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