List the Eight Art Terms Represented in Elizabeth Murrayã¢ââ¢s Painting âââthe Sun and the Moonã¢ââ?
"Art should be independent of all clap-trap - should stand lone [...] and appeal to the creative sense of centre or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism and the like."
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"at that place neither exists nor tin can be any work more thoroughly dignified, more supremely noble, than... this verse form written solely for the poem's sake."
"50'art pour l'fine art without purpose, for all purpose perverts art."
"Art for fine art's sake, with no purpose, for any purpose perverts art. Merely art achieves a purpose which is not its own."
"Nothing is actually beautiful unless it is useless; everything useful is ugly, for information technology expresses a demand, and the needs of homo are ignoble and icky, like his poor weak nature. The most useful place in a house is the lavatory."
"...in general, whenever something becomes useful, it ceases to be beautiful."
"Art for art's sake is an empty phrase. Fine art for the sake of truth, fine art for the sake of the adept and the beautiful, that is the faith I am searching for."
"All art is quite useless."
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"The vulgar herd stroll through the rooms and pronounce the pictures 'nice' or 'splendid.' Those who could speak have said nothing, those who could hear have heard nothing. This condition of fine art is called "art for fine art's sake." This neglect of inner meanings, which is the life of colours, this vain squandering of creative ability is called "fine art for art'due south sake."
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"This thought of art for art's sake is a hoax."
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"...the autonomy of fine art is a category of bourgeois society. Information technology permits the description of fine art'due south detachment from the context of practical life every bit a historical development - that among the members of those classes which, at least at times, are free from the pleasures of the need of survival, a sensuousness could evolve that was not part of any needs-ends relationships."
Summary of Art for Art'south Sake
Taken from the French, the term "l'art pour l'fine art," (Art for Fine art's Sake) expresses the idea that fine art has an inherent value independent of its subject-thing, or of whatsoever social, political, or ethical significance. Past contrast, fine art should be judged purely on its own terms: according to whether or not information technology is beautiful, capable of inducing ecstasy or revery in the viewer through its formal qualities (its apply of line, color, pattern, and so on). The concept became a rallying cry beyond nineteenth-century Britain and French republic, partly as a reaction confronting the stifling moralism of much academic art and wider society, with the author Oscar Wilde maybe its most famous champion. Although the phrase has been little used since the early twentieth century, its legacy lived on in many twentieth-century ideas apropos the autonomy of fine art, notably in various strains of formalism.
Key Ideas & Accomplishments
- The idea of Art for Fine art's sake has its origins in nineteenth-century France, where information technology became associated with Parisian artists, writers, and critics, including Théophile Gautier and
- Although Art for Art's Sake withdrew from all political and ideological concerns, it was nonetheless radical in rejecting the moralizing standards of its solar day. Artists such every bit Aubrey Beardsley delighted in shocking polite taste through images which had sexual or grotesque overtones. In this regard, Art for Art'southward Sake was oft implicitly radical, and its program of seeking scandal informed the more than politically charged activities of subsequent movements such as Dada and Futurism.
- Although the term Art for Fine art'southward Sake roughshod out of favor past the terminate of the nineteenth century, the idea it stood for - that art had a value which stood autonomously from bailiwick-affair, purely connected to formal qualities such as line, color, and tone - remained highly significant. Some such notion is at the ground of all abstraction, for instance. Art for Art Sake can thus be seen to take predicted the piece of work of artists such as Wassily Kandinsky, for example, likewise as the work of the Abstract Expressionists.
Overview of Art for Art'south Sake
While some demanded that art but focus on aethetics (and be devoid of morality and the like), others, such as the famous author George Sand said: "Talent imposes duties. Art for the truth, fine art for the good, art for the beautiful - that is the religion I seek."
Exercise Not Miss
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The Aesthetic Move emerged first in Britain in the belatedly-nineteenth century. Inspired past a rejection of previous styles in both the fine and decorative arts, its adherents were committed to the pursuit of dazzler and the doctrine of 'fine art for art's sake'. Assertive that art had declined in an era of utility and rationalism, they claimed that art deserved to exist judged on its ain terms alone.
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Dada was an artistic and literary movement that emerged in 1916. It arose in reaction to World War I, and the nationalism and rationalism that many thought had led to the State of war. Influenced past several avant-gardes - Cubism, Futurism, Constructivism, and Expressionism - its output was wildly various, ranging from performance art to poesy, photography, sculpture, painting and collage. Emerging first in Zurich, information technology spread to cities including Berlin, Hanover, Paris, New York and Cologne.
