phrase: Aus den Geistens geborene und wiedergeborene. It meant, as I saw it, that artistic beauty was in some sense an intellectual rather than a natural product.39
Danto goes on to say that the mimetic theory of art, which held that a picture of a field of daffodils is beautiful in the same way that the field itself is beautiful, does not really account for what we value in art. For Hegel, and for Danto, the painting has an importance, a meaning, lacking in the natural phenomenon.
By the early twentieth century, the very concept of beauty as applied to artworks was seriously challenged. In his seminal work, simply titled Art, published in 1913, Clive Bell (1881–1964) made a careful distinction between what he called significant form, which could be a property only of works of art, and beauty, which could only properly be said to apply to things in the natural world. Since what he termed the aesthetic emotion could only be aroused in the presence of significant form, this sensation was different than that which was evoked by the beauty of a flaming sunset or a perfect rose. For Bell, the concept of beauty simply did not apply to artworks at all.
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