Art for Art's Sake

Henry Treffry Dunn, "Dante Gabriel Rossetti and Theodore Watts-Dunton," 1882, gouache and watercolor, National Portrait Gallery, England.

L'art pour l'art

For Aestheticists, visual composition, rather than didacticism, was the most important part of any work of art. Aesthetic art explored mood, color, and detail. Artists drew from a diverse pool of sources, such as Ancient Greek, Japanese, and medieval art. Their motto, ‘Art for Art’s Sake,’ was their rallying cry and indicated that their art was to be evaluated on its own terms and enjoyed for itself and not any message or moral.

In an effort to create a sophisticated ambience, Aesthetes borrowed from Western and non-Western sources, filling their homes and studios with Japanese fans, screens, woodblock prints, and silk paintings, Chinese blue-and-white porcelain, sunflowers, and peacock feathers, among other things.

The style quickly permeated popular culture—Aesthetic images could be found decorating the covers of sheet music, on carte de visites and Christmas cards, and on homewares. It was regularly satirized by George Du Maurier (1834-1896) in the widely read magazine Punch and parodied in Gilbert and Sullivan musicals, particularly Patience (1881).

E. L. S., "Design for an Aesthetic Theatrical Poster," from Punch magazine, 1881, print.

George Du Maurier, "The Six-Mark Teapot," from Punch magazine, 1880, print.

“If you’re anxious for to shine in the high æsthetic line as a man of culture rare,

You must get up all the germs of the transcendental terms, and plant them ev’rywhere.

You must lie upon the daisies and discourse in novel phrases of your complicated state of mind,

The meaning doesn’t matter if it’s only idle chatter of a transcendental kind!”

—Bunthorne, Patience (1881)