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Formalism is an approach to interpreting art that emphasizes qualities of grade - color, line, shape, texture and then forth. Formalists generally argue that these are at the heart of fine art'southward value. The belief that form tin can be detached from content, or subject affair, goes back to antiquity, just it has been particularly of import in shaping accounts of modern and abstruse art. In recent decades formalism has met with resistance, and a range of other approaches, including social and psychoanalytic, take gained popularity.
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Modern Art is a period of art making that promoted the new and industrial world, free from derivation and historical references. And for the new to exist possible, sometime ideas about fine art were often altogether abased, or deconstructed.
The Important Artists and Works of Art for Art's Sake
La Ghirlandata (1873)
A woman delicately plays a harp while two angels circle pensively above her head. The rich velvet of the woman's green dress flows into the luxurious vegetation that surrounds her, her striking carmine pilus echoed past the garland of flowers and the angels' auburn locks. William Michael Rossetti, the blood brother of the creative person, translated this work's as "The Garlanded Lady" or "Lady of the Wreath," with Alexa Wilding, the model depicted in the eye of the piece of work, portrayed as the ideal of love and dazzler.
This is a painting by Dante Gabriel Rossetti, a British artist associated with both Aestheticism and the Pre-Raphaelite brotherhood, and known for his tempestuous and frequently exploitative romantic relationships with female models and artists. This work's championship, along with the idealized treatment of bailiwick matter, may be intended to evoke the spirit of Leonardo da Vinci's Mona Lisa (c. 1503-19), then often known as La Giaconda ("the happy 1" or "the jocund one"), and revered past critics associated with Art for Art's Sake such as Theophile Gautier and Walter Pater. In effect, Rossetti may take meant his idealized beauty to get an icon for the Aesthetic motion just as the Mona Lisa had become an icon of Renaissance fine art.
In its guide to the work, the Guildhall Fine art Gallery notes that the painting ushered in "a new aesthetic of painting," every bit every chemical element contributed to the elevation of beauty. William Michael Rossetti wrote that his brother's intent was to "to indicate, more than or less, youth, beauty, and the faculty for art worthy of a celestial audience, all adumbral by mortal doom." In this respect, the painting summed up the "Cult of Beauty" for which the Pre-Raphaelites stood, and represents an of import contribution to the principles of Art for Art's Sake.
Nocturne in Blackness and Gold: The Falling Rocket (1874)
This iconic painting depicts a firework brandish at Cremorne Gardens in London. A few shadowy figures can be discerned in the foreground, depicting the shore of the Thames River, but most of the canvas is given over to the black night sky, lit up by the rocket'due south falling golden sparks and the explosive smoke from the firework battery on the horizon. With its dreamy launder of colour and abstracted figures, this painting represented the emergence of a new approach within painting which emphasized the artist's freedom to represent a mood or emotion at the expense of representational accurateness.
This painting, the last in Whistler's series of and then-called "nocturnes," became important talismans of the idea of Art for Art's Sake, with the creative person stating that "[a]rt should be independent of all clap-trap - should stand alone, and appeal to the artistic sense of center or ear." Colour and mood were crucial to Whistler's work, with his paintings oftentimes adjoining on abstraction, while his titles oftentimes used musical terms such as "nocturne" and "harmony" to insist on painting'south human relationship to other artforms, particularly music, which had a 'pure' aesthetic quality not connected to themes or symbolism.
No piece of work is a better example of Whistler'due south artistic opinion. Perhaps for that reason, information technology became the subject of legal dispute after Whistler sued the noted critic John Ruskin for attacking the painting as worthless and poorly executed. While Whistler won the case, he received only a single farthing in settlement, and his legal fees contributed to his subsequent bankruptcy. Despite this Pyrrhic victory, Whistler's defense played a key role in establishing the principles of art every bit an entirely liberated pursuit disconnected from all conventions of club, politics, or morality, which would be important to the evolution of modernism. Art critic James Jones notes that Whistler described a painting equally "an arrangement of light, form and color," an emphasis which predicts, for example, the motility of Abstruse Expressionism in the mid-twentieth century.
