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... "folk art" signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or … - Arnold Hauser
" "... "folk art" signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialized. It is of the essence of this art that those who keep it in being are not only passively receptive, but normally are creative participants in the artistic activities, and yet do not stand out as individuals or claim any personal authorship of the productions. "Popular art" on the other hand is to be understood as artistic or quasi-artistic production for the demand of a half-educated public, generally urban and inclined to mass-behavior. In folk art, producers and consumers are hardly distinguished, and the boundary between them is always fluid; in the case of popular art, we find on the contrary an artistically uncreative, completely passive public, and professional production of artistic goods strictly in response to the demand for them. It is indeed a striking fact that folk art, especially folk-poetry, emerges from the ranks of those who enjoy it, whereas popular songs—the street-ballads and popular "hits"—derive from professionals belonging to and spiritually dependent upon the upper classes.
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About Arnold Hauser
Arnold Hauser (8 May 1892, Timişoara, Romania – 28 January 1978, Budapest) was a Hungarian art historian and prominent marxist in his field. He wrote on the influence of change in social structures on art.
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There is, as Tocqueville remarks, almost no political question which is not connected in some way with the imposition or the granting of taxes. At any rate, problems of taxation dominated public life in England from the end of the Middle Ages and became in the seventeenth century the immediate cause of the revolutionary movements.
Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences.
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