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Fa Lipppo Lippi And Ferta Del Sarto Critical Analysis

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A great number of works of art, it is universally claimed, are aesthetically precious. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. The truth is that some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing.
Two of Robert Browning’s dramatic monologue, ‘Fra Lippo Lippi’ and ‘Andréa del Sarto’ show two perspectives of artist’s life and their way of looking at it. Robert Browning’s Fra Lippo Lippi, as recognized by its misbalance between understanding and conclusion, is a mark that it imitates not life but a particular perception towards life, somebody's experience of it.
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While he also discloses that he at times doubt whether he is right or the Church, but when he paints, he claims, he always remembers the God of Genesis, creating Eve in the Garden of Eden. The flesh that was made by God cannot be evil. Realistic paintings essentially draw the attention of human beings to real life beauty that they might or else overlook. With this technique, too, the artist causes human beings to admire their Maker.
It could be said that artistic value and moral value belong to two different realms. Artistic value relates to the work, moral value to man. The sins of men can be the subject-matter of a work of art, from them art can draw aesthetic beauty. The experience of moral evil can even contribute to feed the virtue of art. As Robert Browning suggest in Fra Lippo Lippi that church principle convert art into propaganda rather than artistic expression. These devotional works do not endorse a critical knowledge of life because the friars forces Lippo Lippi to construct idealize image of life, saying that art must portray God¹s desires rather than human
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According to this theory the artist may or should depict what is true to life, what really is, what is beautiful and therefore pleases him, or even what may be useful as material for ‘science'; but that to care about what is moral or immoral, right or wrong, is not an artist’s business.” (5)
A religious picture could be exceptionally painted, but it may need relation of the artist to his matter if he is shown the boundaries or limitations his business is to represent life as his passion for life is
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