Beauty of the Beast (Mega Square)
Format: PDF / Kindle (mobi) / ePub
Throughout time, artists have maintained a close relationship with the animal world, which has proved to be an inexhaustible source of inspiration. First, they received inspiration directly from their environment. Next, animals were used in art for their status as domestic friends, symbols of an intimate and familial life, held in particularly high esteem during the Renaissance. Later, in Orientalism, animal art followed the discovery of exotic fauna which appealed to contemporary artists. The animal and its wild beauty are depicted here through works of art from Albrecht Dürer, Pieter Bruegel, Leonardo da Vinci, Katsushika Hokusai, Henri Rousseau, and Paul Klee.
Nazionale, Naples 18 however, attaches to the decisions of taste. A uniformity indicative of many well-established principles belongs to these. So far as beautiful objects have been united by a firm association with wealth and elegance, this association itself must be explained by their prior and independent beauty. Beauty has occasioned this permanent and not groundless preference for wealth and elegance. The simplicity of this quality is seen in the presence of an unexplained and peculiar
suppose this characteristic of action present. Thus beauty, when present, is so through causes Rearing Horse Leonardo da Vinci, c. 1505 Pen and ink, red chalk, 15.3 x 14.2 cm Royal Library, Windsor Castle 36 which can be more or less distinctly assigned, and is not, like the properties of matter, merely known to be, without any knowledge of that which occasions them to be. The proof of this is in the fact that there are questions of beauty, by the concession of all, admitting and calling
progress, rest on the assertion, that beauty is a subject of reasoning, and is, in its existence, reasonable. The important and pregnant nature of this assertion will appear more and more as we advance, and its truth will be involved in the very fact, that, following in the steps of all who have preceded us, we make evident that we regard beauty as a reasonable quality, by actually reasonably concerning its existence and the manner of its action. The Heron Albrecht Dürer, c. 1515 Watercolour on
others. It is not, The Ray Jean-Baptiste Siméon Chardin, c. 1728 Oil on canvas, 114 x 146 cm Musée du Louvre, Paris 102 103 however, until the mind has gone further and seen in each form the law and method of the force which gave rise to it – has seized its characteristics, and is able to reproduce it in a member or in a whole with something of the freedom and boldness of nature, who scorns to imitate or repeat herself – that it has power over the means with which it may itself work. Such
gardening, an art presentative rather than representative, will furnish us a closing illustration of nature’s treatment of man. By a skilful use of plants, shrubs, and trees, almost any spot can be greatly ornamented. The valley, grove, and brook-side, though beautiful, are not as beautiful as they may readily be made to be. And man is encouraged to effort both by the means furnished and the necessity imposed. There is Monkey Katsushika Hokusai, 1848 Ink, colour and gofun on silk, 27.7 x 42 cm