The Painter as Critic: Hazlitt's Theory of Abstraction
Hazlitt's early interest in painting and philosophy profoundly influenced his subsequent work as a literary critic. His view of abstraction as a process of individuation rather than generalization, developed between 1805 and 1812, was an improvement on the nominalist and conceptualist theories of the eighteenth century and anticipated the findings of modern philosophy. In its development, Hazlitt was clearly influenced by his training as a painter and his general conclusions find support in the writings of contemporary and nearcontemporary painters and art critics. His theory has important esthetic implications and provides a philosophical and psychological rationale for the new critical movement toward particularity in the evolution of which painting was a major influence. Since it was within this tradition that Hazlitt worked, it also determined the nature of his response to literature and the manner of its expression in his criticism. The influence of painting on his critical terminology suggests caution in accepting the view that music replaced painting as the dominant analogy in the literary criticism of the early nineteenth century.