Art Is the Daughter of Freedom What It Means

"Art should be independent of all clap-trap - should stand alone [...] and appeal to the artistic sense of centre or ear, without confounding this with emotions entirely foreign to information technology, as devotion, pity, dear, patriotism and the like."

1 of xi

"there neither exists nor can be any work more than thoroughly dignified, more supremely noble, than... this poem written solely for the poem'southward sake."

"L'art pour fifty'art without purpose, for all purpose perverts fine art."

"Art for art's sake, with no purpose, for whatsoever purpose perverts art. But art achieves a purpose which is non its own."

"Nothing is really beautiful unless it is useless; everything useful is ugly, for it expresses a need, and the needs of homo are ignoble and disgusting, like his poor weak nature. The most useful place in a house is the lavatory."

"...in full general, whenever something becomes useful, it ceases to be beautiful."

"Art for art's sake is an empty phrase. Art for the sake of truth, art for the sake of the good 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 'squeamish' or 'splendid.' Those who could speak have said nothing, those who could hear have heard nothing. This condition of art is called "art for art's sake." This fail of inner meanings, which is the life of colours, this vain squandering of artistic power is called "fine art for art'southward sake."

9 of 11

"This idea of art for art'southward sake is a hoax."

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"...the autonomy of art is a category of bourgeois order. Information technology permits the clarification of art's detachment from the context of practical life equally a historical development - that amongst the members of those classes which, at least at times, are complimentary from the pleasures of the need of survival, a sensuousness could evolve that was not office of whatever needs-ends relationships."

Summary of Fine art for Art'southward Sake

Taken from the French, the term "l'fine art cascade l'art," (Art for Art's Sake) expresses the thought that fine art has an inherent value independent of its subject-affair, or of whatsoever social, political, or ethical significance. Past contrast, 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 employ of line, color, blueprint, and so on). The concept became a rallying cry across nineteenth-century Britain and French republic, partly as a reaction against the stifling moralism of much academic fine art and wider gild, with the author Oscar Wilde perhaps its almost famous champion. Although the phrase has been little used since the early twentieth century, its legacy lived on in many twentieth-century ideas concerning the autonomy of art, notably in diverse strains of formalism.

Key Ideas & Accomplishments

• The idea of Fine art for Fine art's sake has its origins in nineteenth-century France, where it became associated with Parisian artists, writers, and critics, including Théophile Gautier and Charles Baudelaire. These figures and others put forward the idea that art should stand apart from all thematic, moral, and social concerns - a significant break from the post-Renaissance creative tradition represented by contemporary academic painting, which favored historical and mythical scenes, and held that fine art should have a clear ethical message often connected to faith or state ability.
• 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 as Aubrey Beardsley delighted in shocking polite taste through images which had sexual or grotesque overtones. In this regard, Art for Art's Sake was often implicitly radical, and its plan of seeking scandal informed the more politically charged activities of subsequent movements such equally Dada and Futurism.
• Although the term Art for Fine art's Sake fell out of favor by the end of the nineteenth century, the thought it stood for - that fine art had a value which stood apart from discipline-affair, purely connected to formal qualities such as line, color, and tone - remained highly meaning. Some such notion is at the footing of all abstraction, for example. Art for Art Sake can thus be seen to accept predicted the work of artists such as Wassily Kandinsky, for case, equally well as the work of the Abstract Expressionists.

Overview of Art for Art'southward Sake

While some demanded that art only focus on aethetics (and be devoid of morality and the similar), others, such as the famous writer 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."

Do Non Miss

• 

  The Artful Movement emerged commencement in Britain in the late-nineteenth century. Inspired by a rejection of previous styles in both the fine and decorative arts, its adherents were committed to the pursuit of beauty and the doctrine of 'art for fine art's sake'. Believing that fine art had declined in an era of utility and rationalism, they claimed that art deserved to be judged on its own terms alone.

• 

  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 War. Influenced past several avant-gardes - Cubism, Futurism, Constructivism, and Expressionism - its output was wildly diverse, ranging from operation art to poetry, photography, sculpture, painting and collage. Emerging first in Zurich, information technology spread to cities including Berlin, Hanover, Paris, New York and Cologne.

