Barry McGee, b. 1966, San Francisco, current show:  University Art Museum, Berkeley
•	“McGee rose out of the Mission School art movement and graffiti boom in the San Francisco Bay Area during the early nineties. His work draws heavily from a pessimistic view of the urban experience, which he describes as, "urban ills, overstimulations, frustrations, addictions & trying to maintain a level head under the constant bombardment of advertising".” Wikipedia “Barry McGee” 

Immanuel Kant, German, 1704-1804
Kant     “Judgments About the Beautiful”  from The Critique of Judgment  1790
•	[the first part is from the “Analytic of the Beautiful,” the second is from the “Analytic of the Sublime”]

Most Famous Writings
•	(1764) Observations on the Feeling of the Beautiful and Sublime  
•	(1781) First edition of the Critique of Pure Reason 
•	(1783) Prolegomena to any Future Metaphysics  
•	(1785) Groundwork of the Metaphysics of Morals  
•	(1788) Critique of Practical Reason 
•	(1790) Critique of Judgment 

Kant portraits
Bust of Immanuel Kant by Emanuel Bardou (1798). 
Prussia 18th century
Konigsberg in the 18th century, it became the capital of the province of East Prussia in 1773
Frederick William II King of Prussia 1786 - 1797 
•	War was at once declared on what later times would have called the "modernists"…. On 9 July 1788 was issued the famous religious edict, which forbade Evangelical  ministers to teach anything not contained in the letter of their official books, proclaimed the necessity of protecting the Christian religion against the "enlighteners" (Aufklärer), and placed educational establishments under the supervision of the orthodox clergy.   On 18 December 1788 a new censorship law was issued, to secure the orthodoxy of all published books; 
1790 
•	George Washington gives the first State of the Union Address. 
•	Citizens of Paris celebrate the constitutional monarchy and national reconciliation in a great festival.  
•	Source  Wikipedia “1790” http://en.wikipedia.org/wiki/1790
House of Kant 

University in Königsberg   
Koenigsberg early 18th century?
“Kant and Friends at Table,” by Emil Doerstling, c. 1900
Same work, different angle:  Portrait of Kant enjoying a dinner with his
Immanuel Kant, lecturing to Russian officers — by I. Soyockina / V. Gracov, the Kant Museum, Kaliningrad.
Taste:  apart from interest
•	Taste is the faculty of estimating an object or image by means of delight or aversion apart from any interest, the object being called beautiful.
•	When we consider something beautiful we are not concerned with its real existence but with how it is when we merely contemplate it.
I might say, in response to a question about a palace’s beauty, that I do not care for things that are just made for display [image of palace at Versailles, Paris].
Louis Le Vau The Palace of Versailles 17th century
Andre le Notre The Palace of Versailles gardens 17th century

–	Or I might reply like an Iroquois sachem that the most pleasing thing in Paris was the restaurants [not the palaces].
Oldest restaurant in Paris  the Procope  18th century  “eating-houses” 454

THE CAFÉ FOY IN THE PALAIS ROYAL, 1789, From an engraving by Bosredon

Jean-Jacques Rousseau, 1712-1788.
 “inveigh with the vigour of Rousseau” 454
–	Or, like Rousseau, I might say that palaces are the results of the vanity of powerful men who oppress the poor.  
–	I might even say that I wouldn’t even bother to imagine a palace [say if a genie in a bottle allowed me to] if I had a good hut to live in.

Koenigsberg Castle [no longer existent] (left:  color photo lithograph made between 1890 and 1905) 
 
Koenigsberg Castle 1900
Koenigsberg Castle another angle
Interior courtyard Koenigsberg Castle 1900
Mere Representation
–	But the point is whether the mere representation or image of the object in my mind is to my liking.
–	To say the object is beautiful everything turns on the meaning which I give its representation in my mind.
–	If it is tinged with interest [i.e. what helps me practically] it is not a pure judgment.
Beautiful vs. Agreeable
•	The beautiful pleases universally: and this is not based on analysis of a concept.
•	Everyone agrees that judgments of the agreeable are based on private feeling and are restricted to the individual personally. 
The Agreeable

•	It would be foolish to condemn another’s judgment in these matters. Here, everyone has his own taste.

