the sky; the curved line is not a mere curve, it is the outline of a
wave. The totality of colors and lines is not a mere color and line
composition, but a marine landscape. The feeling tones of the elements
of this complex and of the complex itself are not only those of the
colors and lines as such, but of the interpretative ideas as well;
which in turn are the same as those of the corresponding real things.
The psychological process is here simple enough. The feeling tone of
the sea is carried by the idea of the sea, which now fuses with the
green color and wavy lines of the painting.

But in order fully to explain the phenomena of aesthetic expression,
it is not sufficient to show how the connection between feeling and
sensation and idea takes place; it is necessary, in addition, to explain
the nature of this connection. The feeling is not experienced by us
as what it is--our reaction to the sensations or represented
objects--but rather as an objective quality of them. The sounds are
sad, the curve tender, the sea placid and reposeful. Why is this?

The explanation is, I think, as follows. Despite their usual
subjectivity, feelings tend to be located in the objective world
whenever they are in conflict with or not directly rooted in the
personal life or character of the individual. In listening to music,
for example, feelings of despair and terror may be aroused in me who
am perhaps secure and happy; and even if the feelings are joyous, they
are not occasioned by any piece of personal good fortune--my situation
in life is the same now as before. Hence, finding no lodgment in the
ego, and having to exist somewhere, they seek a domicile in the sounds
evoking them. And, in general, works of art arouse but offer no personal
occasions for feeling, and therefore absorb it into themselves.