By Kelly Comfort
Paintings for art's sake addresses the connection among artwork and existence. 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 and to a deepened dating among the classy sphere and the area at huge.
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Extra info for Art and Life in Aestheticism: De-Humanizing and Re-Humanizing Art, the Artist, and the Artistic Receptor
I also situate this transformation within the larger trajectory of Baudelaire’s inquiry into the aesthetic, and, in this context, the “reversal of visual power in the exhibition of foreign merchandise” (123) represents a new stage in Baudelaire’s theorization of the ideal of imaginative receptivity for the cosmopolitan critic rather than the experience of the common viewer (see Sanyal 120–3). Ascribing a positive value to the bizarre or strange is not unique to Baudelaire, of course. For instance, Charles Perrier in his coverage of the 1855 Exposition writes in defense of exaggeration in Delacroix’s art, “in terms of art, the strange (l’étrange) is often more perfect than the perfect” (75).
Basingstoke, England: Palgrave Macmillan, 2005. Schaffer, Talia, and Psomiades, Kathy Alexis. ” Women and British Aestheticism. Ed. Talia Schaffer and Kathy Alexis Psomiades. Charlottesville: University Press of Virginia, 1999. 1–22. Shrimpton, Nicholas. ” Literature Compass. 2:1 (2005): 1–16. Todd, Jeffrey D. ” A Companion to the Works of Stefan George. Ed. Jens Rieckmann. Rochester, NY: Camden House, 2005. 127–143. Kelly Comfort 21 Washbourne, Kelly. ” Introduction. After-Dinner Conversation: The Diary of a Decadent.
Beginning as early as 1882 with the publication of José Martí’s Ismaelillo and extending until approximately 1920 when the avant-garde period replaces it, Latin American modernismo can be characterized by the following “articles of faith”: (a) a preoccupation with the marginalized status of the writer and his or her fall from legislator to “non producer” [. ]; (b) disdain for the acquisitiveness of the Kelly Comfort 19 philistine classes and all that was admired by bourgeois values [. ]; (c) art as a new source of faith; (d) language as incantatory, orphic, and the means to transgressing, transcending, and creating a “double” of the universe; (e) formal refinement and innovation; (f) an aspiration toward beauty [.
Art and Life in Aestheticism: De-Humanizing and Re-Humanizing Art, the Artist, and the Artistic Receptor by Kelly Comfort