By William Hogarth
William Hogarth wrote his research of good looks in 1753, through the Age of Enlightenment. via this eye-catching textual content, he has a tendency to outline the suggestion of good looks in portray and states that it really is associated, in line with se, to using the serpentine traces in pictorial compositions. He calls it the road of attractiveness. His essay is hence devoted to the examine of the composition of work, counting on the right kind use of the pictorial strains, mild, color, and the figure's attitudes. those undying recommendations were utilized by way of a number of artists during the centuries. work from each interval have the following been selected to help this demonstration. they permit us to discover some of the manners during which good looks could be expressed in portray.
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Extra info for Aestheticism in Art
The prejudices of inferior proficients in favour of the imperfections of their own performances are still more amazing. Their eyes are so quick in discerning the faults of others, while at the same time they are so totally blind to their own! Indeed it would be well for us all if one of Gulliver’s flappers could be placed at our elbows to remind us at every stroke how much prejudice and self-opinion perverts our sight. From what has been said, I hope it appears that those who have no bias of any kind, either from their own practice or the lessons of others, are fittest to examine the truth of the principles laid down in the following pages.
The whole nation in these matters seems to have but one eye; this mischief naturally follows from the prejudices they imbibe by copying one another’s works, which the ancients seem seldom to have done. Upon the whole, it is evident that the ancients studied these arts very differently from the moderns. Lomazzo seems to be partly aware of this based on the division of his work: “There is a two-fold proceeding in all arts and sciences: the one is called the order of nature, and the other of teaching.
I mean setting forth, in the stongest colours, the surprising alterations objects seemingly undergo through the prepossessions and prejudices contracted by the mind; fallacies strongly to be guarded against by those who would learn to see objects truly! Although the instances already given are pretty flagrant, though certainly true (as a further confirmation of this and for the consolation of those who may be a little piqued at what has been said), that painters of every condition are stronger instances of the almost unavoidable power of prejudice than any other people.