By K. Comfort
Finding a shared curiosity within the philosophy of "art for art's sake" in aestheticism and modernismo, this learn examines the altering function of artwork and artist throughout the turn-of-the-century interval, delivering a attention of the a number of dichotomies of artwork and existence, aesthetics and economics, creation and intake, and heart and outer edge.
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Additional resources for European Aestheticism and Spanish American Modernismo: Artist Protagonists and the Philosophy of Art for Art's Sake
They felt that it inevitably makes people ugly, and they were perfectly right” (“Decay” 308). In these passages a specific reference to Plato or Aristotle is avoided, as the whole ancient world is conflated into a general spirit or tendency, one that evokes Aristophanes’ Frogs and Aeschylus’s critique of Euripides as well. Wilde’s argument that “Life imitates Art far more than Art imitates Life” inverts the common notion that Art holds a mirror up to reality and reproduces it (“Decay” 320); instead, Wilde purports that “Life holds the mirror up to Art, and either reproduces some strange type imagined by [a] painter or sculptor, or realizes in fact what has been dreamed in fiction” (“Decay” 311).
It is the desire to see and to experience painful and base things that urges us to escape into the artistic realm and to enjoy that which we would normally detest, thereby purging ourselves of these qualities or negative desires. Nonetheless, this link between Gilbert’s new aesthetics and Aristotle’s treatise on poetics fails to acknowledge that the cathartic effect, if understood correctly, is wholly dependent on public opinion. e. what is possible as being probable or necessary” (1463). “A likely impossibility is always preferable to an unconvincing possibility,” he contends, since the story “should never be made up of improbable incidents” (1482).
Why should those who cannot create take upon themselves to estimate the value of creative work? (“Critic” 344) Ernest idealizes the past of Ancient Greece in which, as he insists, there were no “art-critics” and “the artist was free” (“Critic” 348, 347). Ernest’s comments here resemble those made by the French author and critic Théophile Gautier in his famous Preface to Mademoiselle de Maupin. Gautier launches what he terms a “criticism of the critics,” a caustic critique of their consumption of art (50).