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1、This artistically self-conscious and highly fashionable British movement of the late 1860s, 1870s, and 1880s drew on a variety of sources. These included the work of artists associated with the Pre-Raphaelite Brotherhood, designers linked to the Arts and Crafts Movement and the work of Japanese arti
2、sts and designers whose work became increasingly influential from the 1850s onwards. Oriental sources also provided British artists and designers such as James McNeil Whistler and E. W. Godwin with sources of inspiration that provided an alternative to the prevailing historicism characterizing much
3、contemporary Victorian work. In fact, Art Furniture was a term frequently adopted in design periodicals, signalling an alternative contemporary artistic outlook to the prevalent commercialization of the past favoured by many contemporary Victorian manufacturers and consumers. The terms Art Industrie
4、s and Art Potteries were also indicative of the preoccupations of a style that was satirized by George Du Maurier in the periodical Punch and W. S. Gilbert in the operetta Patience. The latter, subtitled an Aesthetic Opera, was first staged by DOyly Carte in 1881 with costumes supplied by Liberty &
5、Co. Arthur Libertys store opened in Regent Street, London, in 1875. Libertys played a leading role in the commercialization of Aesthetic, especially oriental, goods, although a number of other London stores such as Swan & Edgar and William Whiteley also opened their own oriental departments in order
6、 to capture the attention of fashion-conscious metropolitan consumers. Amongst the purveyors of art industry products were Howell & James, W. B. Simpson & Sons, and Christopher Dressers short-lived Art Furniture Alliance which opened in London in 1880 for the sale of furniture, metalware, and other
7、decorative artefacts with attendants wearing Aesthetic dress. In addition to those characteristics already identified, other ingredients of the Aesthetic sensibility included the literary, art for arts sake outlook of the poet and writer Oscar Wilde and the sensual illustrations of Aubrey Beardsley.
8、 Typical stylistic motifs included the sunflower, the lily, the peacock, and the stork as well as all kinds of oriental birds and fish. Many of the ways in which such motifs permeated the lives and possessions of fashionable society may be seen in the book illustration of artists such as Kate Greena
9、way and Walter Crane.Read more: http:/ the firs time a direct correlation was being made between beautiful surroundings and the quality of ones life, and beautiful objects were being championed as fit for everybody and not just for the privileged elite. The movements emphasis was on interiors and ar
10、tifacts that would improve the quality of life for their sheer beauty. The decorative arts were completely reevaluated and elevated to new status; the industrial revolution was resisted; an explosion of new clubs and organizations abounded, and people could not get enough of books on how to decorate
11、 ones home. Lionel Lambournes The Aesthetic Movement is a monumental work on the subject. Original scholarship combines with a flair for descriptive writing and an eye for the perfect representative example have combined to produce a seminal and definitive work that will grace every personal, academ
12、ic or community library art history collection.The aesthetic movement (whose motto was art for arts sake, swept through North America and England in the late 19th century and touched every sphere of the fine and decorative arts. All aspects of design experienced new freedom and revitalization, perha
13、ps best personified by the colorful Oscar Wilde and Aubrey Beardsley. Huge social and cultural changes occurred because more than a decorative style, the aesthetic movement reflected an attitude. For the firs time a direct correlation was being made between beautiful surroundings and the quality of
14、ones life, and beautiful objects were being championed as fit for everybody and not just for the privileged elite. The movements emphasis was on interiors and artifacts that would improve the quality of life for their sheer beauty. The decorative arts were completely reevaluated and elevated to new
15、status; the industrial revolution was resisted; an explosion of new clubs ry collection. - Midwest Book Review -This text refers to the Hardcover edition.唯美主义运动（Aesthetic movement）是于 19 世纪后期出现在英国艺术和文学领域中的一场组织松散的运动。通常，人们认为唯美主义和彼时发生在法国的象征主义或颓废主义运动同属一脉，是这场国际性文艺运动在英国的分支。这场运动是反维多利亚风格风潮的一部分，具有后浪漫主义的特征。它发生
16、于维多利亚时代晚期，大致从 1868 年延续至 1901 年，通常学术界认为唯美主义运动的结束以 奥斯卡王尔德被捕为标志。所谓 唯美主义 ，就是以艺术的形式美作为绝对美的一种艺术主张。这里所说的美，是指脱离现实的技巧美。因此，有时也将唯美主义称为耽美主义 或美的至上主义。 十九世纪末的英国唯美主义运动的形成，具有两大要素：一是比德（1839-1894）的快乐主义的批评；二是莫理思（1834-1896）的生活艺术化的思想。比德认为，文艺批评家的职责不在于掌握知识，罗列材料，以满足正确的美的定义，而应该具有一种特殊气质，善于感受美的对象的能力，将自己同书本中的内容紧密地联系起来，从中探讨得到的快感和乐趣，这才是审美批评的根本。莫理思认为，改造社会的目的是自由地伸展，就非使日常生活艺术化不可。任何文明社会，假如不能对它的成员提供这种环境，那么世界就没有存在的必要。比
