YERIN KIM
The Aesthetic Of Suffering And Enlightenment: Schopenhauer’s Philosophy Of Happiness And Role Of Art
May 2025
Fine Art BA Hons Dissertation
DOI 10.20933/100001379
Except where otherwise noted, the text in this dissertation is licensed under the Creative Commons Attribution-Non Commercial-No Derivatives 4 0 International (CC BY-NC-ND 4.0) license.
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The Aesthetic of Suffering and Enlightenment: Schopenhauer’s Philosophy of Happiness and Role of Art
Fine Art (Hons)
Word count: 6533
A dissertation submitted in partial fulfilment of the requirements of a Bachelor of Arts (Hons) degree in Fine Art.
Duncan of Jordonstone College of Art and design
University of Dundee
2025
Abstract
Contemporary society is experiencing heightened levels of anxiety and conflict, which further exacerbate individuals' psychological burdens. This study explores the essence and meaning of happiness within this social context through the philosophical perspective of Schopenhauer. Schopenhauer argued that true happiness does not arise from social recognition or material success, but from inner tranquility that transcends desire. He acknowledged suffering as an essential element of life and presented a new understanding of the relationship between happiness and suffering. Today, happiness is increasingly associated with external factors such as social status, recognition, and material wealth, while media and news simplify complex realities in a binary manner, creating distorted perspectives. These distorted views of happiness foster hostility toward opposing opinions and deepen social conflicts.
This study emphasises the importance of pursuing a life of inner tranquility rather than relying on external recognition, based on Schopenhauer’s philosophy. It seeks ways to find true happiness in modern society through these philosophical insights. In particular, it discusses the role of art as an essential tool for self-reflection and spiritual enrichment, proposing the possibility of discovering hidden aesthetic values in everyday life through art. As Schopenhauer said, art allows us to discover new meanings in the things we encounter daily, and this process plays a crucial role in finding true happiness and meaning in life.
Ultimately, this study proposes a framework through which individuals and society can collaboratively pursue true happiness and aims to reinvigorate the importance of pursuing a life of inner tranquility and balance through Schopenhauer’s philosophy.
Phyllis Christopher, ‘Fairy Butch Club’ (1996), Silver Gelatine, image from queer art
Stephen Gill, ‘Trolley Portrait’ (2002), image from Tate
Maud Lewis, ‘Three Black Cats’ (1955), Oil on pulp board, 30.5 x 30.7cm Private collection.
Maud Lewis in front of her home holding one of her paintings, 1965, photograph by Bob Brooks (1927 – 2012). Courtesy of the Art Gallery of Nova Scotia, Halifax.
Introduction
The concept of happiness has been a continuous subject of philosophical discourse, from the reflections of ancient philosophers to modern thought. In contemporary society, external factors such as social status, recognition, and material success have been increasingly emphasised as key components of happiness. However, it is worth carefully considering whether these elements genuinely contribute to one’s own sense of happiness. Some argue that the emphasis on material success and social recognition may distance us from true happiness, underscoring the enduring importance of this philosophical inquiry.
Schopenhauer (1788 – 1860)'s philosophy offers a sobering insight into human existence. He argues that humans are burdened by the weight of desire and will, cautioning that external achievements, such as honour and wealth are, in fact, obstacles to true happiness. He remarked:
"All that the possession of wealth can achieve has a very small influence upon our happiness, in the proper sense of the word; indeed, wealth rather disturbs it, because the preservation of property entails a great many unavoidable anxieties."(Schopenhauer, 1951, p.17)
At the same time, he viewed suffering as an inevitable aspect of life, asserting that even the absence of suffering could lead to boredom, thereby emphasising the paradoxical nature of happiness.
"There is not much to be got anywhere in the world. It is filled with misery and pain; and if a man escapes these, boredom lies in wait for him at every corner."
(Schopenhauer, 1951, p.12)
For Schopenhauer, accepting suffering and pursuing inner fulfilment were pathways closer to true happiness. His philosophy holds significant implications in today’s materialistic society. Our generation is often described as anxious and melancholic. Professor Jonathan Haidt (2024) analysed the surge in anxiety and depression among teenagers following the rapid increase in social media and smartphone use after 2010, warning of the negative effects media can have on individuals and society. While we are aware of the detrimental impact of media, the reality of living without it in modern society presents a nearly insurmountable dilemma.
Additionally, the conflicts fuelled by hate have emerged as pressing social issues today. Numerous social movements and protests appear to fight for individual rights and freedoms on the surface yet underlying them are often struggles for social recognition and prestige. This raises critical questions about whether these movements truly strive for happiness or merely reflect battles for honour and societal approval. Hate and conflict breed more hate, forming an unending cycle.