• 

  Formalism is an approach to interpreting art that emphasizes qualities of form - color, line, shape, texture and so forth. Formalists generally argue that these are at the middle of fine art'due south value. The conventionalities that form tin can be detached from content, or subject matter, goes back to artifact, merely it has been particularly important in shaping accounts of modernistic and abstract art. In recent decades formalism has met with resistance, and a range of other approaches, including social and psychoanalytic, have gained popularity.

• 

  Modern Art is a period of art making that promoted the new and industrial globe, complimentary from derivation and historical references. And for the new to be possible, former ideas about art were oft altogether abandoned, or deconstructed.

The Of import Artists and Works of Fine art for Art'south Sake

La Ghirlandata (1873)

Artist: Dante Gabriel Rossetti

A woman delicately plays a harp while two angels circle pensively above her head. The rich velvet of the adult female'due south greenish dress flows into the luxurious vegetation that surrounds her, her striking red hair echoed by the garland of flowers and the angels' auburn locks. William Michael Rossetti, the blood brother of the creative person, translated this piece of work's as "The Garlanded Lady" or "Lady of the Wreath," with Alexa Wilding, the model depicted in the center of the work, portrayed as the platonic of love and beauty.

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 often exploitative romantic relationships with female person models and artists. This work'southward championship, along with the idealized treatment of discipline matter, may be intended to evoke the spirit of Leonardo da Vinci's Mona Lisa (c. 1503-xix), then often known as La Giaconda ("the happy one" or "the jocund one"), and revered past critics associated with Art for Fine art'due south Sake such every bit Theophile Gautier and Walter Pater. In consequence, Rossetti may have meant his idealized beauty to become an icon for the Aesthetic motility just equally the Mona Lisa had become an icon of Renaissance art.

In its guide to the work, the Guildhall Art Gallery notes that the painting ushered in "a new aesthetic of painting," as every element contributed to the elevation of beauty. William Michael Rossetti wrote that his brother's intent was to "to signal, more or less, youth, beauty, and the kinesthesia for art worthy of a celestial audience, all adumbral past mortal doom." In this respect, the painting summed up the "Cult of Dazzler" for which the Pre-Raphaelites stood, and represents an important contribution to the principles of Art for Fine art's Sake.

Nocturne in Black and Gilt: The Falling Rocket (1874)

Creative person: James Abbott McNeill Whistler

This iconic painting depicts a firework display at Cremorne Gardens in London. A few shadowy figures tin can be discerned in the foreground, depicting the shore of the Thames River, but most of the canvass is given over to the black nighttime sky, lit up by the rocket's falling gold sparks and the explosive smoke from the firework bombardment on the horizon. With its dreamy wash of colour and bathetic 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 accuracy.

This painting, the final in Whistler'due south series of so-called "nocturnes," became important talismans of the idea of Fine art for Art's Sake, with the artist stating that "[a]rt should be contained of all clap-trap - should stand alone, and appeal to the artistic sense of eye or ear." Color and mood were crucial to Whistler's work, with his paintings frequently adjoining on abstraction, while his titles often used musical terms such as "nocturne" and "harmony" to insist on painting'due south relationship to other artforms, particularly music, which had a 'pure' aesthetic quality not connected to themes or symbolism.

No work is a better instance of Whistler's artistic opinion. Perhaps for that reason, it became the subject of legal dispute later on Whistler sued the noted critic John Ruskin for attacking the painting equally worthless and poorly executed. While Whistler won the instance, he received only a single farthing in settlement, and his legal fees contributed to his subsequent defalcation. Despite this Pyrrhic victory, Whistler's defense played a primal role in establishing the principles of art as an entirely liberated pursuit disconnected from all conventions of society, politics, or morality, which would be important to the development of modernism. Art critic James Jones notes that Whistler described a painting as "an organization of light, class and colour," an accent which predicts, for example, the movement of Abstract Expressionism in the mid-twentieth century.

Harmony in Blue and Gilded: The Peacock Room (1876-77)

Artist: James Whistler

The concept of Art for Art'southward Sake, via the Aesthetic movement, had a transformative outcome on interior blueprint and compages. As 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 art market. Potential for art is everywhere effectually the states, in our homes and public buildings, in the detail of the fashion we choose to alive our lives."

