By Elizabeth Prettejohn
What will we suggest after we name a piece of artwork "beautiful"? How have artists answered to altering notions of the gorgeous? which matches of paintings were referred to as attractive, and why? basic and interesting inquiries to artists and artwork fanatics, yet ones which are all too usually missed in discussions of artwork today.
Elizabeth Prettejohn argues that we easily can't find the money for to disregard those questions. Charting over 200 years of western paintings, she illuminates the important dating among our altering notions of attractiveness and particular artistic endeavors, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack. fantastically illustrated with a hundred photographs--60 in complete color--Beauty and Art concludes with a difficult query for the longer term: Why should still we care approximately attractiveness within the twenty-first century?
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Extra info for Beauty and Art: 1750-2000 (Oxford History of Art)
It doesn't, like Ruskin’s, declare to bare truths that transcend that aesthetic event; it doesn't even fake to resolve the questions raised through the image itself. but Pater exhibits how this open-ended exploration of a piece of artwork can, ironically, generate rules even wider-ranging than a notion technique that goals to hyperlink paintings to different parts of human endeavour. in addition, the cultured adventure creates a brand new murals. within the ﬁrst variation of The Oxford e-book of contemporary Verse, which he compiled and released in 1936, the poet William Butler Yeats (1865–1939) revealed a part of Pater’s passage at the Mona Lisa because the ﬁrst poem of the gathering. hence Pater’s meditation on Leonardo’s portray turned an starting up textual content for English literary modernism. within the essay on Leonardo, Pater explored aesthetic concerns that have been vital to present creative experimentation; yet he did so throughout the research of specific artistic endeavors, now not normally theoretical phrases. certainly, either Swinburne and Pater, after introducing the word ‘art for art’s sake’ in 1868, grew to become mostly to functional feedback, and for sturdy purposes. Having tested uncomplicated phrases for art’s independence, idea victorian england: ruskin, swinburne, pater 151 could cross no extra, because that might volume to delivering a common idea or deﬁnition of good looks. Pater describes his serious process firstly of the Renaissance, in phrases strongly comparable to Kant: ‘To deﬁne good looks, now not within the so much summary yet within the such a lot concrete phrases attainable, to ﬁnd, now not its common formulation, however the formulation which expresses such a lot correctly this or that precise manifestation of it, is the purpose of the real scholar of aesthetics. ’44 ‘To deﬁne good looks’ will be tantamount to prescribing a rule for the artist, anything that was once anathema to either Swinburne and Pater. This leaves entire freedom to artists; it additionally leaves them with out information. it is easy adequate to say that artwork doesn't exist for the sake of preaching an ethical lesson, of assisting a political reason, of constructing a fortune, or of 100 different goals and pursuits. yet to claim that it exists ‘for art’s sake’ is purely to copy oneself. ‘To artwork, that's top that is such a lot beautiful’, Swinburne wrote; yet that's not more necessary if we can't deﬁne the gorgeous. ‘Art for art’s sake’ doesn't, then, authorize a specific type of paintings, or supply standards for severe judgement. quite, it's the assertion of a creative query: what could artwork be like if it weren't for the sake of anything? within the absence of a basic concept of artwork or good looks, the query can simply be spoke back by means of seeing what paintings may be in a specific case; that's, in a specific murals. through an analogous token there's no the reason is, any specific case should still resemble the other; this is helping to account for the range of ways one of the English artists and writers thinking about those aesthetic experiments. In 1877 the ﬁrst exhibition was once held on the Grosvenor Gallery, based to supply a extra sympathetic setting than the Academy; between these invited to convey have been nearly all the artists linked to what critics have been starting to name ‘Aestheticism’.
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