Rossetti’s Monna Vanna embodies the Aesthetic Movement’s dedication to beauty for its own sake. With a flattened composition and minimal background detail, the focus remains solely on the richly adorned subject—her jewelry, flowing hair, and luxurious fabrics. The painting avoids narrative complexity, inviting viewers to appreciate it as a visual experience rather than a story.
Whistler reduces the scene to an almost abstract arrangement of whites and soft forms. The figure is presented without a clear narrative, emphasizing mood over meaning. This quiet simplicity reflects the Aesthetic Movement’s emphasis on harmony, color, and composition as ends in themselves.
Red House
William Morris and Philip Webb (1860)
Red House is a clear expression of the Arts and Crafts Movement’s ideals—functional, handcrafted, and thoughtfully designed. Its simplicity comes from its honest materials, asymmetrical layout, and lack of unnecessary ornamentation. Morris and Webb focused on craftsmanship and natural beauty, creating a home that is both personal and purposeful.
Though the principle of Occam’s Razor was first formulated by medieval philosopher William of Ockham in the 14th century, it gained renewed attention during the Victorian era, when science and reason were on the rise. Its simplicity lies in the idea itself: the best explanation is usually the one with the fewest assumptions. Victorian thinkers embraced this elegant logic, using it to cut through superstition and support the growing trust in scientific thought.