In this context, philosophy offers essential insights. Schopenhauer stated:
"It is hardest of all in the case of philosophical works, because the result at which they aim is rather vague, and, at the same time, useless from a material point of view. They appeal chiefly to readers who are working on the same lines themselves."
(Schopenhauer, 1951, p.98)
Despite not yielding material benefits, Schopenhauer argued that philosophy forms the foundation of everything. Philosophy does not provide definitive answers to life but instead continuously poses questions about existence and the self. Through the process of seeking answers to these questions, we move beyond mere survival to truly living.
Art has long engaged with these philosophical questions and the conflicts of modern society. Many contemporary artists convey their messages in provocative or confrontational ways, reflecting societal conflicts and anxieties while positioning art as a powerful tool for social change. However, such expressions risk distorting or diluting the essence of their messages.
Art explores the paradox of human experiences, such as happiness and suffering, and deconstructs and reconstructs complex contemporary issues in diverse ways. As an extension of philosophical reflection, art can serve as a tool to help us better understand the essence of life and the concept of happiness.
This dissertation begins with a concern that the persistent surfacing of unresolved conflicts in modern society may worsen individual anxiety. It seeks to explore the fundamental origins of conflict not only from a philosophical perspective but also from physiological and psychological viewpoints. Drawing on Schopenhauer’s philosophical insights, the study will examine how art reinterprets these conflicts and questions, ultimately deconstructing the essence of happiness and the fundamental questions of human existence. What is happiness, and how should we define and pursue it? The effort to define happiness and uncover its essence remains a fundamental inquiry of human existence and an enduringly important challenge for us all.
Navigating the Complexities of Happiness, Hatred, and Self in Contemporary Society)
The concepts of happiness and unhappiness, positivity and negativity, are inherently relative, defined through mutual comparison. Just as light and shadow in art complement each other to gain their meaning, joy and suffering also derive their value through their reciprocal relationship. Human life, therefore, can be seen as a process in which happiness and unhappiness, love and separation, joy and sorrow coexist to maintain a balance. However, modern society, inundated with excessive stimuli and an overflow of information, disrupts this balance, leading to severe imbalances and anxiety in both individual lives and society at large. Endless comparisons and feelings of relative deprivation undermine inner peace and reinforce tendencies to define the self through the gaze and validation of others. This ultimately amplifies anxiety and fatigue, distorts the concept of happiness, and undermines mental stability.
The rise of the internet and social media has exacerbated these issues. Jonathan Haidt, in his book The Anxious Generation (2024), identifies the sharp increase in anxiety, depression, and low self-esteem among adolescents since 2010 as being closely linked to the rise of social media and smartphone usage. He argues that adolescents' increasing reliance on screen-based images rather than real-life human relationships has worsened the environment in which their sense of self is formed. This issue is not limited to individuals but extends to significant social anxiety and psychological turmoil.
One of the most pressing issues in the psychological complexities of contemporary society is hatred. Hatred is not merely an emotional reaction; it is deeply linked to discrimination and often serves as a root cause of social conflict. The psychological underpinnings of hatred
involve individual, social, and cultural factors, but its most fundamental origin lies in the “behavioural immune system,” an instinctive defence mechanism. This system operates as a survival instinct, prompting living beings to instinctively avoid or be wary of unfamiliar objects or environments. It is a value-neutral response, unrelated to moral judgments of good or evil (Choi, 2024).
However, when this instinctive rejection and vigilance are combined with conscious emotional interpretations, they evolve into feelings of “like or dislike.” If these feelings intensify, they may transform into hatred or obsession. Professor Jung-Gyun Choi, in his book The Genetic Determinants of Society (2024), explains hatred as an instinctive survival strategy, cautioning that excessive or distorted expressions of this response can lead to societal issues.
This instinct is a natural survival mechanism. However, humans possess advanced regions of the brain, such as the cerebral cortex and prefrontal cortex, which govern rational thinking. These developments provide humans with the ability to regulate instinctive hatred responses and to control them appropriately in social contexts. A well-known phrase asserts that “everyone is a racist.” This idea stems from neuroscience experiments that show how individuals automatically exhibit reactions of rejection or wariness when exposed to members of a race they do not favour regardless of their conscious biases. The critical aspect, however, is what happens after this automatic response. In individuals who oppose racism, the prefrontal cortex processes this reaction rationally, reducing and neutralising it rather than allowing it to escalate (Amodio, 2014).
