By Kelly Comfort
Paintings for art's sake addresses the connection among artwork and lifestyles. even though it has lengthy been argued that aestheticism goals to de-humanize paintings, this quantity seeks to contemplate the counterclaim that such de-humanization may also bring about re-humanization and to a deepened dating among the cultured sphere and the realm at huge.
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Additional info for Art and Life in Aestheticism: De-Humanizing and Re-Humanizing Art, the Artist, and the Artistic Receptor
In contrast, “[t]he crazy doctrinaire of Beauty” will not only be blind to these beauties and the cultures they evoke, but is blind to nature and finally blocked from all sensual experience: Locked up within the blinding fortress of his system, he would blaspheme both life and nature; and under the influence of his fanaticism, be it Greek, Italian or Parisian, he would prohibit that insolent race from enjoying, from dreaming or from thinking in any other ways but his very own. O ink-smudged science, bastard taste, more barbarous than the barbarians themselves!
2. Mapping out the genealogy of aestheticism over the past two centuries is a challenging and formidable task, one that many of this volume’s contributors take up in the initial pages of their essays. To avoid duplication of those efforts as well as the tedious task of tracing aestheticism’s every twist and turn, I would like instead to refer to Bell-Villada’s lengthy sketch of the movement’s dizzying evolution, which he traces backwards from Oscar Wilde to Kant and Shaftesbury: [Wilde’s] aphorisms are actually a distillation and ideed a simplification of some arguments learned from his high Oxford mentors, John Ruskin and Walter Pater, while his general vision is an outlook consciously akin to that of French Romantic and Symbolist poets such as Gautier and Baudelaire.
By saying that art is for art’s sake, and it is rather odd that those who thus maintain that art has no human use should have emphasized the value of art” (39, emphasis added). With these introductory remarks, Coomaraswamy locates a certain oddity inherent in aestheticism: if art for art’s sake maintains that art has no “human use,” we must wonder whether its problem is primarily with the notion of the human or with the concept of use? If art still has “value,” what kind of value is it, since it is clearly not use-value, and, one would assume, even less exchange-value?
Art and Life in Aestheticism: De-Humanizing and Re-Humanizing Art, the Artist, and the Artistic Receptor by Kelly Comfort