Rene Magrittes Ceci nest Pas Une Pipe and Les Deux Mysteres :: Art Painting Artist Essays

Rene Magrittes Ceci nest Pas Une Pipe and Les Deux MysteresThe aesthetic value of Rene Magrittes paintings is goaded by a relationship manufactured by the artist. By specifically targeting an audience who can recognize that a set of established aesthetic interpretations are being challenged in his paintings, Magritte generates a dialectic personal line of credit that attempts to deconstruct Platos mimetic interpretation of art. As a result, the painting of a negated representation contained within a painted representation of that same inclination necessarily appeals to a subjective and not objective desire to clasp Magrittes intent. In other words, because we (the audience) know that you (the artist) know that your breaking the rules, a specific interest rather than a disinterested creative thinker of viewer influences the aesthetic appraisal of Magrittes work.The we know that you know concept in Magrittes paintings Ceci nest Pas Une Pipe and Les Deux Mysteres effectively illu strates the nebulous connotations of beauty and the bar of determining an objects aesthetic value. Because of the complexity of ideas created by the different perspectives inherent in all creative endeavors, critics and philosophers, such as Joseph Addison and Immanuel Kant, have attempted to fix the parameters of aesthetic judgment. Consequently, Addison and Kant each developed an argument that identified the parameters of aesthetic judgment and highlighted the sense of taste necessary for the recognition of beauty. As a result, in the interpretation of Magrittes paintings, both Addison and Kant would conclude-- from different reasons drawn from their respective arguments--that Magrittes work fails to attain a level of achievement consistent with the beautiful.At the top of Addisons triarchy of aesthetic judgment or taste is the idea that authoritative wit (an Addison synonym for beauty) is grounded in the resemblance of ideas that gives delight and surprisal to an individual (A ddison, 264). Working primarily as a source of literary criticism, Addisons argument about the judgment of taste appears in his informant essays that are nonetheless dedicated to the defense of all higher forms of esthetical endeavors and to the supremacy of polite society as the guardians of true wit (Lecture). For Addison, the susceptibility to recognize true wit represented a necessary demand for an individuals acceptance into polite society. Further more, Addisons argument implied that the judgment of beauty, although based on an ideal of objectivity, is in part an empiric knowledge gained from the rules and arts of criticism that provided the accuracy and correctness for contemporary true wit to exist (Addison, 261).