Beyond instinctive and biological factors, a significant driver of hatred is the projection of self-hatred. Self-hatred arises when individuals feel dissatisfied with their own inadequacies
or decisions and fail to reconcile these feelings internally (Yao, 2022). When these negative emotions are not processed properly, they are externalised, often manifesting as hatred or aggression toward others.
In his seminal work, The World as Will and Representation (2000), Arthur Schopenhauer identified the root of human suffering as insatiable desire. He argued that relinquishing expectations of the world and letting go of desire could liberate individuals from suffering. His philosophy, heavily influenced by Buddhism and the Upanishads, offers transcendence of desire and inner peace as the path to genuine happiness (Hong, 2018).
However, Schopenhauer's life was rife with contradictions that mirrored the very elements he criticised. Ironically, he was born into material wealth as the son of a prosperous merchant, and he lacked the resolve to fully extricate himself from such an environment. While he viewed himself as a "worm," he simultaneously craved public recognition and admiration, driven by a deep desire for fame (Hong, 2018).
This paradox is vividly illustrated in his personal experiences. When The World as Will and Representation sold fewer than 100 copies upon its initial publication and garnered little attention, he strongly criticised his publisher and expressed significant dissatisfaction. Later, he pressed for profits from the book to fund a celebratory trip to Venice, seeking validation from Europe's elite and intellectual circles (Hong, 2018). Schopenhauer's disdain for humanity and his distrustful attitude toward others also extended to women, against whom he harboured extreme prejudice. Despite his dependence on his mother and domestic servants for comfort in his daily life, he sought to justify his negative views of women through his philosophy. This revealed his inability to free himself from the "shackles of desire" he so fervently criticised.
Schopenhauer's contradictions necessitate a nuanced perspective on his philosophy. The gap between his ideas and his life cannot simply be dismissed as personal flaws. Rather, these contradictions underscore the humanity of his thinking, as his philosophy confronts the frailties and imperfections of human nature. Ultimately, his philosophy is less an abstract ideal and more a testament to the internal conflicts and limitations he faced.
Hatred of others is, at its core, a failed strategy to "preserve" oneself. There is no need to affirm one's value by focusing on others' shortcomings or misdeeds. One's existence and worth are independent of others, and there is no reason to measure oneself through comparison with them. Those with a healthy self-awareness refrain from engaging in irrational or unjustified hatred of others. In this sense, resolving hate rooted in projection begins with self-reflection. By recognising that the fundamental causes of such hatred lie within rather than with the external target, we can take the first step toward addressing it (NEFF,2010)
In contemporary society, hate has evolved from a simple emotional reaction into a more complex phenomenon, shaped by the intersection of inner human conflict and social structures. So, why do we feel hurt when we are subjected to hate? First, it is because we perceive that our honour has been damaged. Second, it is because we recognise that others' words or evaluations have a direct impact on our sense of self. The desire for honour and recognition is one of humanity's fundamental psychological needs, reinforcing our awareness of how others perceive us. This often weakens the self rather than strengthening it, and, as Schopenhauer criticised, leads individuals to lose themselves in the crowd.
In particular, contemporary platforms like social media foster an environment where anonymity disperses responsibility and encourages conformity and imitation. This weakens
critical thinking and strengthens uniform reactions and behaviours within the group. Such an environment, swept up by collective trends, undermines reason and threatens independent thinking (Le Bon, 1895). In this context, Schopenhauer emphasised the importance of independent thought and a critical attitude, stating:
“When we come to see how superficial ad futile are most people’s thoughts, how narrow their ideas, how mean their sentiments, how perverse their opinions, and how much of error there is in most of them we get really indifferent to it” (Schopenhauer, 1951, p.53)
This obsession with honour is often exploited as a political and social tool. For example, Russia's invasion of Ukraine and the incitement of hatred toward LGBTQ individuals illustrate how easily hate can be mobilised for political purposes (crisis24, 2023). The instinctive reaction of hate within humans becomes a weapon in the hands of political forces who manipulate it for their own gain. Therefore, it is essential to constantly reflect on whether our actions truly arise from our will or are manipulated by external stimuli.
In fact, honour is not derived from others' opinions about our value, but from whether or not they choose to express those opinions. If no one expresses their opinion, our honour remains intact. However, if the other person devalues us out of malice or foolishness, we feel our honour is easily tarnished. Schopenhauer commented on this, saying:
“A man who is quite sure that he has done nothing to deserve a reproach may treat it with contempt. The theory of honour demands that he shall show a susceptibility which he does not possess and take bloody vengeance for insults which he cannot feel.” (Schopenhauer, 1951, p.84)
This suggests that the obsession with honour and recognition is essentially illusory, and ultimately, it can weaken human consciousness. Tacitus (2009) pointed out that "even the wise find it hardest to shake off the desire for honour," highlighting how difficult it is to resist this instinct. However, Schopenhauer argued that when confronted with vulgar or unpleasant people, one should not view them as sources of anger, but rather as subjects for understanding. He stated, "Your enemies can never be your friends," adding that complaining about them is meaningless. He believed that when facing foolishness, one should consider it not as a mere object of anger, but as an essential element in studying human nature.
