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German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty. For Alexander Gottlieb Baumgarten aesthetics is the science of the sense experiences, a younger sister of logic, and beauty is thus the most perfect kind of knowledge that sense ...
Aestheticism (also known as the aesthetic movement) was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. [ 1 ] [ 2 ] According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson , create a parallel , or perform another didactic ...
Slater holds that the "full field" of aesthetics is broad, but in a narrow sense it can be limited to the theory of beauty, excluding the philosophy of art. [1] Aesthetics typically considers questions of beauty as well as of art. It examines topics such as art works, aesthetic experience, and aesthetic judgment. [15]
Art for art's sake—the usual English rendering of l'art pour l'art (pronounced [laʁ puʁ laʁ]), a French slogan from the latter half of the 19th century—is a phrase that expresses the philosophy that 'true' art is utterly independent of all social values and utilitarian functions, be they didactic, moral, or political.
Some have found no link between the aesthetic and the moral (i.e. being morally reprehensible does not deny an artwork its art status; it does not cease having aesthetic value no matter how depraved some might see it being), whereas others, who have not gone down the explicitly Platonist route, have argued that the relationship is one akin to ...
The Decadent movement (from the French décadence, lit. ' decay ') was a late 19th-century artistic and literary movement, centered in Western Europe, that followed an aesthetic ideology of excess and artificiality. The Decadent movement first flourished in France and then spread throughout Europe and to the United States. [1]
Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
Aesthetics and Morality is a 2007 book by Elisabeth Schellekens, in which the author provides an account of the main ideas and debates at the intersection of aesthetics and moral philosophy. [ 1 ] [ 2 ]