Decadent aesthetics and Richard Marsh’s The Mystery of Philip Bennion’s Death

2018 ◽  
Author(s):  
Daniel Orrells
Keyword(s):  
Significant Contribution ◽  
Fine Art ◽  
Work Of Art ◽  
Commodification Of Culture ◽  
Music Hall ◽  
Decadent Aesthetics ◽  
Mystery Novel

Richard Marsh’s fiction made a significant contribution to the arguments that circulated during the 1890s about aesthetics and the commodification of culture. The plots of sensational popular novels and the sights and sounds of the music hall were all deemed unworthy, addiction-inducing forces by cultural commentators at the time. This chapter focuses on The Mystery of Philip Bennion’s Death (1892/1897), a murder-mystery novel in which a work of art – a poisoned Renaissance cabinet – apparently kills its owner, a collector of curios: the dangers of art could hardly be more pressing. Marsh’s novel looks back on a century of writers who have associated fine art with crime, from De Quincey’s provocation that murder could be a fine art to Pater’s and Wilde’s interest in the aesthetics of transgression and the entertaining nature of murder. This chapter explores how Marsh's writing was at the heart of 1890s debates about collecting, aestheticism and decadence.

Comparative Aesthetics

2009 ◽  
Author(s):  
Kathleen Higgins
Keyword(s):  
Everyday Life ◽  
Fine Art ◽  
Institutional Environments ◽  
Work Of Art ◽  
Concert Hall ◽  
The Enlightenment ◽  
State Of Mind ◽  
At Home

One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.

‘The moral background of the work of art’: ‘character’ in German musical aesthetics, 1780–1850

2012 ◽  
Vol 9 (1) ◽  
pp. 63-80 ◽  
Author(s):  
Matthew Pritchard
Keyword(s):  
Twentieth Century ◽  
Fine Art ◽  
Musical Aesthetics ◽  
Work Of Art ◽  
Absolute Music ◽  
Thematic Unity ◽  
Music Aesthetics ◽  
Late Eighteenth ◽  
Character Piece

ABSTRACTThe terms ‘character’ and ‘characteristic’ in the late eighteenth and early nineteenth centuries have usually been thought of as having had rather limited significance, often being restricted in application to ‘picturesque’ or ‘realistic’ genres such as the romantic ‘character piece’ or ‘characteristic symphony’. Through a re-examination of Christian Gottfried Körner's 1795 essay ‘On the Representation of Character in Music’ and other contemporary texts, I argue that, on the contrary, these terms are conceptually fundamental to the classical German idealist project of defending music's dignity as a true and morally beneficial fine art. Although persistently misread during the twentieth century as a disguise for concerns with stylistic or thematic unity, the metaphor of ‘character’ was in fact a sophisticated hermeneutic tool and a means of equal discursive engagement for performers, composers and critics. It was only the rise of politically oriented criticism and Wagnerian polemics that undermined the legitimacy of the ‘characteristic’ – a concept that may have a better claim than ‘absolute music’ to be considered the leading idea of the classical and romantic eras in music aesthetics.

scholarly journals The photographic subversion: Benjamin, Manet and Art(istic) reproduction

2006 ◽  
Vol 14 ◽  
pp. 224
Author(s):  
Lauren Weingarden
Keyword(s):  
Mass Media ◽  
Material Culture ◽  
Fine Art ◽  
Work Of Art ◽  
Edouard Manet ◽  
Commercial Photography

Besides referring to museum masterpieces in his 1863 paintings Le déjeuner sur l’herbe and Olympia, Édouard Manet used photography, of both academic and pornographic models, new genres of commercial photography that emerged during the early 1850s. I argue that Manet deliberately conflated fine art reproductions and mass media products, a practice that invites discussion in the light of Walter Benjamin’s “The Work of Art in the Age of Its Technological Reproducibility”. Since both engaged in a dialogue with Charles Baudelaire’s writings on art, culture, and photography, these writings provide a framework for discerning modernist paradoxes inherent in Manet’s and Benjamin’s critical interpretations of popular and material culture.

scholarly journals The photographic subversion: Benjamin, Manet and Art(istic) reproduction

