The Organicist says to all of this that art is really a class of organic wholes consisting of distinguishable,
albeit inseparable, elements in their causally efficacious relations which are presented in some sensuous
medium. In A. C. Bradley, in piece-meal versions of it in literary criticism, or in my own generalized
adaptation of it in my Philosophy of the Arts, what is claimed is that anything which is a work of art is in its
nature a unique complex of interrelated parts—in painting, for example, lines, colors, volumes, subjects, etc.,
all interacting upon one another on a paint surface of some sort. Certainly, at one time at least it seemed to
me that this organic theory constituted the one true and real definition of art.