This photograph depicts the famous Peacock Room, named for the turquoise, gold, and blue murals featuring a peacock motif and designed past James Abbott McNeill Whistler for the domicile of the aircraft magnate Frederick Leyland. Leyland'south centerpiece for his dining room was Whistler'south painting The Princess from the Land of Porcelain (1863-65), while the interior design embodied Whistler's enthusiasm for Japonism, a style based on western perceptions of Japanese fine art and design. Whistler described his working procedure in the room as spontaneous and intuitive: "I simply painted on. I went on - without pattern or sketch - it grew as I painted. And toward the end I reached [...] a betoken of perfection." He said the finished interior was a "harmony in blue and gold," in effect transforming the space into an artwork and elevating design to a fine 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 Artful motion, which included all realms of blueprint within its dictum. In a wider sense, the decoration of this room encapsulates the thought then important to exponents of Art for Art'south Sake that, by surrounding themselves with beautiful things - not only artworks but walls, tables, chairs, and then on - the creative person or art lover could go cute themselves.

Useful Resource on Art for Art's Sake

Books

websites

articles

video clips

manufactures

• The Mystic Smiling Our Selection

  By Rochelle Gurstein / The New Commonwealth / July 22,2002

• Kant and the Autonomy of Fine art

  Past Casey Haskins / The Journal of Aesthetics and Fine art Criticism / Vol. 47, no. 1, 1989, pp. 43-54

• The pre-Raphaelites: Art for fine art'southward sake: V&A to celebrate artful movement

  Past Marker Brownish / The Guardian / September fourteen, 2010

• Kandinsky on "art for art'due south sake"

  Past Elena Maslova-Levin / sonnetsincolour.org / December 25, 2014

• The Artful Movement Our Pick

  By Fiona MacCarthy / The Guardian / March 26, 2011

• Fine art vs. aestheticism: the example of Walter Pater Our Pick

  By Roger Kimball / New Criterion / May 1995

• What Is Tonalism? (12 Essential Characteristics)

  By David Adams Cleveland / Artsy / July 10, 2015

• The Misty Mood of the Tonalists

  By Grace Glueck / New York Times / April 25, 1997

• Pure Art, Pure Desire: Changing Definitions of 'L'art Pour 50'art' from Kant to Gautier

  By Margueritte Murphy / Studies in Romanticism / Bol. 47, no. ii, 2008, pp. 147-160.

• The Beginnings of l'Art Cascade 50'Art

  By John Wilcox / The Journal of Aesthetics and Fine art Criticism / Vol. xi, no. 4, 1953, pp. 360-377

• INDIVIDUALISM: Art for Fine art'due south Sake, or Fine art for Gild's Sake?

  By Suzi Gablik

• Ideas in Transmission: LeWitt's Wall Drawings and the Question of Medium

  Past Anna Lovatt / Tate Papers / No.14, Autumn 2010

• The Cherry-red Rag

  By James McNeill Whistler / Obelisk / 1878

• Artists v critics, round one

  Past Jonathan Jones / The Guardian / June 26, 2003

• The Historical Avant-Garde from 1830 to 1939: fifty'art pour l'fine art, blague, and Our Choice

  By Doug Singsen / Gesamtkunstwerk / August xxx, 2020

• Théophile Gautier: Posthuman Decadence and the Philosophy of Closure

  Dr. Rinaldi'due south Horror Cabinet / August thirty, 2015

• Living Upward To One'due south Teapot: Oscar Wilde, Aestheticism and Victorian Satire Our Pick

  Past Dr. Emerge-Anne Huxtable / National Museums Scotland / March 23, 2021

• An Introduction to the Aesthetic Movement

  Victoria and Albert Museum

Content compiled and written past Rebecca Seiferle

Edited and revised, with Summary and Accomplishments added by Greg Thomas

"Fine art for Art's Sake Definition Overview and Assay". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Summary and Accomplishments added by Greg Thomas
Available from:
First published on 01 Jul 2009. Updated and modified regularly
[Accessed ]

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Source: https://www.theartstory.org/definition/art-for-art/

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