2006 ◽  
Vol 14 (2) ◽  
pp. 224-245
Author(s):  
Lauren Weingarden
Keyword(s):  
Mass Media ◽  
Material Culture ◽  
Fine Art ◽  
Work Of Art ◽  
Edouard Manet ◽  
Commercial Photography

Besides referring to museum masterpieces in his 1863 paintings Le déjeuner sur l’herbe and Olympia, Édouard Manet used photography, of both academic and pornographic models, new genres of commercial photography that emerged during the early 1850s. I argue that Manet deliberately conflated fine art reproductions and mass media products, a practice that invites discussion in the light of Walter Benjamin’s “The Work of Art in the Age of Its Technological Reproducibility”. Since both engaged in a dialogue with Charles Baudelaire’s writings on art, culture, and photography, these writings provide a framework for discerning modernist paradoxes inherent in Manet’s and Benjamin’s critical interpretations of popular and material culture.

CRITICAL TEXTS OF ART JOURNALS AS A TOOL FOR SOLVING THE PROBLEMS OF RELATIONSHIP OF THE VIEWER AND THE WORK OF FINE ARTS

2021 ◽  
Vol 2 (1) ◽  
pp. 6-14
Author(s):  
Maya Smolina ◽  
◽  
Alexandra Sukorcheva
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Synthetic Theory ◽  
Work Of Art ◽  
Basic Principles ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
The Ideal

The object of this scientific research is art criticism in art magazines, the subject is the text of art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The aim is to study journal art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The analysis of the concepts of "art criticism" and "critical texts about art" is given in order to understand the essential features of art criticism and the specifics of its texts. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva.

A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’

2016 ◽  
Vol 47 (1) ◽  
pp. 21-33
Author(s):  
Ahmet Süner
Keyword(s):  
Significant Contribution ◽  
Aesthetic Experience ◽  
Critical Evaluation ◽  
Work Of Art ◽  
Alternative Approach ◽  
Subjective Element ◽  
The Aesthetic

This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.

scholarly journals Indonesian Fine Art Terms and Their English Equivalence

2021 ◽  
Vol 4 (1) ◽  
pp. 12-20
Author(s):  
Ronald Umbas ◽  
I Gusti Agung Sri Rwa Jayantini
Keyword(s):  
Content Analysis ◽  
English Translation ◽  
Qualitative Method ◽  
Fine Art ◽  
Work Of Art ◽  
Literal Translation ◽  
Equivalent Reduction

The objective of this study is to identify the procedures of translation of fine art terms from English into Indonesian found in the catalog of Kun Adnyana's paintings entitled Candra Sangkala and to identify linguistic phenomena that arise from the translation. The catalog promotes the work of art and provides as much information as possible so that the work of the artist can be more widely appreciated. Therefore, the specific terms used in this fine art text should be translated appropriately in order to communicate the messages accurately, readably and naturally. The method used in this research was qualitative method which was conducted by doing content analysis in accordance with the theories of translation. This study found that the translation of fine art terms from Indonesian to English was conducted through seven procedures, namely couplet consisting of shift and reduction and expansion, second couplet, which is the combination of shift and literal translation, descriptive equivalent, reduction and expansion, literal translation, shift, and transference. The application of these procedures lead to two interesting phenomena that occur in the translation of Indonesian-English translation of fine art terms, i.e. (1) the use of equivalents that are previously naturalized from English into Indonesian and several terms that are literally translated and (2) the combination of more than one procedure of translation that is irrefutable in translating phrases. All of the procedures were utilized to meet the accuracy, naturalness and acceptability in translation.

scholarly journals A Freeport Comes to Luxembourg, or, Why Those Wishing to Hide Assets Purchase Fine Art

Arts ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 87 ◽  
Author(s):  
Samuel Weeks
Keyword(s):  
Economic Activity ◽  
Market Value ◽  
Fine Art ◽  
Art Markets ◽  
Work Of Art ◽  
Bank Account ◽  
Financial Products ◽  
Physical Assets ◽  
Global Art ◽  
The U.S

