A Quote by H. L. Mencken

The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
Whereas life separates meaning from emotion, art unites them. Story is an instrument by which you create such epiphanies at will, the phenomenon known as aesthetic emotion...Life on its own, without art to shape it, leaves you in confusion and chaos, but aesthetic emotion harmonizes what you know with what you feel to give you a heightened awareness and a sureness of your place in reality.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
Schiller never wanted to replace the moral with the aesthetic but he did want the moral to be one part of the aesthetic. He rightly notes the aesthetic dimension of morality, that we use concepts like grace to characterise people who do their duty with ease and pleasure.
Aesthetic emotion puts man in a state favorable to the reception of erotic emotion. Art is the accomplice of love. Take love away and there is no longer art.
You have to approach something with indifference, as if you had no aesthetic emotion. The choice of readymades is always based on visual indifference and, at the same time, on the total absence of good or bad taste.
There is a sinister anachronistic interpretation of the aesthetic state as some kind of totalitarian regime that puts aesthetic over moral standards; one associates it with national-socialism. But this has nothing to do with the romantics, whose ideal of the aesthetic state has much more to do with the republican tradition.
Those dabs of paint and lines become art when form and flow are created out of lower-level perceptual elements. When they combine harmoniously they give rise to perspective, foreground and background, and ultimately to emotion and other aesthetic attributes.
I'm always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.
It is the mark of great art that its appeal is universal and eternal.............. Great art remains stable and unobscure because the feelings that it awakens are independent of time and place, because its kingdom is not of this world. To those who have and hold a sense of the significance of form what does it matter whether the forms that move them were created in Paris the day before yesterday or in Babylon fifty centuries ago? The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
How can any person justify an aesthetic that reduces a woman or child to an emaciated skeleton? Is it art? Surely fashion's aesthetic should enhance and beautify the human form, not destroy it.
Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.
Beauty is the main positive form of the aesthetic assimilation of reality, in which aesthetic ideal finds it direct expression.
What goes on in abstract art is the proclaiming of aesthetic principles... It is in our own time that we have become aware of pure aesthetic considerations. Art never can be imitation.
Originality is another criterion of aesthetic value. We may formulate an originality principle, according to which highly valuable works of art provide hitherto unavailable insights.... Notice that, although originality is a necessary condition of high aesthetic value, it is far from a sufficient condition. Many original works have little or no aesthetic value. An artwork may present a novel but uninteresting perspective, or one that is original but wrong.
...aesthetic values are changed under the influence of sexual emotion; from the lover's point of view many things are beautiful which are unbeautiful from the point of view of him who is not a lover, and the greater the degree to which the lover is swayed by his passion the greater the extent to which his normal aesthetic standard is liable to be modified.
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