Essay - What Does 'Beauty' Mean in Art Today? the Concept of...

What does "beauty" mean in art today?

***** concept of beauty is not a line*****r concept, we can point out from the very beginning towards ***** fact that the modern ***** ***** beauty has evolved and ***** developed from beauty in the Antiquity or Middle Ages, up to modern times. In *****day's environment, when we talk ab***** modern*****m and postmodernism in some cases, we are dealing with new ***** forms, if not new fundamentals.

Kant's definition and perspective on beauty seems an excellent spot to start a comparison and an *****alysis on the c*****cept of modern ***** (or the modern concept of beauty). In the Critique of Judgment, Kant refers to the beautiful as Z*****ckm ssigkeit ohne Zweck, that is 'purposiveness without purpose'. This notion when referring to beauty and the beautiful would be *****t to descri***** an object, piece of art, music, architecture etc. that h***** no practical use for hum*****ity, in the sense that its practical side has been totally removed (or it has never been created). Being able to enjoy such an "non-useful" object from a practical perspective means ***** it has other qual*****ies that makes us find it pleasurable. It is ***** in this sense.

***** many ways, Kant's definition is an excellent one in what ***** and painting is concerned. Perhaps even m*****e than in associated human*****tic areas, like *****, pa*****tings have no ***** use. Nevertheless, many area beautiful beca***** they awake certain feelings with us, because they give us a ple*****sing sentiment, spiritually stimulate us. In this sense, we can talk about the "art for *****" motivation, which would probably mean ***** an artist's sole purpose is ***** create art, he has no practical motivation (following on Kant's *****) ***** his only mission is to create *****thing *****.

The modern concept of beauty in pa*****tings ***** perhaps less based on this n*****-***** element, to a degree to which it is perhaps not even taken into consideration. According to several sources, the dialogue between the **********ts and ***** viewer was transformed into a dialogue between the artist ***** himself in an attempt to achieve ***** "aesthetic response." In this *****, "art became an introspective dialogue in a formal language that ***** in the process of painting." Even more, I would go even further than this and point out towards the fact that the modern ***** is proposing a dialogue ***** the viewer on an introspective level, with very little "visual information" and much left to ***** interpretation of each individual. From this point of view, we can support the idea of a multipolar concept ***** beauty, ***** multiple ***** depending on individual interpretati*****s.

***** visual superficiality and an inclination towards using the minimal amount of elements in his paintings is obvious in Gary Komaran's "The Blue Cake." The painting was finalized in 2000 and is p***** of a greater set ***** ***** with cakes, including the ***** Black on Grey, for example. The art*****t ***** is remarkable in his ***** style and his attempt to