Art for Art's Sake

"Art for art's sake" is the usual English rendering of a French slogan from the early 19th century, "l'art pour l'art", and expresses a philosophy that the intrinsic value of art, and the only "true" art, is divorced from any didactic, moral, or utilitarian function. Such works are sometimes described as "autotelic", from the Greek autoteles, "complete in itself", a concept that has been expanded to embrace "inner-directed" or "self-motivated" human beings.

Ironically, the term is sometimes used commercially. A Latin version of this phrase ("ARS GRATIA ARTIS") is used as a motto by Metro-Goldwyn-Mayer and appears in the circle around the roaring head of Leo the Lion in its motion picture logo.

"L'art pour l'art" (translated as "art for art's sake") is credited to Théophile Gautier (1811–1872), who was the first to adopt the phrase as a slogan in the preface to his 1835 book, Mademoiselle de Maupin. Gautier was not, however, the first to write those words: they appear in the works of Victor Cousin,Benjamin Constant, and Edgar Allan Poe. For example, Poe argues in his essay "The Poetic Principle" (1850):

We have taken it into our heads that to write a poem simply for the poem's sake [...] and to acknowledge such to have been our design, would be to confess ourselves radically wanting in the true poetic dignity and force: – but the simple fact is that would we but permit ourselves to look into our own souls we should immediately there discover that under the sun there neither exists nor can exist any work more thoroughly dignified, more supremely noble, than this very poem, this poem per se, this poem which is a poem and nothing more, this poem written solely for the poem's sake.

"Art for art's sake" was a bohemian creed in the nineteenth century, a slogan raised in defiance of those who – from John Ruskin to the much later Communist advocates of socialist realism – thought that the value of art was to serve some moral or didactic purpose. "Art for art's sake" affirmed that art was valuable as art, that artistic pursuits were their own justification and that art did not need moral justification – and indeed, was allowed to be morally neutral or subversive.

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