its corporeality, but on the contrary, its escape from life, its retreat into empty space. 'Abstract individuality', i.e. the atom of 'civic society', 'cannot shine in the light of existence'. The only conclusion which can be drawn from this interpretation is that freedom and material life must be united around a higher principle than the 'abstract individuality' of the atom-citizen. Or, to translate philosophy into the language, of politics, democratic demands must be given a realistic plebeian colouring, a broad mass base.”
― Mikhail Lifshitz, The Philosophy of Art of Karl Marx

“According to Hegel, both bourgeois society and the Christian state are unfavourable to the development of creative art. Two inferences may be drawn from this: either art must perish in order to save the 'Absolute State', or the latter must be abolished in order to permit a new con­dition of·the world, and a new renaissance of art. Hegel himself inclined to the first alternative. But with a slight change of emphasis the doctrine of the anti-aesthetic spirit of reality could readily assume a revolutionary character; and indeed Hegel's Aesthetik was thus interpreted by his radical followers whom Marx joined in 1837.”
― Mikhail Lifshitz, The Philosophy of Art of Karl Marx