(Schopenhauer, 2013)
Phyllis Christopher's artistic work also raises similar concerns. Phyllis Christopher’s photography goes beyond simple stimuli to capture the history and social context of the LGBTQI+ community. Growing up in a working-class household, Christopher sought to
Fig 1.1 Phyllis Christopher, ‘Fairy Butch Club’ (1996), Silver Gelatin, image from queer art
explore her social position and self-identity through art. Her photographs, particularly those taken during the height of the AIDS crisis and periods of intense social repression, document the lives and cultures of LGBTQI+ communities, conveying messages of solidarity and liberation (Christopher, 2024). Although her work embodies powerful messages of resistance to social oppression and personal liberation, the use of provocative expressions may lead to public misunderstandings. For those unfamiliar with the LGBTQI+ community, such provocative expressions might foster the misconception that the community solely pursues sexual freedom, potentially reducing its rich and diverse identity to mere sexual liberation.
Sometimes, there can be righteous anger rather than unjust hatred. In such cases, Schopenhauer says:
“If you want your judgement to be accepted, express it coolly and without passion. All violence has its seat in the will; and so, if your judgement is expressed with vehemence, people will consider it an effort of will, and not the outcome of knowledge, which is in its nature cold and unimpassioned.” (Schopenhauer, 1951, p.78)
Ultimately, what we need in modern society is consideration and empathy for others. Since everyone carries their own struggles, it is important to approach issues with sensitivity and caution rather than being provocative. An attitude that tries to assert itself through the loudness of one’s voice only obscures the fundamental issues, amplifies conflicts, and ultimately hinders finding real solutions. To genuinely practice consideration and empathy for others, one must first fill the emptiness within and establish their own philosophy. When selfreflection and values become solidified, we can finally have the space and depth to understand and care for others. Remembering that life's difficulties and disasters come to everyone, when
we restrain unnecessary desires, manage our anger, and maintain a patient and enduring attitude, our inner selves gradually become stronger.
Schopenhauer’s view on Happiness: The Interplay of Character, Suffering, and Boredom
Schopenhauer argued that the very concept of "happiness" might be nothing more than rhetorical ornamentation, defining happiness instead as a "less unhappy state," or simply a "bearable life." His philosophical perspective, which frames the essence of human life as suffering yet emphasises a composed and contemplative approach to that suffering, resonates in certain ways with Eastern Buddhist philosophy. Given the frequent moments of conflict and difficulty arising from clashing desires in life, Schopenhauer's views can deeply connect with contemporary audiences. However, rather than merely resting within the confines of his philosophy, there is a pressing need to reinterpret his ideas through the lens of individuality and the beauty of self-expression, bringing them to life in practice.
"No one can get beyond his own individuality."(Schopenhauer,1951, p.14)
In his work Parerga and Paralipomena (1951), Schopenhauer highlights "character" as the most significant factor in human happiness. He believed that pleasure and displeasure, as internal sensations, stem solely from an individual's thoughts and emotions, existing only within the mind. While external circumstances can potentially influence an individual, their impact on emotional states is indirect. According to Schopenhauer, even in the same environment, people live within their own subjective worlds.
The world each person inhabits is fundamentally shaped by their worldview, which is governed by their thinking and perception. For instance, two readers interpreting the same book might draw entirely different meanings from it, resulting in one person's world being monotonous and impoverished while another's rich and exhilarating. Schopenhauer advised those envious of others' fascinating experiences to instead envy the capacity to recognise the significance of those experiences and express them insightfully. He stated:
"On hearing of the interesting events which have happened in the course of a man’s experience, many people will wish that similar things had happened in their lives too, completely forgetting that they should be envious rather of the mental aptitude which lent those events the significance they possess when he describes them."
