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Art for Art's Sake Collage

Art for Art's Sake

Started: 1820
Art for Art's Sake Timeline
"Art for art's sake means for ... the pursuit of beauty - without any other preoccupation."
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"Art should be independent of all claptrap, should stand alone and appeal to the artistic sense of eye or ear without confounding this with emotions entirely foreign to it as devotion, pity, love, patriotism and the like"
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James McNeill Whistler
"Art for art's sake is a philosophy of the well-fed."
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Frank Lloyd Wright Signature
"Art for art's sake is dead, if it ever lived."
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Edward Steichen Signature
"art for art's sake is ridiculous. Art is for the sake of one's needs."
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Carl Andre Signature

Summary of Art for Art's Sake

The phrase 'art for art's sake' (from the French l'art pour l'art) condenses the notion that art has its own value and should be judged apart from any themes which it might touch on, such as morality, religion, history, or politics. It teaches that judgements of aesthetic value should not be confused with those proper to other spheres of life. The idea has ancient roots, but the phrase first emerged as a rallying cry in 19th-century France, and subsequently became central to the British Aesthetic movement. Although the phrase has been little used since, its legacy has been at the heart of 20th century ideas about the autonomy of art, and thus crucial to such different bodies of thought as those of formalism, modernism, and the avant-garde. Today, deployed more loosely and casually, it is sometimes put to very different ends, to defend the right of free expression, or to appeal for art to uphold tradition and avoid causing offense.

Overview of Art for Art's Sake

Art for Art's Sake Image

While some demanded that art only focus on aethetics (and be devoid of morality and the like), others, such as the famous writer George Sand said: "Talent imposes duties. Art for the truth, art for the good, art for the beautiful - that is the religion I seek."

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  • The Aesthetic Movement emerged first in Britain in the late-nineteenth century. Inspired by a rejection of previous styles in both the fine and decorative arts, its adherents were committed to the pursuit of beauty and the doctrine of 'art for art's sake'. Believing that art had declined in an era of utility and rationalism, they claimed that art deserved to be judged on its own terms alone.
  • Dada was an artistic and literary movement that emerged in 1916. It arose in reaction to World War I, and the nationalism and rationalism that many thought had led to the War. Influenced by several avant-gardes - Cubism, Futurism, Constructivism, and Expressionism - its output was wildly diverse, ranging from performance art to poetry, photography, sculpture, painting and collage. Emerging first in Zurich, it spread to cities including Berlin, Hanover, Paris, New York and Cologne.
  • Formalism is an approach to interpreting art that emphasizes qualities of form - color, line, shape, texture and so forth. Formalists generally argue that these are at the heart of art's value. The belief that form can be detached from content, or subject matter, goes back to antiquity, but it has been particularly important in shaping accounts of modern and abstract art. In recent decades formalism has met with resistance, and a range of other approaches, including social and psychoanalytic, have gained popularity.
  • Modern Art is a period of art making that promoted the new and industrial world, free from derivation and historical references. And for the new to be possible, old ideas about art were often altogether abandoned, or deconstructed.

The Important Artists and Works of Art for Art's Sake

Nocturne in Black and Gold: The Falling Rocket (1874)

Artist: James Abbott McNeill Whistler

The American-born painter James Whistler was a central figure in Britain's late 19th-century Aesthetic movement, which made 'art for art's sake' its rallying cry. Color and mood were crucial to his art, his paintings often bordering on abstraction. His titles, like that for Nocturne in Black and Gold, often emphasized these formal qualities, over and above the ostensible subject of the picture, which in this case is a fireworks display on the River Thames in London. His titles also often borrowed musical terms such as 'nocturne' and 'harmony', thereby insisting on painting's relationship to the arts in general, rather than its relationship to the outside world. When he exhibited Nocturne at the Grosvenor Gallery in 1877, the critic John Ruskin accused him of "flinging a pot of paint in the public's face." Whistler famously responded by suing Ruskin for libel, and though he won the case, he was awarded only a tiny amount in damages, and the huge costs he incurred later led to his bankruptcy.

Marcel Duchamp: Fountain (1917)

Fountain (1917)

Artist: Marcel Duchamp

Duchamp's Fountain staged the 20th century's most powerful attack on the notion that art can be judged separately from other spheres of life. Duchamp did not create the work so much as chose it, purchasing a conventional urinal and signing it with a pseudonym, R. Mutt. Submitted to the 1917 Society for Independent Artists, the object should have been included without debate in the Society's annual exhibition, since membership alone entailed the right to exhibit. But Fountain was rejected on the grounds of immorality, proving that, despite assumptions to the contrary, other value judgements - such as, in this case, morality - did indeed inform aesthetic judgement. Curiously, however, Fountain's supporters did employ a version of the notion of 'art for art's sake' to defend the object, arguing that Duchamp's choice of the object imbued it with special significance, hence making it eligible for consideration as art and putting it beyond the bounds of complaints about morality. So if the affair demonstrates the beginning of the end of 'art for art's sake' in the 20th century, it also shows its strange tenacity.

Selection of Materials: Iron, Stucco, Glass, Asphalt (1914)

Artist: Vladimir Tatlin

Vladimir Tatlin was powerfully influenced by the reliefs he saw in Picasso's studio in Paris when he visited in 1913-14. But upon his return to Russia he began to put the lessons of Cubist collage to very new uses, devising early Constructivist collages such as Selection of Materials. It deserves to be called Constructivist (i.e. a 'construction', not a 'composition') because, as contemporary critic Nikolai Tarabukin put it, "the material dictates the form, and not the opposite." The doctrine of 'art for art's sake' laid great emphasis on form and composition, and in that sense Tatlin opposed it, favoring instead an art that might act as a laboratory for the development of designs for everyday life. And indeed, eventually, this experimental period of Russian Constructivism gave way to one in which artists went to work designing objects such as packaging and advertising for the new Communist authorities - a far cry from 'art for art's sake.'

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Content compiled and written by The Art Story Contributors

Edited and published by The Art Story Contributors

"Art for Art's Sake Definition Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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First published on 01 Jul 2009. Updated and modified regularly
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