![]() A few shadowy figures can be discerned in the foreground, depicting the shore of the Thames River, but most of the canvas is given over to the black night sky, lit up by the rocket's falling gold sparks and the explosive smoke from the firework battery on the horizon. This iconic painting depicts a firework display at Cremorne Gardens in London. Oil on canvas - Guildhall Art Gallery, Londonġ874 Nocturne in Black and Gold: The Falling Rocket William Michael Rossetti wrote that his brother's intent was to "to indicate, more or less, youth, beauty, and the faculty for art worthy of a celestial audience, all shadowed by mortal doom." In this respect, the painting summed up the "Cult of Beauty" for which the Pre-Raphaelites stood, and represents an important contribution to the principles of Art for Art's Sake. In its guide to the work, the Guildhall Art Gallery notes that the painting ushered in "a new aesthetic of painting," as every element contributed to the elevation of beauty. In effect, Rossetti may have meant his idealized beauty to become an icon for the Aesthetic movement just as the Mona Lisa had become an icon of Renaissance art. 1503-19), then often known as La Giaconda ("the happy one" or "the jocund one"), and revered by critics associated with Art for Art's Sake such as Theophile Gautier and Walter Pater. This work's title, along with the idealized treatment of subject matter, may be intended to evoke the spirit of Leonardo da Vinci's Mona Lisa (c. This is a painting by Dante Gabriel Rossetti, a British artist associated with both Aestheticism and the Pre-Raphaelite brotherhood, and known for his tempestuous and often exploitative romantic relationships with female models and artists. William Michael Rossetti, the brother of the artist, translated this work's as "The Garlanded Lady" or "Lady of the Wreath," with Alexa Wilding, the model depicted in the center of the work, portrayed as the ideal of love and beauty. The rich velvet of the woman's green dress flows into the luxurious vegetation that surrounds her, her striking red hair echoed by the garland of flowers and the angels' auburn locks. Art for Art Sake can thus be seen to have predicted the work of artists such as Wassily Kandinsky, for example, as well as the work of the Abstract Expressionists.Ī woman delicately plays a harp while two angels circle pensively above her head. Some such notion is at the basis of all abstraction, for example. Although the term Art for Art's Sake fell out of favor by the end of the nineteenth century, the idea it stood for - that art had a value which stood apart from subject-matter, purely connected to formal qualities such as line, color, and tone - remained highly significant.In this regard, Art for Art's Sake was often implicitly radical, and its program of seeking scandal informed the more politically charged activities of subsequent movements such as Dada and Futurism. Artists such as Aubrey Beardsley delighted in shocking polite taste through images which had sexual or grotesque overtones. Although Art for Art's Sake withdrew from all political and ideological concerns, it was nonetheless radical in rejecting the moralizing standards of its day.These figures and others put forward the idea that art should stand apart from all thematic, moral, and social concerns - a significant break from the post- Renaissance artistic tradition represented by contemporary academic painting, which favored historical and mythical scenes, and held that art should have a clear ethical message often connected to religion or state power. The idea of Art for Art's sake has its origins in nineteenth-century France, where it became associated with Parisian artists, writers, and critics, including Théophile Gautier and Charles Baudelaire. ![]()
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