While in “What is Art,” Leo Tolstoy judges what makes art great, he is still an advocate for art in general. Another large difference between Tolstoy and Tzu’s views are that Tzu essentially believes art is useless, but Tolstoy explains that art actually has value as it moves people
But that’s the thing, artists have their own tastes and opinions on matters. We as the audience obviously have our own. The Starry night gives us Gogh’s interpretation of beauty. He worked well with painting landscapes, but is it truly beautiful? That’s a personal preference, but I believe Van Gogh believes so.
Glutton-Brock begins his book by stating that the popular subject of discussion, what is art. He states “everyone now is thinking or talking about the nature of art and aesthetic experience.” The nature of art and of beauty is confusing while also exciting. The problem about defining the nature of art and defining art in an atheistic sense makes it hard to pinpoint where the problem lies. The only clear assessment about art is in the past was that if reflected what was happening during that era.Tolstoy wrote about what he thought art was he himself saw the important of art, and how people reduced its significance to nothing. Art exists for itself, it shouldn’t be judged on it value, but for the effects, it gives to humanity whether if be social, poetical, or moral.
actual identities, and love and death in The Picture of Dorian Gray, Wilde conveys the inevitable internal deterioration interwoven with the influence art has upon the human psyche. There are three important aspects portray the influence art has on humanity: the influence that manifesting Dorian’s corruption into a physical form of a portrait has on Dorian’s state of mind, the bias the art of beauty generates towards judgements made when determining an individual’s morality, and the transformation the art of love induces over an individual dependent towards another's affection. Due to this, we are prompted towards acknowledging one conclusion; art, whether premeditated or not, has not only the power to shape our perceptions of the world in which we inhabit, but also the capability to change the world for the better
In The Work of Art in the Age of Mechanical Reproduction, examining the shift from painting to an age of rapid reproduction of images and their increasing politicization, Walter Benjamin suggested that “The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web” (Benjamin XI). Benjamin’s idea is a helpful starting point for discussing some of the issues related to distance between artist and subject,, and the reader or viewer and artwork, in the two works. Benjamin’s statement bears verity in relation to “Bitumen”. For the speaker of “Bitumen”, the painters such as Friedrich and Turner work at a remove from reality, but this is precisely what the speaker identifies as problematic. The “natural distance” afforded to the painter separates them from the political implications of the depicted event as well as future action.
Oscar Wilde 's individualism refers to the self-realization that individual is not bound to a religious ethics custom. The purpose is to realize the instinct of man 's desire, but also can show the redemptive power of beauty in against the reality. The play reflects the hypocrisy of bourgeois ascetic and vulnerability. Wilde 's symbolism relies on indirect suggestion and evocation, but his dramatic technique, his ability to create stage presence out of mere suggestion, empowering the audience and providing them with "two different kinds of access" to that mystical truth behind
This style of painting is often used for realistic paintings. Some of these paintings are marveled for how realistic they look. A Smoke Backstage is a good example of this art style and category as the artist William Harnett captures the correct size and lighting of the actual materials (Frank 9). Abstract art is a unique type of art as it uses the idea of objects, but paints them in a way that is overly simplified or changed drastically from the original object. It may be considered not natural at all or a distorted natural.
Keats states that “’Beauty is truth, truth beauty/ —that is all/ Ye know on earth, and all ye need to know’”(Keats 50). I myself and James Shokoff wonder if the urn itself speaks these lines as a message to the world, or is the poet making this statement? Shokoff explains that “disagreement arises out of the variation in punctuation found in the poem’s early editions” (Shokoff). Should the internal quotation marks surround only “Beauty is truth, truth beauty” to reflect a speaking urn, or should the entire
Hegel wanted to create a philosophy which would allow the whole universe to be perceived and interpreted through the phenomenon of self-consciousness, Hegel held that the Absolute Spirit, i.e. the consciousness that is aware of itself, can be expressed through art, religion, and philosophy with a greater or lesser degree of perfection. Furthermore, each of these categories of the Absolute have their subordinated a priori forms that are displayed in the dialectical formation of the thesis, antithesis, and synthesis. Within the philosophy of the absolute spirit tragedy represents the pinnacle of artistic self-consciousness because the totality of reality manifests itself most adequately in
This piece is important because it is exceptional compared to well-known artists. It has an philosophical interpretation that can relate to viewers’ lives. It is visually unusual compared to other art because it does not have a specific subject, and the crypticness is fascinating because it has viewers thinking deeply about its meaning as they begin to understand the visuals. It is a substantial piece of art because if one is having a difficult time in life, one can glance at The Deep and feel a sense of comfort of not feeling