The beautiful.
•	The beautiful is different. To say a building, dress, concert, or poem is beautiful for me would be ridiculous.
•	To put a thing on a pedestal and call it beautiful is to demand the same delight in others.
•	[We may condemn another’s judgment as incorrect.]
Form of Finality
•	Beauty is the form of finality [end or purpose] in an object, but without any [picture in my mind] of the purpose.
•	That is, just the form of purpose is there:  it looks purposeful or as though designed for some purpose.
Free beauty presupposes no concept: it is self-subsisting.

–	Flowers are free beauties of nature.
–	Even the botanist pays no attention to the natural purpose of the flower when he judges its beauty.
–	The idea of perfection does not underlie his judgment.
–	Many birds and crustaceans [crabs and lobsters, for example] are beautiful because they please freely on their own.

•	Pierre-Joseph Redouté.
Les Roses. Paris: C. L. F. Panckoucke, 1824. 
Crustacean  land crab 1754  “number of crustacea” 455
More examples of free beauty.
•	Designs a la grecque and foliage on wallpapers have no intrinsic meaning but are free beauties.
•	[A lady's robe 'a la Grecque', from a design by Defreice. 1788] 
•	Fantasias in music, and all music not set to words are free beauties.

“This Grecian trend was spearheaded by Parisian woman-about-town Josephine de Beauharnais (future wife of Napoleon)”

“foliage for framework or on wall-papers”  
•	IN BEGINNING TAUPE WOODLAND BIRD TOILE 

Christophe-Philippe Oberkampf, his Jouy-en-Josas fabric factory, around 1783.

•	Wolfgang Amadeus Mozart 1756-1791
•	“Mozart” circa 1780, by Johann Nepomuk della Croce 

•	When we judge a free beauty we are making a pure judgment of taste.
•	If the concept of a purpose determined beauty this would restrict freedom of imagination in contemplating the form of the object.
THE HISTORY OF COSTUME
By Braun & Schneider - c.1861-1880
Plate #74a - German Middle Class (1770-1790) 

France 1790 in Max von Boehn's Modes and Manners of the 19th Century

France c.1790 Tara Maginnis' collection
Dependent (or appendant) beauty presupposes a concept and a perfection of the object: it is conditioned beauty.

•	The beauty of a man, woman, child, horse, or building (e.g. a church) presupposes a concept of the purpose that defines that thing, and a concept what would make it perfect.
•	To combine the good with beauty mars its purity.
Kant’s church:  Koenigsberg Cathedral 14th to 16th century
Kant on Tattoos [not included in our selection]
•	“A figure could be embellished with all sorts of curlicues and light but regular lines, as the New Zealanders do with their tattoos, if only it were not the figure of a human being. And this human being might have had much more delicate features and a facial structure with a softer and more likable outline, if only he were not [meant] to represent a man, let alone a warlike one” 

•	“Maori facial tattooing (moko). This 1774 Sidney Parkinson engraving may be the very picture that prompted Kant’s remark about the New Zealanders.”  Denis Dutton
Necessary pleasure.
•	The beautiful is that which is known and understood as object of a necessary pleasure (with no reference to the concept).
–	Judgments of taste are not like judgments of knowledge:  they do not follow an objective principle.
–	If they followed such a principle you would have no trouble saying that the conclusion was necessary.
Subjective necessity.
–	Judgments of mere sense [as in judging ice cream to be good] have no principle and no necessity. 
–	However judgments of taste have a subjective principle which determines what pleases or displeases by way of feeling.
–	Although such judgments do not use concepts, they are valid for everyone.
Common Sense
–	This principle is called “common sense” but not in the ordinary sense of that term (i.e. it is not a form of common understanding based vaguely on concepts.).
–	The judgment of taste requires common sense in the feeling-oriented sense of that term.
–	The effect of common sense arises from the free play of our mental powers that allow us to know things [i.e. of the imagination and the understanding].
Genius and Talent
•	Fine art is the art of genius, which is the talent that gives art its rules.
–	Talent belongs to the nature of the artist.
–	So genius is the innate mental ability by which nature gives art its rules.
–	Every art presupposes rules for making.
–	The concept of “fine art” does not allow us to derive the beauty of its objects from any rules based on the thing’s concept.
Nature gives the rule to art.
–	Fine art cannot think through carefully how it brings about its product. [This is like Plato’s idea of inspiration in Ion.]
–	But something cannot be called an art unless it involves some rules of production.
–	That is why nature in the artist must give the rule to art.  
–	It does this by why of the harmony of the artist’s imagination and understanding.
Therefore genius is the following: 

–	It is the talent for producing things for which there is no definite rule.  It is not just cleverness about what can be learned by following rules.  
–	Thus its primary property is originality. 
–	Original nonsense, however, is not a product of genius.
–	Products of genius must then be models.  They must be examples that should be followed by others. 
Vincent van Gogh, The Starry Night, 1889
These products must provide standards for judgment.
•	Genius cannot show how to make its product scientifically.  
•	A genius does not know how these ideas came to him: he could not come up with them whenever he wants, or by following a method.

