 The phenomenon of human life thus possesses a “double character”: the physiological and the psychological. In the modern movement of culture, each dimension of human character has to find its expression within the “spirit of the time” (Obras, III: 165–66, 68, 297–98). The transformation of the modern sense of human life may be understood best from the new art of his time. Ortega perceived the artists of his day as creating a much more radical alteration in the subjective attitude of art. From the point of view of the new sense of art, human reality possesses its inner perception. This shift of emphasis in the realm of aesthetics countervailed the earlier emphasis on “naturalist”, “materialist” or “realist” factors in human life. The transition in aesthetic sensibility from nineteenth-century “realism”, and its corresponding concern with human reality, to the “new” perceptions of the early twentieth century creativity, marked for him the “dehumanization of art”. The “modern” movement culminated in a new aesthetic sensitivity—what Ortega labeled a “pure”, “artistic art”—which consciously separated its audience into groups: the “specially gifted minority” who comprehended modern art and the majority of those who found it incomprehensible. The new aesthetic sensibility of modernity, which called for the “progressive elimination of the human, all too human elements” predominant in romantic and naturalistic production, resulted in creating an art of figures instead of an art of adventures, an art that refused solely to report the world, and vowed to create it (Obras, III: 358, 355–56). This modern group of artists and critics who produced art and possessed “an organ of comprehension” denied to the majority constituted “a specially gifted minority”. A pronounced emphasis on the “psychic structure of the individual” thus became one of the primary consequences of modernity’s shift from realism and human representation.