Critique Of Judgment Analytic Of The Beautiful Critical Analysis

Kant’s theory of art calls for us to view art in a way where we

Kant argues that beauty is symbolic of morality. Werner S. Pluhar states, “Only man is capable of an ideal of beauty, and the ideal involves the concept of man’s

In moving away from the objective property-based or perfectionist theories of the medieval and early modern periods to this sort of subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, much of the first part of the Critique is given to showing how one person’s reflective aesthetic judgments can be legitimately "imputed" to or expected from all properly-situated human subjects.(3) The famous "Deduction of Judgments of Taste" (§ 38) provides a sketch of this argument. Very briefly, Kant argues that since the faculties under consideration are "required for possible cognition as such," it follows that all who (through communicating with others reveal their ability to) cognize anything are susceptible to the same experience of faculties in free harmony, and to the concomitant aesthetic pleasure. As long as the subject takes himself to be conscientiously beholding the object under appropriate circumstances (e.g. without interest, prejudice, etc.) he can take his judgment of taste to imply in an "a priori" fashion that under similar circumstances other well-functioning human beings likewise will be pleased by it.(4)

Ralph Waldo Emerson was a Transcendentalist author, so he explored concepts beyond the scope of science. That is to say, non-empirical concepts that cannot be known through observation, the senses, or experience, without pattern. The concept of beauty is non-empirical because it cannot be fully understood by observation. While a man can see that a rose is beautiful, or feel the beauty in the weight and smoothness of a strand of pearls, he can never know that a thing is beautiful by seeing or touching it. This is why Emerson describes beauty as an “eternal fugitive” (75) in Ode to Beauty. Emerson’s philosophy can be seen as a reaction to the limitations of the Rational Movement, who rejected non-empirical

In “Of the Standard of Taste,” David Hume addresses the concept of variations in taste between people and how each person perceives beauty and experiences sentiment differently. Hume uses a scene from Don Quixote involving two wine tasters to show subtle changes in taste between the wine tasters and their critics which illustrates Hume’s view on the delicacy of taste and the importance of honing oneself to experience individual elements of a work to accurately perceive potential beauty.

In “Oscar Wilde’s Aesthetic Gothic: Walter Pater, Dark Enlightenment, and The Picture of Dorian Gray,” John Paul Riquelme explores the contradicting perspectives of Oscar Wilde and Walter Pater on aestheticism. The author discusses the concept of aesthetic gothic and discovering beauty within darkness. Thereupon, Riquelme remains in agreement with Wilde and attempts to persuade scholars and readers of the journal that elements of aestheticism exist within the Gothic and vice versa. Riquelme also implies that there are lessons taught and learned through the darkness in beauty and in life. This rhetorical analysis focuses on how the author utilizes the rhetorical appeal ethos, evidence, and subheadings to effectively impact his audience.

Beauty as seen through the eyes of the beholder infers a subjective point of view when people consider what truly defines beauty. While this ambiguous claim is still relevant in modern society, it originates with the author Margaret Wolf Hungerford and traces back to the ancient times of the Greek philosopher Plato (“Eye”). Furthermore, individuals can also vacillate on their interpretation of what is being seen in an image, as in the case of colors, where responses may vary based on how the eye perceives the image. For some, the color green may give the impression of blue, while for others red might appear orange. This may seem to be a rather unimportant component of daily living; however, it is actually ironic how color significantly plays

When discussing beauty and applying it to works of art the number of answers would be as large as the population. Henri Matisse and Francis Bacon have both inspired artists for generations and these artists are on opposite sides of the coin. Because Matisse used bright, happy colors mixing in patterns and showing life from the outside it has led to the idea that Matisse created pretty paintings. On the other hand, Bacon produced intense paintings from the emotions within oneself, including rich, dark colors that expressed the agony and turmoil. When the viewer immerses themselves in both styles of painting it will be evident Matisse painted what society aspires to become and Bacon painted how individuals feel; proving that art does not need to “be pretty”.

