Wilde's Aesthetic
Oscar Wilde had his own creative style during the Victorian Era, which he called aesthetic individualism. Individualism is the ultimate realization of the artistic life (Robinson 4), while aesthetic individualism goes even further by allowing the individual to express themselves as a work of art (Robinson 5). Wilde disagreed that his art had any serious intentions, being based on ideas such as nonconformist and uniqueness. His art’s only major goal is nothing more than to give himself and audience satisfaction (Robinson 2). Art is more for the person that just for art’s sake (Robinson 5).
Wilde describes how self-expression can become intense and increase your self-conscious (Robinson Intro 2). He expresses a need for people to realize their passion for self-expression and to harmonize conscience and instinct. If not, an individual is at risk of losing free will and becoming a robot (Robinson Intro 2), which Wilde calls the machine of life that crushed people down to powder (Robinson Intro 1).
Identity in art came into question from the post-romantic problem of identity, which was when the Enlightenment combined the conceptual ideas of objectivity and subjectivity. Wilde focuses on identity, not only as complex forms of art, but also a complex combination of opposites, like the body and the soul, form and feeling (Robinson Intro 1). The individual will then gain complexity in part through theism blending of opposites (Robinson 6). His solution: treating the world as a thought within an individual’s head and getting your ideas out by expression as a tangible goal (Robinson 3). Basically, taking these huge concepts and putting them in a lot more manageable package.
There are two other big competent ideas for Oscar Wilde’s theory of aesthetic individualism. The first is the dignity of the human being. Wilde thought that both society and the individual depended on each other. However, he also believes individuals volunteer to become a part of the society they are in, which can relieve them of every day repetitive and uninteresting tasks and instead find happiness in art they make for their society. This is not done because of monetary gain, but because it’s a way to express yourself (Robinson 13). Second is autonomy applied to individualism. He bases his thoughts of society’s structure and rightness on aesthetic on his view on art from within an individual (Robinson 1).
Wilde describes how self-expression can become intense and increase your self-conscious (Robinson Intro 2). He expresses a need for people to realize their passion for self-expression and to harmonize conscience and instinct. If not, an individual is at risk of losing free will and becoming a robot (Robinson Intro 2), which Wilde calls the machine of life that crushed people down to powder (Robinson Intro 1).
Identity in art came into question from the post-romantic problem of identity, which was when the Enlightenment combined the conceptual ideas of objectivity and subjectivity. Wilde focuses on identity, not only as complex forms of art, but also a complex combination of opposites, like the body and the soul, form and feeling (Robinson Intro 1). The individual will then gain complexity in part through theism blending of opposites (Robinson 6). His solution: treating the world as a thought within an individual’s head and getting your ideas out by expression as a tangible goal (Robinson 3). Basically, taking these huge concepts and putting them in a lot more manageable package.
There are two other big competent ideas for Oscar Wilde’s theory of aesthetic individualism. The first is the dignity of the human being. Wilde thought that both society and the individual depended on each other. However, he also believes individuals volunteer to become a part of the society they are in, which can relieve them of every day repetitive and uninteresting tasks and instead find happiness in art they make for their society. This is not done because of monetary gain, but because it’s a way to express yourself (Robinson 13). Second is autonomy applied to individualism. He bases his thoughts of society’s structure and rightness on aesthetic on his view on art from within an individual (Robinson 1).
The Victorian Aesthetic
Pre-Victorian art had more of a focus on the aristocracy and the Catholic faith. However, in the nineteenth century that changed, as art became more directed towards the middle class. Art also became directed more towards morality. Reformers decided to use this new art movement as an active democratic force for the middle class (Boulton 47).
This idea faced some criticism; many couldn’t believe that an art form that provided the upper class with power, wealth, and rank in society, could also benefit society by using nature and beauty to communicate morality. It also seemed odd to combat social issues like class conflict with art.
However, this influence worked in arts favor, as cities started building art museums because of all the power that became associated with art. Reformers thought art could influence social healing and encourage regeneration in morals and culture in the society at the time (Boulton 49).
The main reason art was so effective during this time, was because of how accessible it was to the middle class audience. New styles of painting were presented in a more “readable” way and the idea was expressed that art is for society’s sake. “Readable” art meant that it spoke to a vast majority of people and gave people a “window into whatever they were painting about (Boulton 50).
This research applies to the play because much like how Wilde’s views and Victorian views conflict with each other, so do Wilde and society in the play. Wilde’s overconfidence after the second trial and self-interest set him up for failure, as he is convicted in the third and final trial. Though he believes he is right, society does not due to Victorian culture at the time not being too excepting.
This idea faced some criticism; many couldn’t believe that an art form that provided the upper class with power, wealth, and rank in society, could also benefit society by using nature and beauty to communicate morality. It also seemed odd to combat social issues like class conflict with art.
However, this influence worked in arts favor, as cities started building art museums because of all the power that became associated with art. Reformers thought art could influence social healing and encourage regeneration in morals and culture in the society at the time (Boulton 49).