(Schopenhauer, 1951, p.12)
This phenomenon can be explained by the dual composition of reality: subjective and objective elements. No matter how impressive external circumstances might be, the absence of a rich subjective perspective diminishes the value of those realities. This could be likened to trying to capture a breathtaking landscape with a low-quality camera, where the beauty is evident but the full potential is lost in the result. Ultimately, Schopenhauer reveals that a person's inner consciousness is a far more essential factor in happiness than external conditions. He emphasises this point:
"Every man is pent up within the limits of his own consciousness and cannot directly get beyond those limits any more than he can get beyond his own skin; so external aid is not of much use to him... Since everything which exists or happens for a man exists only in his consciousness and happens for it alone, the most essential thing for a man is the constitution of this consciousness, which is in most cases far more important than the circumstances which go to form its contents." (Schopenhauer, 1951, p.13)
Schopenhauer identifies two primary obstacles to human happiness: suffering and boredom. He describes life as an unending oscillation between these two states. Poverty and deprivation lead to suffering, while stability and excess give rise to boredom. Humanity strives to escape suffering, yet when suffering is alleviated, boredom inevitably takes its place an indication that achieving perpetual satisfaction is beyond human capacity.
Leisure, Schopenhauer argued, provides an opportunity for individuals to develop and fulfil themselves, but only those with a profound awareness of their own being can find happiness in such moments. Most people, however, fail to use their free time effectively, succumbing instead to boredom and self-loathing. He articulates this succinctly:
"What do you get from most people’s leisure? – Only a good-for-nothing fellow, who is terribly bored and a burden to himself." (Schopenhauer, 1951, p.30)
Within the essential conditions of human life, Schopenhauer asserts:
"Now, the original purpose of the forces with which nature has endowed man is to enable him to struggle against the difficulties which beset him on all sides."
In this context, he emphasises that happiness is not a reward following suffering or an accumulation of immense pleasures. Rather, it is merely the absence of suffering a state of tranquility and peace. Aristotle (1895) also recognised this in his Nicomachean Ethics, writing:
"Not pleasure, but freedom from pain, is what the wise man will aim at."
Schopenhauer echoed this sentiment:
"The wise men will, above all, strive after freedom from pain and annoyance, quiet and leisure; consequently, a tranquil, modest life with as few encounters as may be."
(Schopenhauer, 1951, p.27)
Ultimately, both Schopenhauer and Aristotle conclude that the happiest life is not one filled with overwhelming pleasures but one free from severe mental and physical suffering.
The Pursuit of Happiness: Schopenhauer and The Easterlin Paradox
Arthur Schopenhauer once remarked, "Respect is not paid in this world to that which has real merit, it is reserved for that which has none" (Schopenhauer, 1951, p.). He criticised the socalled “good society” for recognising every claim except intellectual competence.
Schopenhauer argued that individuals should focus on maintaining and developing a healthy mind rather than pursuing material possessions or fame, which he believed would ultimately lead to futile outcomes. In his philosophy, happiness is determined by how much an individual cultivates spiritual and intellectual wealth.
However, in modern society, many people invest their efforts in pursuing material achievements rather than fostering intellectual or mental growth. This tendency is often expressed through behaviours aimed at alleviating boredom, such as excessive consumption of alcohol, drugs, or temporary relationships. By seeking transient pleasures, individuals attempt to fill the void within, only to encounter solitude and emptiness, which eventually result in wasteful indulgence. Schopenhauer aptly described this phenomenon:
"The inner vacuity of soul drives people in quest of society, diversion, amusement, and luxury of every sort, leading many to extravagance and misery" (Schopenhauer, 1951, p.26).
Even those who succeed in accumulating material wealth often find themselves unable to achieve true happiness without cultivating spiritual richness. Schopenhauer's perspective finds an economic parallel in Richard Easterlin’s analysis, which explains why income alone does not guarantee happiness.
Fig 2.1 “The Easterli Paradox”, p.24
Easterlin articulated this concept in his renowned theory, the Easterlin Paradox, stating:
"The Easterlin Paradox states that at a point in time, happiness varies directly with income, both among and within nations, but over time, happiness does not trend upward in correspondence with income growth" (Easterlin, 2020).
This paradox arises because people evaluate their income not as an absolute figure but in comparison to the income of others a concept Easterlin identified as social comparison. He
argued that social comparison undermines human happiness, creating a pervasive cycle of dissatisfaction (Easterlin, 2021).
Easterlin’s survey data supports this claim, showing that despite increases in income, people’s overall life satisfaction often remains stagnant or even declines. Easterlin explained that the impact of rising income on happiness is limited because as personal income increases, so does the reference level, or the income of others. Thus, the net effect of income growth on happiness is marginal (Easterlin, 2021).
Fig 2 2 “The Easterli Paradox”, p.28
Ralph Waldo Emerson captures this idea succinctly: "Desire is like a growing giant; it has never yet had clothes large enough to cover it" (Emerson, as cited in Easterlin, 2020). This observation highlights the ever-present gap between what individuals have and what they desire.
