Analysis of Beauty
In 1745 the English painter William Hogarth public on the title of a collection of engravings and a portrait at the bottom asks you a palette with a line drawn above, determined in vivid The Line of Beauty and Grace . It 's a provocation that raises much debate in the art of the time. To crush the opposition and convince the doubters Hogarth in 1753 public L 'Analysis of Beauty - Written with the intention of fixing the fluctuating ideas of taste (The issue is examined the Italian by C. Maria Laudando, showcasing Laura Di Michele, Palermo, Aesthetica Edizioni, 1999. Citations p. 45, 51). The Line of Beauty is inserted into a pyramid, where the main element of a system based on an idea very special: the static symmetric conformers, imitators and copyists of ancient art, is contrasted with the dialectical tensions of movement and 'elegantly curved. After a preface explaining the matter in question, Hogarth in the introduction states, "now presents to the public a short essay, accompanied by two illustrative plates, in which I will endeavor to show what are the principles in nature that we tend to call the forms of some bodies beautiful, others ugly ones ... And I have no doubt that the tables will be examined with equal care, when you realize that this essay discusses one by one almost all the figures (however eccentric they may seem their provisions) "and concludes" I shall proceed to consider the principles fundamental, which, as it is generally agreed, give elegance and beauty, if properly combined, any type of composition, and to explain to my readers the specific strengths of each, those in the natural and artistic compositions that seem to succeed more highly attractive and intriguing to the eye and give the grace and beauty that are the subject of this research. These principles are the convenience, the variety , the 'uniformity the simplicity, the' tangle and size, all of which contribute to the production of beauty, correcting and moderating each other depending of cases. "
In 1745 the English painter William Hogarth public on the title of a collection of engravings and a portrait at the bottom asks you a palette with a line drawn above, determined in vivid The Line of Beauty and Grace . It 's a provocation that raises much debate in the art of the time. To crush the opposition and convince the doubters Hogarth in 1753 public L 'Analysis of Beauty - Written with the intention of fixing the fluctuating ideas of taste (The issue is examined the Italian by C. Maria Laudando, showcasing Laura Di Michele, Palermo, Aesthetica Edizioni, 1999. Citations p. 45, 51). The Line of Beauty is inserted into a pyramid, where the main element of a system based on an idea very special: the static symmetric conformers, imitators and copyists of ancient art, is contrasted with the dialectical tensions of movement and 'elegantly curved. After a preface explaining the matter in question, Hogarth in the introduction states, "now presents to the public a short essay, accompanied by two illustrative plates, in which I will endeavor to show what are the principles in nature that we tend to call the forms of some bodies beautiful, others ugly ones ... And I have no doubt that the tables will be examined with equal care, when you realize that this essay discusses one by one almost all the figures (however eccentric they may seem their provisions) "and concludes" I shall proceed to consider the principles fundamental, which, as it is generally agreed, give elegance and beauty, if properly combined, any type of composition, and to explain to my readers the specific strengths of each, those in the natural and artistic compositions that seem to succeed more highly attractive and intriguing to the eye and give the grace and beauty that are the subject of this research. These principles are the convenience, the variety , the 'uniformity the simplicity, the' tangle and size, all of which contribute to the production of beauty, correcting and moderating each other depending of cases. "
Hogarth Squaderno diligently these basic principles in the first part of its analysis and, in the second, discussing the lines ; of which parts and how it shapes up pretty ; of composition with The undulating line ; composition of the serpentine line ; Proportion of ; of light and of ' shadow and how they reveal the objects to the eye ; composition of relatively light, shadow and color ; give the color ; the face ; of poses ; 's action. We will not go much into the details of this amazing book. A handbook - shaped maze - to learn to see beauty wherever it occurs. A wealth of intelligent and curious found to guide the reader through an almost phenomenological research on perception and vision of reality. Back in reference to the two illustrative tables, William Hogarth, with rules simple and clear in the first instance, it outlines all aspects of his theoretical analysis on the beauty shakes the dusty academic certainties and established his aesthetic do messy and vital to the flow of London life of its time, expanding its rules to the new demands of the bourgeoisie.
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