Abstract
In The Analysis of Beauty, William Hogarth advocated an unusual kind of formalism based in artistic practice: not form distilled into a rule for judgment but rather derived from the artist's techniques for perception and composition. Denis Diderot, too, embraced an aesthetics of technique, particularly in the Paradoxe sur le comédien, in which he contends that what appears impassioned in an affecting dramatic performance is in fact calculated. Diderot, however, had the extra burden of reconciling the ideal of illusion with his demystification of the practitioner's perspective, a reconciliation he could only conceive as a paradox.
Original language | English (US) |
---|---|
Pages (from-to) | 555-570 |
Number of pages | 16 |
Journal | Eighteenth-Century Studies |
Volume | 46 |
Issue number | 4 |
DOIs | |
State | Published - Jun 2013 |
Externally published | Yes |
All Science Journal Classification (ASJC) codes
- Cultural Studies
- Arts and Humanities(all)