Social comparison is not limited to income; it permeates almost every aspect of life. For instance, a student who receives an A grade may initially feel joy, but that joy diminishes upon learning that most of their peers also received A grades. This example demonstrates how individuals tend to assess their achievements through subjective comparison rather than objective criteria. Social comparison, therefore, plays a significant role in shaping relative happiness and explains why material abundance or external success cannot guarantee lasting happiness.
Schopenhauer's critique of materialism and social comparison resonates with the Persian proverb:
"Though from the grasp all worldly things should flee, Grieve not for them, for they are nothing worth. And though a world in thy possession be, Joy not, for worthless are the things of earth. Since to that better world this is given to thee, To pass, speed on, for this is nothing worth" (Schopenhauer, 1951).
Through experience, we learn that happiness and pleasure are like mirages illusory and fleeting. Schopenhauer emphasised that only one’s character constitutes their true self, accompanying them even in solitude. Unlike external possessions, which are transient and subject to external forces, character remains an individual’s only enduring asset (Schopenhauer, 1951).
In this regard, Schopenhauer’s philosophy is profoundly compelling. He argues that while transient pleasures may distract us momentarily, they fail to address the deeper void within. True fulfilment lies in nurturing the intellect and spirit elements immune to the whims of societal validation or material accumulation.
The Role of Art: Personal Transformation and the Discovery of Beauty in Everyday Life)
The essence of art is multi-layered and complex, leading to numerous philosophical interpretations. Jean-Paul Sartre viewed art as a means of expressing individual freedom (Sparknotes, n.d.), while Claude Lévi-Strauss argued that art reflects social and cultural rules (Painterskeys, 2009). Art is inherently subjective, making it impossible to define simply. For this reason, the question "What is art?" has sparked a variety of interpretations over the centuries. Art, therefore, is a topic that defies simple definition, and it has been approached from various perspectives depending on the era, culture, and social context.
Art has often played a role in promoting social progress and cultural diversity, challenging absurd structures, institutions, and resisting established norms. The idea that art functions as a mirror reflecting society has been posited by many philosophers and artists over time. However, the debate about whether art can truly change the world continues. Artist Jeremy Deller claims that while art can reflect society, it does not necessarily bring about social change. He said:
“I think art can be a great reflection of society, but whether that means it changes is another matter. Because if that's the case, then why don't we live in an ideal society?
Because all these artists have been making great art for years and years and yet there's still a mess. So, in a sense, we've proved our case that we can't change things for the better throughout. But I think we change individuals; The trajectory of their lives can be changed through art and through culture” (Louisiana Channel, 2015).
As Deller suggests, art may have limitations when it comes to fundamentally altering societal structures. However, the impact art has on individuals' inner lives and perceptions is undeniably significant. Art can be an important tool for opening up new possibilities in an individual’s life. It is crucial in that it extends beyond society to trigger personal change and enrich individual lives.
Arthur Schopenhauer once said, "The problem is not to see what no one has seen, but to think what no one has thought about what everyone sees" (Schopenhauer, 2000). We should remember his philosophical insight that “I exist first, and then the world exists.”
Schopenhauer argued that human perception and experience greatly influence how we see the world. Art serves as an important medium that facilitates the transformation of these experiences.
Because everyday life is broad and individual, the phrase "inspired by everyday life" might sound vague to someone unfamiliar with the artist's life. However, people have the ability to find beauty in the everyday lives of others. This is significant in that it shows that we can find aesthetic value even in the ordinary moments of daily life that we often overlook.
Stephen Gill's work is an important example of discovering aesthetic value in everyday life, effectively illustrating Schopenhauer's philosophy. Schopenhauer argued that "new theories can be discovered in everyday objects." Gill found aesthetic potential in the entirely ordinary object of the trolley and elevated it into art. His work is not merely about documenting everyday moments but about drawing out hidden beauty within them and assigning new meanings to ordinary objects. This approach aligns with Schopenhauer’s statement that "even trivial things in daily life can evoke new aesthetic sensibilities." In other words, by focusing
Fig 3.1 Stephen Gill, ‘Trolley Portrait’ (2002), image from Tate
on the trolley, a commonplace object, Gill opened a new path for artistic exploration and provided the audience with a new perspective to discover beauty in the everyday.
Gill's Trolley Portraits series (2002) clearly demonstrates this perspective. He captured everyday moments on the streets of East London, focusing on ordinary people and shopping carts. His work does not simply record street scenes and people; instead, it portrays their unique dignity and stories, encouraging the viewer to discover new beauty within familiar surroundings (The Gentle Author, 2021). Through this series, Gill creatively explores the visual and aesthetic potential hidden in everyday things and presents a new interpretation of ordinary objects. As Schopenhauer suggested, art requires the ability to find new theories and meanings even in the most ordinary things, and Gill's work explores exactly this artistic value.