The main reason art was so effective during this time, was because of how accessible it was to the middle class audience. New styles of painting were presented in a more “readable” way and the idea was expressed that art is for society’s sake. “Readable” art meant that it spoke to a vast majority of people and gave people a “window into whatever they were painting about (Boulton 50).
This research applies to the play because much like how Wilde’s views and Victorian views conflict with each other, so do Wilde and society in the play. Wilde’s overconfidence after the second trial and self-interest set him up for failure, as he is convicted in the third and final trial. Though he believes he is right, society does not due to Victorian culture at the time not being too excepting.
Combined Works Cited and Further Reading
"Art for Art's Sake" by Walter Pater and Oscar Wilde
This source provides information directly from Oscar Wilde in defense of his art and aesthetic. From his defense, one can begin to better understand Oscar Wilde's philosophy.
Pater, Walter, and Oscar Wilde. "Art For Art's Sake." Arts Education Policy Review 104.5 (2003): 29-31. Academic Search Premier. Web. 13 Apr. 2013.
Pater, Walter, and Oscar Wilde. "Art For Art's Sake." Arts Education Policy Review 104.5 (2003): 29-31. Academic Search Premier. Web. 13 Apr. 2013.
"The Ethics Of Man Under Aestheticism" by Benjamin Smith
This source discusses the separation between ethics and art, using Oscar Wilde as an example. It reviews how others have interpreted Wilde's assertions about art and comments on them.
Smith, Benjamin. "The Ethics Of Man Under Aestheticism." Irish Studies Review 13.3 (2005): 317-323. Academic Search Premier. Web. 13 Apr. 2013.
Smith, Benjamin. "The Ethics Of Man Under Aestheticism." Irish Studies Review 13.3 (2005): 317-323. Academic Search Premier. Web. 13 Apr. 2013.
"'Industry without Art Is Brutality': Aesthetic Ideology and Social Practice in Victorian Art Museums" by Amy Woodson-Boultan
This source provides information about the Victorian Era, its culture, and its history. The article provides specific information explaining the reasons why culture developed the way it did.
http://www.jstor.org/stable/10.1086/508398
Woodson-Boultan, Amy. “Industry without Art Is Brutality”: Aesthetic Ideology and Social Practice in Victorian Art Museums Amy Woodson‐Boulton Journal of British Studies , Vol. 46, No. 1 (January 2007), pp. 47-71. Web. 22 Apr. 2013.
This source provides information about the Victorian Era, its culture, and its history. The article provides specific information explaining the reasons why culture developed the way it did.
http://www.jstor.org/stable/10.1086/508398
Woodson-Boultan, Amy. “Industry without Art Is Brutality”: Aesthetic Ideology and Social Practice in Victorian Art Museums Amy Woodson‐Boulton Journal of British Studies , Vol. 46, No. 1 (January 2007), pp. 47-71. Web. 22 Apr. 2013.
"'Life's Elaborate Masterpiece:' Oscar Wilde's Aesthetic Individualism" by Bonnie Jean Robinson
This source is an extensive explanation of Wilde's aesthetic. It delves into and explores the depths of his personal philosophy.
http://search.proquest.com/docview/303909112
Robinson, Bonnie Jean. " 'Life's Elaborate Masterpiece:' Oscar Wilde's Aesthetic Individualism." University of Virginia, ProQuest, UMI Dissertations Publishing, 1990. 9100804. Web. 22 Apr. 2013.
This source is an extensive explanation of Wilde's aesthetic. It delves into and explores the depths of his personal philosophy.
http://search.proquest.com/docview/303909112
Robinson, Bonnie Jean. " 'Life's Elaborate Masterpiece:' Oscar Wilde's Aesthetic Individualism." University of Virginia, ProQuest, UMI Dissertations Publishing, 1990. 9100804. Web. 22 Apr. 2013.
"The Prose Fictions of William Morris: A Study in the Literary Aesthetic of a Victorian Social Reformer" by Barbara J. Bono
This source provides information about the Victorian aesthetic by presenting Victorian prose and other writing. This source provides analysis of these materials as well.
http://www.jstor.org/stable/40001830?seq=2
Bono, Barbara J. "The Prose Fictions of William Morris: A Study in the Literary Aesthetic of a Victorian Social Reformer." Victorian Poetry , Vol. 13, No. 3/4, An Issue Devoted to the Work of William Morris (Fall - Winter, 1975), pp. 43-59. Web. 23 Apr. 2013.
This source provides information about the Victorian aesthetic by presenting Victorian prose and other writing. This source provides analysis of these materials as well.
http://www.jstor.org/stable/40001830?seq=2
Bono, Barbara J. "The Prose Fictions of William Morris: A Study in the Literary Aesthetic of a Victorian Social Reformer." Victorian Poetry , Vol. 13, No. 3/4, An Issue Devoted to the Work of William Morris (Fall - Winter, 1975), pp. 43-59. Web. 23 Apr. 2013.
Information Collected and Organized By:
Jordan Nickels
Jordan Nickels