what is beauty for you essay

Essays About Beauty: Top 5 Examples and 10 Prompts

Writing essays about beauty is complicated because of this topic’s breadth. See our examples and prompts to you write your next essay.

Beauty is short for beautiful and refers to the features that make something pleasant to look at. This includes landscapes like mountain ranges and plains, natural phenomena like sunsets and aurora borealis, and art pieces such as paintings and sculptures. However, beauty is commonly attached to an individual’s appearance,  fashion, or cosmetics style, which appeals to aesthetical concepts. Because people’s views and ideas about beauty constantly change , there are always new things to know and talk about.

Below are five great essays that define beauty differently. Consider these examples as inspiration to come up with a topic to write about.

1. Essay On Beauty – Promise Of Happiness By Shivi Rawat

2. defining beauty by wilbert houston, 3. long essay on beauty definition by prasanna, 4. creative writing: beauty essay by writer jill, 5. modern idea of beauty by anonymous on papersowl, 1. what is beauty: an argumentative essay, 2. the beauty around us, 3. children and beauty pageants, 4. beauty and social media, 5. beauty products and treatments: pros and cons, 6. men and makeup, 7. beauty and botched cosmetic surgeries, 8. is beauty a necessity, 9. physical and inner beauty, 10. review of books or films about beauty.

“In short, appreciation of beauty is a key factor in the achievement of happiness, adds a zest to living positively and makes the earth a more cheerful place to live in.”

Rawat defines beauty through the words of famous authors, ancient sayings, and historical personalities. He believes that beauty depends on the one who perceives it. What others perceive as beautiful may be different for others. Rawat adds that beauty makes people excited about being alive.

“No one’s definition of beauty is wrong. However, it does exist and can be seen with the eyes and felt with the heart.”

Check out these essays about best friends .

Houston’s essay starts with the author pointing out that some people see beauty and think it’s unattainable and non-existent. Next, he considers how beauty’s definition is ever-changing and versatile. In the next section of his piece, he discusses individuals’ varying opinions on the two forms of beauty: outer and inner. 

At the end of the essay, the author admits that beauty has no exact definition, and people don’t see it the same way. However, he argues that one’s feelings matter regarding discerning beauty. Therefore, no matter what definition you believe in, no one has the right to say you’re wrong if you think and feel beautiful.

“The characteristic held by the objects which are termed “beautiful” must give pleasure to the ones perceiving it. Since pleasure and satisfaction are two very subjective concepts, beauty has one of the vaguest definitions.”

Instead of providing different definitions, Prasanna focuses on how the concept of beauty has changed over time. She further delves into other beauty requirements to show how they evolved. In our current day, she explains that many defy beauty standards, and thinking “everyone is beautiful” is now the new norm.

“…beauty has stolen the eye of today’s youth. Gone are the days where a person’s inner beauty accounted for so much more then his/her outer beauty.”

This short essay discusses how people’s perception of beauty today heavily relies on physical appearance rather than inner beauty. However, Jill believes that beauty is all about acceptance. Sadly, this notion is unpopular because nowadays, something or someone’s beauty depends on how many people agree with its pleasant outer appearance. In the end, she urges people to stop looking at the false beauty seen in magazines and take a deeper look at what true beauty is.

“The modern idea of beauty is taking a sole purpose in everyday life. Achieving beautiful is not surgically fixing yourself to be beautiful, and tattoos may have a strong meaning behind them that makes them beautiful.”

Beauty in modern times has two sides: physical appearance and personality. The author also defines beauty by using famous statements like “a woman’s beauty is seen in her eyes because that’s the door to her heart where love resides” by Audrey Hepburn. The author also tackles the issue of how physical appearance can be the reason for bullying, cosmetic surgeries, and tattoos as a way for people to express their feelings.

Looking for more? Check out these essays about fashion .

10 Helpful Prompts To Use in Writing Essays About Beauty

If you’re still struggling to know where to start, here are ten exciting and easy prompts for your essay writing:

While defining beauty is not easy, it’s a common essay topic. First, share what you think beauty means. Then, explore and gather ideas and facts about the subject and convince your readers by providing evidence to support your argument.

If you’re unfamiliar with this essay type, see our guide on how to write an argumentative essay .

Beauty doesn’t have to be grand. For this prompt, center your essay on small beautiful things everyone can relate to. They can be tangible such as birds singing or flowers lining the street. They can also be the beauty of life itself. Finally, add why you think these things manifest beauty.

Little girls and boys participating in beauty pageants or modeling contests aren’t unusual. But should it be common? Is it beneficial for a child to participate in these competitions and be exposed to cosmetic products or procedures at a young age? Use this prompt to share your opinion about the issue and list the pros and cons of child beauty pageants.

Today, social media is the principal dictator of beauty standards. This prompt lets you discuss the unrealistic beauty and body shape promoted by brands and influencers on social networking sites. Next, explain these unrealistic beauty standards and how they are normalized. Finally, include their effects on children and teens.

Countless beauty products and treatments crowd the market today. What products do you use and why? Do you think these products’ marketing is deceitful? Are they selling the idea of beauty no one can attain without surgeries? Choose popular brands and write down their benefits, issues, and adverse effects on users.

Although many countries accept men wearing makeup, some conservative regions such as Asia still see it as taboo. Explain their rationale on why these regions don’t think men should wear makeup. Then, delve into what makeup do for men. Does it work the same way it does for women? Include products that are made specifically for men.

There’s always something we want to improve regarding our physical appearance. One way to achieve such a goal is through surgeries. However, it’s a dangerous procedure with possible lifetime consequences. List known personalities who were pressured to take surgeries because of society’s idea of beauty but whose lives changed because of failed operations. Then, add your thoughts on having procedures yourself to have a “better” physique.