Harmony in Blue and Gold: The Peacock Room (1876-77)
The concept of Art for Art's Sake, via the Aesthetic move, had a transformative consequence on interior blueprint and compages. Equally art critic Fiona MacCarthy writes, "[o]ne of the main tenets of aestheticism was that art was not confined to painting and sculpture and the false values of the fine art market. Potential for fine art is everywhere effectually usa, in our homes and public buildings, in the detail of the way we choose to live our lives."
This photograph depicts the famous Peacock Room, named for the turquoise, gold, and blue murals featuring a peacock motif and designed by James Abbott McNeill Whistler for the abode of the aircraft magnate Frederick Leyland. Leyland's centerpiece for his dining room was Whistler's painting The Princess from the Land of Porcelain (1863-65), while the interior design embodied Whistler'southward enthusiasm for Japonism, a style based on western perceptions of Japanese art and pattern. Whistler described his working process in the room as spontaneous and intuitive: "I just painted on. I went on - without design or sketch - it grew as I painted. And toward the end I reached [...] a indicate of perfection." He said the finished interior was a "harmony in bluish and gold," in effect transforming the space into an artwork and elevating blueprint to a fine art that existed for its own sake.
Whistler's design was enormously influential, informing the development of both the Anglo-Japanese style and the Aesthetic motility, which included all realms of pattern within its dictum. In a wider sense, the decoration of this room encapsulates the idea so of import to exponents of Art for Art's Sake that, past surrounding themselves with beautiful things - not just artworks merely walls, tables, chairs, and and so on - the artist or art lover could become beautiful themselves.
Useful Resources on Fine art for Art's Sake
Books
websites
articles
video clips
articles
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The Mystic Smile Our Pick
By Rochelle Gurstein / The New Republic / July 22,2002
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Kant and the Autonomy of Fine art
By Casey Haskins / The Journal of Aesthetics and Art Criticism / Vol. 47, no. 1, 1989, pp. 43-54
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The pre-Raphaelites: Art for art's sake: V&A to gloat artful movement
By Mark Brown / The Guardian / September 14, 2010
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Kandinsky on "art for art'southward sake"
Past Elena Maslova-Levin / sonnetsincolour.org / December 25, 2014
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The Artful Movement Our Pick
By Fiona MacCarthy / The Guardian / March 26, 2011
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Art vs. aestheticism: the case of Walter Pater Our Pick
By Roger Kimball / New Criterion / May 1995
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What Is Tonalism? (12 Essential Characteristics)
By David Adams Cleveland / Cocked / July ten, 2015
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The Misty Mood of the Tonalists
Past Grace Glueck / New York Times / April 25, 1997
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Pure Fine art, Pure Desire: Changing Definitions of 'L'art Cascade L'art' from Kant to Gautier
By Margueritte Tater / Studies in Romanticism / Bol. 47, no. 2, 2008, pp. 147-160.
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The Beginnings of 50'Art Cascade l'Art
Past John Wilcox / The Journal of Aesthetics and Art Criticism / Vol. 11, no. 4, 1953, pp. 360-377
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INDIVIDUALISM: Art for Art's Sake, or Fine art for Social club's Sake?
By Suzi Gablik
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Ideas in Manual: LeWitt'south Wall Drawings and the Question of Medium
By Anna Lovatt / Tate Papers / No.fourteen, Autumn 2010
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The Red Rag
Past James McNeill Whistler / Obelisk / 1878
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Artists 5 critics, round 1
By Jonathan Jones / The Guardian / June 26, 2003
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The Historical Avant-garde from 1830 to 1939: l'art pour l'art, blague, and Our Pick
By Doug Singsen / Gesamtkunstwerk / August xxx, 2020
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Théophile Gautier: Posthuman Decadence and the Philosophy of Closure
Dr. Rinaldi's Horror Cabinet / August 30, 2015
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Living Upwards To I'southward Teapot: Oscar Wilde, Aestheticism and Victorian Satire Our Pick
By Dr. Sally-Anne Huxtable / National Museums Scotland / March 23, 2021
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An Introduction to the Aesthetic Movement
Victoria and Albert Museum
Content compiled and written by Rebecca Seiferle
Edited and revised, with Summary and Accomplishments added by Greg Thomas
"Art for Fine art'due south Sake Definition Overview and Analysis". [Cyberspace]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Summary and Accomplishments added by Greg Thomas
Available from:
Kickoff published on 01 Jul 2009. Updated and modified regularly
[Accessed ]
Source: https://www.theartstory.org/definition/art-for-art/
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