Gill's work can be better understood in the context of advice he received from a physiotherapist to purchase a trolley, which sparked an entirely new artistic concept for him. This ordinary object, the trolley, led to a completely new artistic vision. Similarly, Schopenhauer’s assertion holds true: "You cannot see in another person more than what you have in yourself, and your intelligence strictly determines the extent to which they can be grasped by your understanding" (Schopenhauer, 1951). This means that new perceptions of things or people are made possible through experience. After experiencing the simple trolley, Gill began to see it from a new perspective, and his work was the result of this changed perception.
Gill's work demonstrates the process by which an artist discovers new perspectives in ordinary objects. Schopenhauer argued that an artist has the ability to "look at the world with a new perspective based on their experiences." As such an artist, Gill saw the ordinary trolley
in a new light and transformed it into an artistic expression, realising the philosophical theme that "new aesthetic values can be found in ordinary things."
Furthermore, Gill’s approach is unique when compared to traditional artistic themes. Street photography or portraits typically focus on people or significant moments, but Gill chose to focus on the everyday object of the trolley and reimagined it as art. This challenges existing prejudices about the subjects of art, and through the ordinary object, Gill offers us a new way of seeing. What he presents is not just a picture of an object, but a visual representation of the meaning embedded in that object and the world as he sees it.
Gill’s work also has a profound impact on the audience. By elevating the ordinary object of the trolley into art, he encourages viewers to look at everyday objects they might usually overlook from a fresh perspective. In this way, Gill’s work helps us realise that artistic value can be found in the things we encounter daily. Art is not limited to special subjects; it is the process of discovering beauty in the ordinary and visually expressing it, which Gill's work beautifully demonstrates.
Ultimately, Gill's Trolley Portraits series presents a new perspective on ordinary objects, helping us find aesthetic value in things we might otherwise ignore and telling the stories hidden within them. This aligns with Schopenhauer's idea that art can find deep meaning and aesthetic sensibility even in the most trivial aspects of everyday life, conveying an important message about the power of art to uncover beauty in the most mundane objects.
Fig 3.2 Maud Lewis, ‘Three Black Cats’ (1955), Oil on pulp board, 30.5 x 30.7cm Private collection
Maud Lewis (1903-1970) is an artist who can be seen as a true embodiment of Schopenhauer’s philosophy of happiness. Maud Lewis was a Canadian folk artist. Despite suffering from congenital disability and rheumatoid arthritis, which caused her to live in constant pain and eventually become unable to leave her home, she found joy and meaning in life through painting. Even as her hands became deformed by arthritis, she continued to paint until her death. Her life was a triumph of finding freedom and happiness through art, despite physical limitations (Maudlewis, n.d)
Lewis created a free world in a small 10x12-foot cottage, despite her physical restrictions and pain. Her work transformed her simple surroundings into vibrant and colourful landscapes, conveying a message of positivity and joy about life. She said, "I’m satisfied here. As long as I have a brush in front of me, I’m okay," showing that she found happiness not in material
wealth or external success, but in the act of painting itself. From her work, we can see a life philosophy that seeks true satisfaction and joy through art, rather than through the pursuit of material success (Cronin,n.d).
Fig 3.3 Maud Lewis in front of her home holding one of her paintings, 1965, photograph by Bob Brooks (1927 – 2012). Courtesy of the Art Gallery of Nova Scotia, Halifax.
Later, Lewis became famous, receiving requests for TV appearances and even the White House, but she never sold her work for more than $10, and some pieces were even traded for grilled cheese sandwiches. While Claire tried to expand her art market, Lewis rejected this, never using her art as a tool for commercial success. She found satisfaction in painting itself, transcending desires for money and fame. Schopenhauer emphasised that "for the highest,
most varied and lasting pleasures are those of the mind.," and Lewis embodied this principle through her art (Schopenhauer, 2000).
Her work continues to evoke a childlike vitality. The reason for this is what Schopenhauer called "cheerfulness." She, when cheerfulness knocks at her door, throws it wide open. Cheerfulness never comes uninvited. Schopenhauer (1951) argued that we often hesitate to accept joy, as we wish to be certain we have every reason to feel satisfied; afterward, we fear that happy feelings might interfere with serious reflection or important worries. Her work, however, shows no hesitation in welcoming joy. Through her work, we can understand how she viewed the world. The style that emerged from her untrained heart evokes nostalgia in all of us, allowing us to feel the pleasant flow of positive energy and briefly enjoy the scent of happiness.
