By Kelly Comfort
Paintings for art's sake addresses the connection among paintings and lifestyles, among the classy and the social, and promotes the previous time period over the latter one in each one example. even though it has lengthy been argued that aestheticism goals to de-humanize paintings, 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 realm at huge and among the inventive receptor and his or her human life.
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Additional resources for Art and Life in Aestheticism: De-Humanizing or Re-Humanizing Art, the Artist and the Artistic Receptor
Further, this turn is evidence of Baudelaire’s desire to articulate and advocate for an aesthetic, and even an aestheticism, that was fully human, that is, one that engages fully the human sensorium—through “[t]he exercise of the five senses” (Salon de 1846 in Complete Works [Œuvres complètes] 2: 415)—and that encompassed cultural experience far beyond France’s borders. 6 Although Baudelaire’s subject is the fine arts, he uses “products” ( produits) here ambiguously: they could be works of art or the products of industry or both.
13. “authenticity,” an emphasis on the collectivity, content over form, and the expression of an unchanging national “core,” while the emerging modernism valued individual expression, form over content, and newness. But she ignores Baudelaire’s more radical delineation of the “cosmopolitan” as an aesthetic which would open the door to non-European aesthetic norms that modernism would, to some degree, embrace. Michel Brix argues that Baudelaire comes out of a second romantic tradition, following Stendhal, in opposing the Platonist idea of a single, absolute Beauty inextricably tied to the Good and the True, articulating instead the notion of relative beauties and of an aesthetic based on sense experience as expressive of feelings and the moral.
Indeed, in this essay, he takes direct aim at contemporary neoclassicists and the inadequacy of the aesthetic of absolute beauty to account for the beauties on display: Let him [the reader] imagine a modern Winckelmann (we are full of them; the nation overflows with them; they are the idols of the lazy). What would he say, if faced with a product of China—something weird, strange, distorted in form, intense in color and sometimes delicate to the point of evanescence? And yet such a thing is a specimen of universal beauty; but in order for it to be understood, it is necessary for the critic, for the spectator, to work a transformation in himself which partakes of the nature of a mystery—it is necessary for him, by means of a phenomenon of the will acting upon the imagination, to learn of himself to participate in the surroundings which have given birth to this singular flowering.
Art and Life in Aestheticism: De-Humanizing or Re-Humanizing Art, the Artist and the Artistic Receptor by Kelly Comfort