A Beautiful Scenery Essay

A Beautiful Scenery Essay-74
I know that a complex set of ideas, stories, and experiences have informed its maker. What I want to defend is our felt experience of beauty as way of knowing and navigating the world around us. It suggests that they are frivolous, vain, privileged, and affected.The aesthete — a much maligned figure of late-19th and early-20th century provides a fascinating insight on this topic. But I would like to reposition aesthetes as radical, transgressive figures, who challenged the very foundations of the conservative culture in which they lived, though an all-consuming love of beautiful things.When she is emotional and empathic, she is at risk of being called hysterical.

I know that a complex set of ideas, stories, and experiences have informed its maker. What I want to defend is our felt experience of beauty as way of knowing and navigating the world around us. It suggests that they are frivolous, vain, privileged, and affected.The aesthete — a much maligned figure of late-19th and early-20th century provides a fascinating insight on this topic. But I would like to reposition aesthetes as radical, transgressive figures, who challenged the very foundations of the conservative culture in which they lived, though an all-consuming love of beautiful things.

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For Wilde and his followers, the work of art — whether it be a poem, a book, a play, a piece of music, a painting, a dinner plate, or a carpet — should only be judged on the grounds of beauty.

They considered it an utterly vulgar idea that art should serve any other purpose.

When we find something beautiful we become aware of our mutual humanity.

Take, for example, the extraordinary painting Yam awely by Emily Kam Kngwarry in our national collection.

To call something beautiful is not the same as calling it an important work of art.

As a philosopher might say, beauty is not a necessary condition of the art object.

One cartoon from the Washington Post lampooned the aesthete with a reference to Charles Darwin’s controversial theory of evolution. Here the pun relies on a comparison made between the irrational ape — Darwin’s original human — and Wilde the frivolous aesthete.

The aesthete was a dangerous combination of male privilege, class privilege, and female sensibility.

Like so many Indigenous Australians, Kngwarry has evoked her deep spiritual and cultural connection to the lands that we share through some of the most intensely beautiful objects made by human hands.

In her work we can trace the lines of the brush, the wet-on-wet blend of colours intuitively selected, the place of the artist’s body as she moved about the canvas to complete her design.

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