By Kelly Comfort
Paintings for art's sake addresses the connection among paintings and existence, among the cultured and the social, and promotes the previous time period over the latter one in each one example. even though it has lengthy been argued that aestheticism goals to de-humanize artwork, this quantity seeks to think about the counterclaim that such de-humanization may also bring about re-humanization, to a deepened dating among the classy sphere and the realm at huge and among the creative receptor and his or her human life.
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Additional info for Art and Life in Aestheticism: De-Humanizing or Re-Humanizing Art, the Artist and the Artistic Receptor
This charge echoes his derision of the “modern Winckelmanns” as “idols of the lazy,” another instance of the acceptance of the commonplace and of intellectual complacency. 16 34 The Critic as Cosmopolite In effect, Baudelaire’s critique of progress is a critique of the epistemological basis of such belief, which he characterizes as information gleaned from the daily newspaper: “Take any good Frenchman who reads his newspaper each day in his taproom, and ask him what he understands by ‘progress’.
Ironically, in his view, the exposition as a cultural cosmopolis undercuts the rhetoric of progress that the display of technological innovation would support. Here the knowledge of art—visual and remembered—trumps journalistic commonplaces about “progress,” and so Baudelaire promotes an aestheticism in that art reveals the fuller truth about the state of current culture and the ontology of history itself, an aesthetic approach to social and cultural critique. But clearly it is not the aestheticism that considers art as ultimately self-referential, existing in a sphere apart from politics, history, and “life,” but one that gives art epistemological priority over everyday discourse and that sees in art critical categories for understanding social and historical trends.
Ed. Jens Rieckmann. Rochester, NY: Camden House, 2005. 127–143. Kelly Comfort 21 Washbourne, Kelly. ” Introduction. After-Dinner Conversation: The Diary of a Decadent. By José Asunción Silva. Ed. and trans. Washbourne. Austin: University of Texas Press, 2005. 1–48. Wilde, Oscar. ” The Artist as Critic: Critical Writings of Oscar Wilde. Ed. Richard Ellmann. Chicago: University of Chicago Press, 1982. 341–408. ———. ” The Artist as Critic: Critical Writings of Oscar Wilde. Ed. Richard Ellmann. Chicago: University of Chicago Press, 1982.