Aestheticism paved the way for worldwide, 20th-century contemporary art by abandoning art’s typically instructional duties and emphasizing self-expression.
By the 1860s, the work of the so-called pre-Raphaelite Brotherhood had acquired appeal, due in part to John Ruskin’s positive evaluations.
ART FOR ART'S
Aesthetic painters shouted their slogan, “art for art’s sake,” borrowed from Theophile Gautier’s book,
Mademoiselle de Maupin
(1836), and drew on a variety of influences.
Art, according to the Aesthetic Movement, should not be limited to sculpture, painting, or architecture, but should be commonplace in every sphere of life.
Painters were possibly the most qualified of all Aesthetic creatives to accomplish the movement’s purpose of making art for the sake of art.
There appear to have been no expressly Aesthetic musicians, despite the fact that several Victorian musicians advocated formalism.
The elegance of the structure as a representation of its multifaceted people outweighed loyalty to any one form for Aesthetic designers.
Designers were acknowledged and even made renowned for their exceptional craftsmanship for the first time during the Aesthetic movement.
The beauty of form superseded delivering a social or ethical statement in Aesthetic writing, as it did in the visual arts.
Dante Gabriel Rossetti
Albert Joseph Moore
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