‘It is an empirical judgement [to say] that I perceive and judge an object with pleasure. But it is an a priori judgement [to say] that I find it beautiful, i.e. I attribute this satisfaction necessarily to everyone.’ (Kant, 1790, p. 165)

Hume’s paper focuses on the idea of aesthetics beauty, and that such beauty can actually be more clearly reasoned than others; that is, some standards of taste are more accurate- judgments that are more clearly reasoned and valid- than others. He begins by outlining the characteristics of one who has such makings of being called a true judge, and then he continues in answering why such judges need to be identified. The essay holds the idea that, “each mind perceives a different beauty” (Hume, 245); in that, even though some judgments are more precise, the idea is still interpreted differently because of the vast differences in each individual. The essay is one that tries to reason out why some opinions of taste, in matters taste both atheistic and mental, are more accurate than others; while still holding on to the notion that each opinion, regardless of the judge’s critic capabilities, are all different.

In the Arts, many are convinced that we judge an artwork objectively by its beauty, yet the very popular adage of beauty being “in the eye of the beholder” implicates that the appraisal of an artwork is entirely subjective. For example, I consider Bach’s a-minor Violin Concerto as beautiful, whereas the majority of my friends who have listened to it do not share my enthusiasm. Immanuel Kant, however, would disagree with this because in his Kritik der Urteilskraft 9, he states that certain criteria can be applied to any artwork in order to assess its value in terms of beauty. This lies upon his assumption that two observers without any particular interest in the artwork will come to the same judgement. Kant refers to this as “subjective generality”

This book explored a concept that everyone understands, but at the same time does not comprehend our innate desire to pursue it. Beauty is one of the things man has been obsessed with since the creation of mankind. We are so fascinated by beauty and yet we believe ourselves to be incapable of achieving true beauty because we are tainted by corruption. The author explored the essence of Aestheticism in order to portray how man tries to lead two lives. Although man may attempt to run from himself and put on a fabricated image of perfection and constancy, one can never escape the truth behind the corruption of their soul. People become so drowned in creating a beautiful and pure artwork that they fail to examine the impurity of the materials used to compose the artwork. A lie done in the name of beauty is still impure regardless of the outcome. In order for one to understand how to change for the better, they must be able to analyze the flaws behind their mistakes. However, a large portion of society refuse to acknowledge these flaws, and because of that they fail to see the need for

Concentrated study of aesthetics is a luxury that inspires gratitude and carries with it the singular regret of not being able to solely focus on it. As philosophers expose their opinions, one’s own philosophy of art surfaces alongside them. First, creativity need not be distinguished from fine art as this detracts from the goal of fine art to contribute to humanity. Second, mechanical and technological systems and patterns lie outside the realm of fine art as they fail to inspire or connect to the soul. Another paramount requirement of artwork is the prick of the observer in one way or another in order to evoke emotion. Last, uniqueness also finds its way into one’s personal philosophy as art must persuade the observer to consider a new action

The concept of beauty is one of the more intriguing and important concepts in the study of gender and sexuality. Beauty has held a prominent role in shaping people’s personal lives and by extension, the lives of society and humanity at large in both positive and negative fashions. Charles Darwin’s Descent of Man and Selection in Relation to Sex (1871), Sigmund Freud’s Three Contributions

Beauty can be viewed in a variety of ways for many different people. Society has made a huge impact on the way people view and think of one another. Since the media has created a specific definition of beauty, people begin to see others in a different light. Those who are considered the “other” are those who the society and media have not deemed beautiful. Alice Walker describes in “Beauty: When the Other Dance is the Self” how her experience with her eye being noticeably damaged had caused her to forget the value of her inner beauty. Similarly, Toni Morrison’s explains in “Strangers” that the media has highlighted the importance of physical appearance instead of a person’s character upon meeting them for the first time. The subject in Johannes Vermeer’s Study of a Young Woman is not conventionally beautiful but Vermeer saw something valuable in the subject that caused him to take his time to paint her. The painting Study of a Young Woman by Johannes Vermeer, challenges the idea of beauty that society has placed on the world and portrays how every human being is beautiful despite those views; although the subject of the painting is “othered” because she is not conventionally beautiful Vermeer choose her because he saw something in her worth more than physical beauty.