Search results
Results from the WOW.Com Content Network
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.
Economics in One Lesson is an introduction to economics written by Henry Hazlitt and first published in 1946. It is based on Frédéric Bastiat's essay Ce qu'on voit et ce qu'on ne voit pas (English: "What is Seen and What is Not Seen").
Today, the term is used both to describe artistic practices and as a way to analyze artwork. Critic N. Katherine Hayles , for example, speaks of "media specific analysis." [ 5 ] As discussed by critic Marshall Soules, medium specificity and media specific analysis are playing an important role in the emergence of new media art forms, such as ...
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]
Robert Henri (/ ˈ h ɛ n r aɪ /; June 24, 1865 – July 12, 1929) was an American painter and teacher.. As a young man, he studied in Paris, where he identified strongly with the Impressionists, and determined to lead an even more dramatic revolt against American academic art, as reflected by the conservative National Academy of Design.
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.
Paragone (Italian: paragone, meaning comparison), was a debate during the Italian Renaissance in which painting and sculpture (and to a degree, architecture) were each championed as forms of art superior and distinct to each other. [1]