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A view of the Roman Campagna from Tivoli, evening by Claude Lorrain, 1644–1645. Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770, a practical book which instructed England's leisured travellers ...
Aestheticism (also known as the aesthetic movement) was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. [ 1 ] [ 2 ] According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson , create a parallel , or perform another didactic ...
In the philosophy of art, an interpretation is an explanation of the meaning of a work of art. [a] An aesthetic interpretation expresses a particular emotional or experiential understanding most often used in reference to a poem or piece of literature, and may also apply to a work of visual art or performance. [1]
The notion of the picturesque: the term "picturesque" means "picture-like", where the natural world is experienced as if it is divided into art-like scenes [1] Objects experienced as beautiful tend to be small, smooth, and fair in color. [3]: 17–18 In contrast, objects viewed as sublime tend to be powerful, intense and terrifying. Picturesque ...
Gilpin's tour journals circulated in manuscript to friends such as the poet William Mason and a wider circle including Thomas Gray, Horace Walpole and King George III.In 1782, at Mason's instigation, Gilpin published Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770 (London 1782).
The aesthetic of “1989” celebrated youth and the freedom that comes with growing up — but also a sadness, too. She seems to long for what’s already passed her by, ...
Aesthetic art, by contrast to science, constitutes an experience. A poem operates in the dimension of direct experience, not of description or propositional logic. The expressiveness of a painting is the painting itself. The meaning is there beyond the painter's private experience or that of the viewer.
Irony is one of Austen's most characteristic and most discussed literary techniques. [10] She contrasts the plain meaning of a statement with the comic, undermining the meaning of the original to create ironic disjunctions. In her juvenile works, she relies upon satire, parody and irony based on incongruity.