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By William Hogarth

William Hogarth wrote his research of good looks in 1753, in the course of the Age of Enlightenment. via this attractive textual content, he has a tendency to outline the idea of attractiveness in portray and states that it truly is associated, in step with se, to using the serpentine strains in pictorial compositions. He calls it the road of attractiveness. His essay is therefore devoted to the examine of the composition of work, looking on the proper use of the pictorial traces, gentle, color, and the figure's attitudes. those undying recommendations were utilized by means of numerous artists during the centuries. work from each interval have right here been selected to help this demonstration. they permit us to discover a few of the manners within which good looks may be expressed in portray.

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32-33) 31 32 33 I now offer to the public a short essay in which I will endeavour to show what the principles are in nature by which we are directed to call the forms of some bodies beautiful, others ugly; some graceful, and others the reverse; by considering more minutely than has been done until now the nature of those lines and their different combinations, which serve to raise the ideas of all the variety of forms imaginable in the mind. At first, perhaps, the whole design, as well as the prints, may seem rather intended to trifle and confound, than to entertain and inform; however, I am persuaded that when the examples in nature, referred to in this essay, are duly considered and examined upon the principles laid down in it, it will be thought worthy of careful and attentive perusal.

With what delight follows the well-connected thread of a play or novel which ever increases as the plot thickens and ends, most pleasingly, when said plot is most distinctly unravelled! The eye has this sort of enjoyment in winding walks, serpentine rivers, and all sorts of objects whose forms are composed principally of what I call the waving and serpentine lines. Intricacy in form, therefore, I shall define to be that peculiarity in the lines which compose it, which leads the eye on a wanton kind of chase, and from the pleasure given to the mind, entitling it to be called beautiful.

So, also, objects that only seem to do so, though in fact they do not, have equal beauty, and thus perspective views, those of buildings are always particularly, pleasing to the eye. Of Uniformity, Regularity or Symmetry Giotto Di Bondone (attributed to), The Expulsion of the Demons from Arezzo, 1297-1299. Fresco, 270 x 230 cm. Upper Basilica of San Francesco, Assisi. 46 It may be imagined that the greatest part of the effects of beauty results from the symmetry of the beautiful parts in the object, but I am very well persuaded that this prevailing notion will soon appear to have little or no foundation.

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