By Elizabeth Prettejohn
What will we suggest once we name a piece of paintings "beautiful"? How have artists spoke back to altering notions of the gorgeous? which goes of paintings were referred to as attractive, and why? primary and fascinating inquiries to artists and artwork enthusiasts, yet ones which are all too frequently missed in discussions of artwork today.
Elizabeth Prettejohn argues that we easily can't have the funds for to disregard those questions. Charting over 2 hundred years of western paintings, she illuminates the important dating among our altering notions of attractiveness and particular artistic endeavors, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack. fantastically illustrated with a hundred photographs--60 in complete color--Beauty and Art concludes with a demanding query for the longer term: Why may still we care approximately good looks within the twenty-first century?
Elizabeth Prettejohn is a Professor of recent paintings on the college of Plymouth.
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Extra info for Beauty and Art: 1750-2000 (Oxford History of Art)
Thus works of this kind involve dependent, not free beauty. 42 Startlingly, given traditional views of Greek sculpture as models of perfect human beauty, Kant declares that such ﬁgures cannot represent free beauty at all. The Greek ideal of human beauty is too inextricably intertwined with the European cultural heritage to be amenable to a wholly free judgement of taste. Moreover, for Kant the normative ideas involved in declaring the Greek sculptures to represent an ‘ideal’ or a perfect human form cannot be aesthetic, since they depend on a concept of what the human form ought to be like.
Passages such as that on the Venus de’Medici, as well as that on the Apollo Belvedere, raise urgent questions about the relationship between the beautiful and the erotic—questions which, as we shall see, have remained central to both aesthetic thought and art practice ever since. It would be easy enough to resolve them by collapsing the beautiful into the erotic. Thus in Winckelmann’s case it is tempting to avoid difﬁculties by seeing his love of the beautiful simply as a disguised or sublimated form of erotic attraction to young men.
No longer does the imitation of natural scenes or objects (mimesis in classical art theories) seem the most worthwhile activity. Instead the Kantian emphasis on aesthetic ideas seems to exhort the artist to invent as freely as possible, or even to defy everyday experience or logic; this passage in the Critique of Judgement might be held responsible for the more bizarre artistic fantasies of Romanticism, in the next generation. In the early nineteenth century Runge designed eighteenth-century germany: winckelmann and kant 59 60 eighteenth-century germany: winckelmann and kant 33 Philipp Otto Runge The Times of Day, 1805 a cycle of prints about The Times of Day ; each of the four prints supplements its basic concept (Morning, Midday, Evening, Night) with a wealth of aesthetic ideas that cannot be adequately encapsulated in words.
Beauty and Art: 1750-2000 (Oxford History of Art) by Elizabeth Prettejohn