Art and Life in Aestheticism: De-Humanizing or Re-Humanizing by Kelly Comfort

By Kelly Comfort

Paintings for art's sake addresses the connection among paintings and existence, among the classy and the social, and promotes the previous time period over the latter one in every one example. even though it has lengthy been argued that aestheticism goals to de-humanize artwork, this quantity seeks to think about the counterclaim that such de-humanization may also bring about re-humanization, to a deepened dating among the classy sphere and the area at huge and among the inventive receptor and his or her human lifestyles.

Show description

By Kelly Comfort

Paintings for art's sake addresses the connection among paintings and existence, among the classy and the social, and promotes the previous time period over the latter one in every one example. even though it has lengthy been argued that aestheticism goals to de-humanize artwork, this quantity seeks to think about the counterclaim that such de-humanization may also bring about re-humanization, to a deepened dating among the classy sphere and the area at huge and among the inventive receptor and his or her human lifestyles.

Show description

Read Online or Download Art and Life in Aestheticism: De-Humanizing or Re-Humanizing Art, the Artist and the Artistic Receptor PDF

Best other social sciences books

El avance del saber

El avance del saber, en los angeles medida en que es los angeles quintaesencia del pensamiento baconiano en el período de formación del autor, sintetiza admirablemente las líneas maestras de éste y exhibe ya muchos de los rasgos característicos de su obra de madurez. Gracias a su amazing difusión (conoció incluso una versión francesa en 1624), realzada por los angeles ulterior revisión del tema en De augmentis, los proyectos del Canciller fueron bien conocidos y no sintió los angeles necesidad de dar a l. a. luz ningún otro de los borradores que a l. a. sazón redactara, reservándose para su obra magna, los angeles gran restauración.

Additional info for Art and Life in Aestheticism: De-Humanizing or Re-Humanizing Art, the Artist and the Artistic Receptor

Example text

Using passages from Baudelaire’s criticism and correspondence, he demonstrates how for Baudelaire the sense of the beautiful arises from feelings within the subjective viewer, and has symbolic value in correspondences between a moral and material world that are volatile and transitory rather than fixed and eternal. Baudelaire published three essays on the Universal Exposition, later collected in Curiosités esthétiques. The first and third appeared in Le Pays of May 26 and June 3, 1855; the second, critical of the art of Ingres, was rejected by Le Pays and appeared instead in Le Portefeuille of August 12, 1855 (Claude Pichois, notes, 2: 1366).

Further, his ongoing interrogation of existing aesthetic systems and his own fashioning of a new aesthetic are instances of such a striving after materiality through language, with contact with the visual arts and art objects as model, and a resistance against an aesthetic that moves beauty away from the human sensorium. In Universal Exposition – 1855 – Fine Arts, Baudelaire is especially interested in how, in Rancière’s words, the “silent language of things or the coded language of images” Margueritte Murphy 37 makes imaginable the traits of other, non-European historical and social worlds, and the transformation of the subject-spectator that accompanies this imagining.

Here I disagree with Dallal who notes that the evanescence of the object “facilitates the detachment of Chinese art from its cultural context and specificity” (244), when the thrust of Baudelaire’s description of that encounter is to use it to imagine the object’s context. Nonetheless she sees this discussion of the object and its apprehension as evidence that Baudelaire “defines the aesthetic in terms of cultural renunciation,” like Gautier in the preface of Mademoiselle de Maupin, 40 14. 15. 16.

Download PDF sample

Rated 4.58 of 5 – based on 30 votes