This article addresses how global art markets are becoming an outlet of choice for those wishing to hide assets. Recent efforts by the OECD and the U.S. Treasury have made it more difficult for people to avoid taxes by taking money “offshore”. These efforts, however, do not cover physical assets such as fine art. Citing data collected in Luxembourg—a jurisdiction angling to become a worldwide leader in “art finance”—I discuss the characteristics of this emerging system of opaque economic activity. The first of these is a “freeport”, a luxurious and securitized warehouse where investors can store, buy, and sell art tax free with minimal oversight. The second element points to the work of art-finance professionals, who issue loans using fine art as collateral and develop “art funds” linked to the market value of certain artworks. The final elements cover lax scrutiny by enforcement authorities as well as the secrecy techniques typically on offer in offshore centers. Combining these elements in jurisdictions such as Luxembourg can make mobile and secret the vast wealth stored in fine art. I end the article by asking whether artworks linked to freeports and opaque financial products have become the contemporary version of the numbered Swiss bank account or the suitcase full of cash.

scholarly journals Narrative Patterns in Indonesian Fine Art

2021 ◽  
Vol 3 (1) ◽  
pp. 77-87
Author(s):  
Acep Iwan Saidi
Keyword(s):  
Significant Contribution ◽  
Common Knowledge ◽  
Fine Art ◽  
Knowledge System ◽  
Or Groups ◽  
Semiotic Approach ◽  
The World ◽  
Narrative Patterns ◽  
Visual Sign

This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.

scholarly journals “CONSTRUCTIVE EXPRESSIONISM” BY EVGENIA TOLMASHOVA

2020 ◽  
pp. 203-213
Author(s):  
Tatiana Yu. Serikova ◽  
Keyword(s):  
World Order ◽  
Fine Art ◽  
Scientific Development ◽  
Work Of Art ◽  
Objective Reality ◽  
Subjective Reality ◽  
Interdisciplinary Approaches ◽  
The World ◽  
The Subject ◽  
Art Research

The relevance of the research topic is conditioned by the need to search for new interdisciplinary approaches to the problem of cognition of the world. The degree of scientific development of the subject covers the period from antiquity to modern times. Vasilyeva E.V., Khazieva E.V., Petrenko Yu.A., Shatilov S.F., Stoletov A.I. actively works on the problem of subjective reality. It should also be noted that the works devoted directly and directly to the study of subjective re-ality within the framework of the existence of a work of art exist relatively few in comparison with studies of other aspects of art. The object of research is the current issues of cognition of the world order. As the subject of re-search, the subjective reality that the author creates in the space of a work of art is chosen. The study is based on the material of the paintings of the Krasnoyarsk painter Tolmashov (1966–2014). The aim of the research is to reveal the essence, specificity and ways of forming subjective reali-ty in a work of art. In accordance with the purpose of the study, the following tasks are set: to deter-mine the motivation and principles of constructing a sub-reality in a work of fine art. The basis of the methodological base was laid as general scientific principles, as well as special art research methods, including: formal-stylistic, iconographic and structural. When working on the study, the determining method was a method of scientific cognition as an interpretation that allows us to reveal the principles of the construction and existence of subjective reality. Structural-functional and dialectical methods are also used. The empirical basis of the study is the experience of studying the paintings of the Krasnoyarsk artist E.N. Tolmashova. The scientific novelty of the research consists in the following statement: the subjective of reality in pictorial works is conditioned by the desire of the author of the work through the experimental con-struction of new, not previously existed realities, to understand the structure of objective reality exist-ing in addition to his consciousness. The obtained conclusions and generalizations of the basic principles of subjective of objective reality in a work of fine art can be used in the analysis of artistic creativity as a way of constructing an analog model of the world order. Also it should be said that the work of E.N. Tolmashova is not well studied in art history. The scientific material has been introduced not previously studied material, allowing expanding the under-standing of the art of painting in Siberia, as well as the trends and forms of its development at the turn of the XX and XXI century. The materials of the research were used in lecturing and conducting seminars on the discipline “Art culture of Siberia”, which is basic for the preparation of bachelors on specialty 54.03.01. The training was conducted on the basis of the Siberian Federal University.

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