Moderate autonomism stands in opposition to 'Moderate moralism': "[Moderate moralism] contends that some works of art may be evaluated morally (contra radical autonomism) and that sometimes the moral defects and/or merits of a work may figure in the aesthetic evaluation of the work." (p. 236) The crucial difference between moderate autonomism and moderate moralism, then, is that while both agree that moral judgments can be legitimately made about certain artworks, moderate moralists contend that sometimes such judgments are aesthetic evaluations, while moderate autonomists hold that moral judgments about works of art are always outside the realm of the aesthetic. On the one hand, Anderson and Dean say, "some of the knowledge that art brings home to us may be moral knowledge. All this is granted when we agree that art is properly subject to moral evaluation. But why is this value aesthetic value? " (Anderson & Dean p. 160) On the other hand, Carroll says, "Moderate autonomists overlook the degree to which moral presuppositions play a structural role in the design of many artworks."(Carroll 1996 p. 233) Carroll does not suggest that this is the only way in which moral features may contribute to a work's aesthetic value; a more general account of this is described in the following section.
Surroundings can have a major impact on an artist's mood, and therefore on his painting. Van Gogh and Gauguin are cases in point. In his 10 years of painting, Van Gogh relied on dark colours while he was painting during the difficult days in Holland (eg. The Potato Eaters , 1885); switched to lighter, brighter colours in Paris as he came under the influence of Impressionism; turned to vivid yellows when he was painting in Arles, near the Riviera ( Cafe Terrasse by Night , 1888); before reverting to darker pigments in his final period (The Olive Pickers, 1889, and the ominous Wheat Field with Crows , 1890). In 1891, one year after Van Gogh's death, the French artist Paul Gauguin set sail for Tahiti and the Pacific Islands, where he spent most of the last 10 years of his life in acute poverty. Nevertheless, his return to nature infused his paintings with enormous life and colour, as well as a Primitivism which found echoes in Picasso and others.
Thank you for helping me as a teacher who is and for the time going to teach a public speaking course. You website is really beneficial.
After reading many public speaking articles from different sources, I found that some of them advocate that the speaker welcomes and thanks the audience and others like you for example don’t support this idea. As a listener or a speaker I would not mind if the speaker welcomes and/or thanks the audience. Most speeches especially classical ones include greeting and thanking statements. would you please give me your opinion about that? Thanks again.