•	Nor could he give others rules by which they could produce them.
•	This is why we speak such a person as having a guiding spirit that inspires his original ideas.
•	Nature gives the rule, through genius, to fine art.

Sir Isaac Newton, (1643 – 1727)  not a genius.
•	Even though Newton had a great mind, his scientific theories may be learned: the steps he took to his discoveries can be made clear to everyone. 
Isaac Newton. Philosophiae naturalis principia mathematica (Mathematical principles of Natural Philosophy) left 1687, right 3rd ed. London: Royal Society, 1726. 
Homer Cannot Teach
•	We cannot learn, however, to write poetry:  no Homer can show how his ideas, rich in fancy and thought, were assembled in his brain.  
•	He does not know himself, and so he cannot teach others.
Science and Art
•	The greatest inventor in science differs only in degree from the imitator or the beginner.
•	I do not intend to disparage such great men to which humanity is indebted. 
•	Those who have a talent for fine art however are the elect of nature.
•	Talent for science is there for perfecting knowledge, which has practical advantages, and for passing it on to others.
Scientists are superior.
–	Actually scientists are superior to [artistic] geniuses since genius reaches a point at which art must stop.  
•	There is a limit to art beyond which it cannot go.
•	And this limit has probably been reached a long time ago.
–	Also, since genius is given by nature to each individual, it dies with the person.
•	Nature, however, can again endow another person in the same way.
The performance as a model.
•	The rule of fine art cannot be a formula.
–	It must be gathered from the performance or the product.
–	Others may use this performance to test their own talent.
–	It must be a model, not for imitation, but for following.
•	This can be done by the artist’s ideas bringing out similar ideas in the student, as long as the student has similar ability. 
Models of fine art.
•	The models of fine art are the only means by which it may be handed down.  
•	It cannot be done by description. 
•	Models can only be classical if the dead languages (for example Latin and Greek) are the medium.
Mechanical art merely depends on hard work and learning, whereas fine art depends on genius.
–	Fine arts still require something mechanical which can be understood and followed by obeying rules.
–	So there must be something academic in such arts.  
–	There has to be something thought of as the purpose of the art.
–	To bring about an end you need definite rules. 
Encyclopedia of Diderot and D’Alembert  Design for a Camera Obscura, 1751.[example of mechanical art]
Shallow Romantics?
–	People who are shallow often think that they can show themselves to be geniuses by freeing themselves from rules.  (They would be like someone who thinks he looks best when riding a wild horse.)
–	Genius can only provide material for fine art.  
Academic Training
–	To elaborate fine art you need talent to be trained academically.
–	Only then could it stand the test of judgment.
–	People who try to act like a genius in matters that require reason are ridiculous.
–	Such people promote their imaginations at the expense of their reasoning ability.

French Academy, de Piles, Cours de Peinture par Principles, 1708, Academy of painting and sculpture, Paris 
Perspective View of the Salon of the Royal Academy of Painting and Sculpture at the Louvre, Paris 
Self-portrait of Italian painter Rosalba Carriera holding a portrait of her sister. Pastel on paper 1715 Member of the Royal Academy (Paris) 1721
Adélaïde Labille-Guiard (1749-1803)
•	“a remarkable portraitist, was among the small number of women ever granted membership in the French Royal Academy of Painting and Sculpture. Her work was sought out by such diverse figures as the aunts of Louis XVI and the future American president Thomas Jefferson.” J. Paul Getty Museum http://www.getty.edu/bookstore/titles/adelaide.html Self-portrait with two pupils, 1785

Élisabeth Vigée Le Brun, Melanie de Rochechoart, Marquise d’Aumant, Las duchesse de Piennes 1789
François-André Vincent (1746-1816) was a founder of the Academie des beaux-artes — part of the Institut de France and the successor to the Académie royale — in 1795. 
Left, his Belisarius 1776, right Portrait of François André Vincent by Adélaïde Labille-Guiard, 1795 

