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- W3100215840 abstract "The theorist Paul Souriau (1852–1926) was a leading figure in intellectual circles in Nancy at the turn of the nineteenth century. In his essays L’esthetique du mouvement (1889) [published in English as The Aesthetics of Movement], La suggestion (1893), L’imagination de l’artiste (1901) and La beaute rationnelle (1904), he developed original thinking linked with both Hippolyte Bernheim’s “physiology of the mind” and the artwork of Emile Galle. Souriau studied the emergence of images through their most basic components: the arabesque and the colored mark. He believed that these components conveyed the vital strength present in movement and light. In his opinion, they are not an aimless play of patterns, since they are the origin of a “beauty of expression,” which corresponds to a “physiological and psychological finality.” Souriau is best known as the father of a “functionalist aesthetic” based on the rejection of ornament. This interpretation of La Beaute rationnelle is partially inaccurate: his work is in fact closely linked to the craft ideals of William Morris, and to the rationalist and organicist ornament promoted by Emile Galle. If there is a kind of beauty—“mechanical beauty”—that is the result of the perfect correlation of form and function, this beauty greatly surpasses strict utility and contributes, together with the “beauty of expression,” to enriching our daily lives through visual stimulation. The inversion of the traditional hierarchy—“fine arts” versus “crafts”—is achieved by combining “beauty of expression” and “mechanical beauty,” and thereby evoking the idea of social art. For Souriau, aesthetic reverie and utility are not contradictory: they become the two terms associated with a new relationship with artwork, its physiological, material, and technical aspects becoming integrated into the modern world of perceptions." @default.
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- W3100215840 date "2019-01-01" @default.
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- W3100215840 title "Paul Souriau and Émile Gallé: Ornament, situated between dream and utility" @default.
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