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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.
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity.
In the philosophy of art, an interpretation is an explanation of the meaning of a work of art. [a] An aesthetic interpretation expresses a particular emotional or experiential understanding most often used in reference to a poem or piece of literature, and may also apply to a work of visual art or performance. [1]
Thadée Natanson of La Revue Blanche expressed confusion over its meaning, describing it as "obscure". [ 12 ] The critic André Fontainas of the Mercure de France acknowledged grudging respect for the work but thought the allegory would be impenetrable without the inscription, and compared the painting to Inter artes et naturam (Between Art and ...
Luxe, Calme et Volupté (French pronunciation: [lyks kalm e vɔlypte]) is a 1904 oil painting by the French artist Henri Matisse.Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. [1]
Along with Picasso's Les Demoiselles d'Avignon, Le bonheur de vivre is regarded as one of the pillars of early modernism. [1] The monumental canvas was first exhibited at the Salon des Indépendants of 1906, where its cadmium colors and spatial distortions caused a public expression of protest and outrage.
Henri Bergson defined intuition as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The absolute that is grasped is always perfect in the sense that it is perfectly what it is, and infinite in the sense that it can be grasped as a whole ...
It is the source of beauty, which Hogarth shows us by the contrary notion of "sameness": "sameness", a lack of variety, offends the senses. "The ear is as much offended with one even continued note, as the eye is with being fix'd to a point, or to the view of a dead wall."