•	William Blake, The Great Red Dragon and the Woman Clothed with the Sun, 1805-1810. 
Watercolor, 15 3/4" x 12 3/4", 
John Henry Fuseli
 (b. 1741, Zürich, d. 1825, London)
The Nightmare
1781

Fuseli, The Artist Moved by the Grandeur of Antique Fragments
1778-79
Red chalk on sepia wash, 415 x 355 mm
Kunsthaus, Zürich

•	Henri Fuseli Horseman attacked by giant snake, c. 1800. 
Beauty of nature vs. Beauty of art
•	In estimating fine art one needs not taste but genius.
•	However, the beauty of nature only requires taste to judge. [vs. Carlson]
•	Beauty of nature is a beautiful thing, but beauty of art is a beautiful representation of a thing [leaves out abstract art]
•	In estimating the beauty of nature the mere form pleases on its own account.
Estimating art
–	But in art, since it always presupposes that the artist had a purpose, a concept of what it is intended to be must be its basis. 
–	Since the thing is perfect if the look of it [the manifold] agrees with its inner character [its purpose] the perfection of the thing represented must be taken into account in judging the artwork.

–	However in estimating living natural objects, for example a man or a horse, the purpose is also commonly considered, although the judgment then no longer is purely aesthetic.

“Mares and foals in a landscape” by George Stubbs, 1763-68. 

–	Here, nature is no longer judged as it appears like art [this is where Carlson would really disapprove] but judged as an artwork made by God.  
Portrait Of O K Filippova 1790
Vladimir Borovikovsky
–	To say that “this is a beautiful woman” means that her form excellently expresses the purposes of the female body. 

•	François Boucher
Venus Consoling Love, 1751

The Death of Socrates, 1787
Jacques-Louis David (French, 1748–1825) 

•	Charles Louis L'Heritier de Brutelle, 1746-1800.
Stirpes, novae, aut minus cognitae, quas descriptionbus et iconibus. Parisiis, ex typographia Philippi-Dionysii Pierres, 1784-85.
•	This is the first major book to which Redouté contributed illustrations. L'Heritier, a wealthy amateur botanist, gave the twenty-five year old artist his first commission and taught him the techniques of dissection and the details of plant anatomy. 

•	George Brookshaw.
Pomona Britannica; or, A collection of the most esteemed fruits at present cultivated in Great Britain. London: Printed by Bensley and son for Longman, Hurst, Rees, Orme, and Brown, 1817.
•	Pomona Britannica is considered to be the finest work of its kind, containing two hundred and fifty-six kinds of fruit. The work, which took ten years to complete, originally cost almost six pounds, a huge sum in 1817.

•	Green Flock Wallpaper
•	This paper was printed in 1995 and 1996 as a facsimile reproduction (by Allyson McDermott Conservation) of the sumptuous wallpaper used in the great Picture Gallery which was finished in 1745. 
Portion of wallpaper with matching border
England
About 1755-60
From a house in the high Street, Brentford, Middlesex
Colour print from woodblocks, and stencilling

Philip James De Loutherbourg
Visitor to a Moonlit Churchyard 1790

John Downman The Ghost of Clytemnestra Awakening the Furies 1781 [“The Furies…can (as evils) be beautifully described.” 186]  
Sculpture of Mars, U.S. Capitol, 1790? [#48 p. 186]
Christoph Martin Wieland (1733-1813), was a German poet and writer. Ferdinand Carl Christian Jagemann 1805, right Ludwig Bechstein, Leipzig 1854 
Marketplace at Pirna by Bernardo Bellotto (nephew of Canaletto) painted from 1753-1754

Johan Tobia Sergel 
Mars and Venus, 1770, Marble, Nationalmuseum, Stockholm 
Jupiter and Ganymede 1817
Junias, Hadrianus Emblemata 1565, Figure of Jupiter riding on the back of an eagle.
Zeus and eagle, Laconian cup
by Naukratis 560 - 550 BC.
Jupiter (Zeus) and Thetis, with Aetos Dios (the eagle of Zeus) to the bottom right (at Zeus' feet). Painting by Jean Auguste Dominique Ingres, 1811 
Christoph Nathe, German painter (b. 1753, Görlitz, d. 1806, Schadewald), Village Street with Houses
1791

Sir Joshua Reynolds
English, 1723–1792
Lady Sarah Bunbury Sacrificing to the Graces, 1763–1765