He argues, however, for the partial rehabilitation of beauty and the removal of any critical taboo against beauty. Danto agrees with the dethroning of beauty as the essence of art, and maintains with telling examples that most art is not, in fact, beautiful. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided.ĭanto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry, Matisse, the Dadaists, Duchamp, and Greenberg, as well as on that of philosophers like Hume, Kant, and Hegel. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Danto simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art.
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