The film Maudie offers a poignant yet uplifting portrayal of its subject, capturing both the physical challenges and the profound resilience of Maud Lewis. By authentically depicting her disability and struggles, the movie also emphasises her warmth, humour, and indomitable spirit, presenting her not simply as a woman with disabilities but as someone who discovered joy in life despite them. As Harty (2017) notes, the film invites audiences to witness Lewis's journey through a lens of compassion and admiration, leaving them deeply moved. As Tomris Laffly (2017) from Time Out puts it, "Maudie breaks your heart with its infectious positivity." The works of Stephen Gill and Maud Lewis demonstrate that beauty and meaning can be found even in the everyday moments we often overlook. Schopenhauer famously stated, "Actions are fleeting, but works of art remain. A genius's work lives on beyond generations, leaving a noble and beneficial impact" (Schopenhauer, 1951, p.92). In addition, he emphasised, “As fame and youth are too much for a mortal at one and the same time… There
is no greater consolation in age than the feeling of having put the whole force of one’s youth into works which still remain young” (Schopenhauer, 1951, p.103). These words underscore the enduring power of art, which transcends the limitations of time and the pursuit of fame, offering both a legacy and a sense of fulfilment.
Art, in this sense, serves as a catalyst for transformation. It helps us see the world with fresh eyes, encouraging us to discover beauty in the simplest moments and to appreciate the unique narratives that make up our lives. Through art, we are reminded to reflect on the overemphasis placed on material success and external recognition in modern society. Ultimately, it calls us to recognise that even within constraints, joy and meaning can be found a lesson embodied in the works of both Gill and Lewis.
Conclusion
The current dissertation explores the intricate connections between happiness, suffering, art, and self-reflection in modern society, presenting an in-depth discussion through Schopenhauer’s philosophical perspectives and contemporary examples.
Schopenhauer defined happiness not simply as the absence of suffering but as the ability to manage and transcend suffering in a balanced way (Schopenhauer, 1951). He argued that true happiness is not derived from material success or external recognition but from personal inner growth and spiritual richness. Modern society distorts the essence of happiness through materialism and a comparison-driven value system, compelling people to relentlessly pursue fleeting pleasures and external achievements. However, such pleasures can only provide temporary satisfaction and fail to address inner emptiness. As evidenced by the Easterlin Paradox, income and material abundance do not directly correlate with happiness; instead, endless desires and comparisons often lead to ennui and dissatisfaction (Easterlin, 2000). Therefore, true happiness is not a given gift but something to be discovered through independent thinking, reflection, and enlightenment.
In contemporary society, suffering arises not solely from material deprivation but also from new forms of comparison and self-distortion driven by digital technology and social media (Haidt, 2024). Even if the internet and social media were to disappear, suffering would persist in other forms. The only way to break this vicious cycle can be inspired by Descartes’ philosophy. Before asserting "I think, therefore I am," Descartes emphasised the process of doubt: "I doubt, therefore I think" (Descartes, 2022). This highlights the importance of questioning and redefining our taken-for-granted beliefs and desires, empowering individuals
to think critically, choose consciously, and live actively. Ultimately, inner conviction and autonomous thinking become the key to true happiness.
Furthermore, this paper concretises these philosophical insights through the role of art. Art is not merely a reflection of society or an expression of the external world but a means of discovering meaning within the human soul and everyday life, offering new perspectives. Stephen Gill’s Trolley Portraits (2002) series reveal the unique beauty of mundane objects like shopping carts, encouraging us to find value in overlooked aspects of daily life. This demonstrates how art can redefine the aesthetic potential of ordinary moments.
Additionally, the life and works of Maud Lewis illustrates the profound satisfaction and freedom art can provide, even in the face of adversity. Despite her congenital disabilities and hardships, she found happiness not in material success or external recognition but in the act of creation itself. Her paintings transform simple, everyday landscapes into vibrant worlds, reminding us of the joy and meaning that can be found in daily life. As Schopenhauer noted, art enables us to “discover what no one has thought of in what everyone sees,” offering us new perspectives and inspiration (Schopenhauer, 1951).
Ultimately, art transcends its role as a mere social tool or commercial product, serving as a vital means for self-reflection and spiritual enrichment. Art does not aim to escape painful realities but instead generates new meanings and joys within them.
Life is inherently filled with suffering and uncertainty, yet this suffering can be managed and transcended through inner growth and enlightenment. True happiness arises not from external validation but from inner strength, and art plays a significant role in this process. The ability to confront and transcend suffering, along with the power of art to uncover aesthetic value in
ordinary moments, serves as a crucial guide in our quest for genuine happiness and meaning in modern society.
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