People like beautiful things. This explains why we are easily fascinated by exquisite artworks. But where do these aspirations come from? What is beauty’s role, and how important is it in a person’s life? Answer these questions in your essay for an engaging piece of writing.

Beauty has many definitions but has two major types. Discuss what is outer and inner beauty and give examples. Tell the reader which of these two types people today prefer to achieve and why. Research data and use opinions to back up your points for an interesting essay.

Many literary pieces and movies are about beauty. Pick one that made an impression on you and tell your readers why. One of the most popular books centered around beauty is Dave Hickey’s The Invisible Dragon , first published in 1993. What does the author want to prove and point out in writing this book, and what did you learn? Are the ideas in the book still relevant to today’s beauty standards? Answer these questions in your next essay for an exiting and engaging piece of writing.

Grammar is critical in writing. To ensure your essay is free of grammatical errors, check out our list of best essay checkers .

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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1.1: What is beauty?

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“ What is Beauty? ” YouTube, uploaded by CNN, 16 Mar. 2018.

What is beauty?

In 2018 CNN made a brief video tracing how women’s beauty has been defined over time and how those perceptions of beauty “leave women in constant pursuit of the ideal.” How have perceptions of beauty changed over time? How do those definitions apply to things beyond women’s beauty? Rory Corbett addresses beauty from an interesting perspective in his essay, “What is Beauty?” in which he notes that, “beauty is not just a visual experience; it is a characteristic that provides a perceptual experience to the eye, the ear, the intellect, the aesthetic faculty, or the moral sense. It is the qualities that give pleasure, meaning or satisfaction to the senses, but in this talk I wish to concentrate on the eye, the intellect and the moral sense.” What does the author mean by “the moral sense”? How does Corbett’s essay expand your thinking of what beauty is?

Art and the Aesthetic Experience

Beauty is something we perceive and respond to. It may be a response of awe and amazement, wonder and joy, or something else. It might resemble a “peak experience” or an epiphany. It might happen while watching a sunset or taking in the view from a mountaintop, for example. This is a kind of experience, an aesthetic response that is a response to the thing’s representational qualities , whether it is man-made or natural (Silverman). The subfield of philosophy called aesthetics is devoted to the study and theory of this experience of the beautiful; in the field of psychology, aesthetics is studied in relation to the physiology and psychology of perception.

Aesthetic analysis is a careful investigation of the qualities which belong to objects and events that evoke an aesthetic response. The aesthetic response is the thoughts and feelings initiated because of the character of these qualities and the particular ways they are organized and experienced perceptually (Silverman).

The aesthetic experience that we get from the world at large is different than the art-based aesthetic experience. It is important to recognize that we are not saying that the natural wonder experience is bad or lesser than the art world experience; we are saying it is different. What is different is the constructed nature of the art experience. The art experience is a type of aesthetic experience that also includes aspects, content, and context of humanness. When something is made by a human, people know that there is some level of commonality and/or communal experience.

Why aesthetics is only the beginning in analyzing an artwork

We are also aware that beyond sensory and formal properties, all artwork is informed by its specific time and place or the specific historical and cultural milieu it was created in (Silverman). For this reason people analyze artwork through not only aesthetics, but also, historical and cultural contexts. Think about what you bring to the viewing of a work of art. What has influenced the lens through which you analyze beauty?

How we engage in aesthetic analysis

Often the feelings or thoughts evoked as a result of contemplating an artwork are initially based primarily upon what is actually seen in the work. The first aspects of the artwork we respond to are its sensory properties, its formal properties, and its technical properties (Silverman). Color is an example of a sensory property. Color is considered a kind of form and how form is arranged is a formal property. What medium (e.g., painting, animation, etc.) the artwork is made of is an example of a technical property. These will be discussed further in the next module. As Dr. Silverman, of California State University explains, the sequence of questions in an aesthetic analysis could be: what do we actually see? How is what is seen organized? And, what emotions and ideas are evoked as a result of what has been observed?

Exercise \(\PageIndex{1}\)

What has influenced the lens through which you analyze beauty?

Works Cited

Corbett, J Rory. “What Is Beauty?: Royal Victoria Hospital, Wednesday 1st October 2008.” The Ulster Medical Journal , U.S. National Library of Medicine, May 2009, https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2699193/ .

Ginsburg, Anna. “What Is Beauty? .” YouTube , CNN, 16 Mar. 2018, https://www.youtube.com/watch?v=5utnc_yspSo .

Silverman, Ronald. Learning About Art: A Multicultural Approach. California State University, 2001. Web. 24, June 2008.

“What is Beauty?” YouTube , uploaded by Merav Richter, 16 Mar. 2.

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The nature of beauty is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in the history of philosophical aesthetics. Beauty has traditionally been counted among the ultimate values, with goodness, truth, and justice. It is a primary theme among ancient Greek, Hellenistic, and medieval philosophers, and was central to eighteenth and nineteenth-century thought, as represented in treatments by such thinkers as Shaftesbury, Hutcheson, Hume, Burke, Kant, Schiller, Hegel, Schopenhauer, Hanslick, and Santayana. By the beginning of the twentieth century, beauty was in decline as a subject of philosophical inquiry, and also as a primary goal of the arts. However, there was revived interest in beauty and critique of the concept by the 1980s, particularly within feminist philosophy.

This article will begin with a sketch of the debate over whether beauty is objective or subjective, which is perhaps the single most-prosecuted disagreement in the literature. It will proceed to set out some of the major approaches to or theories of beauty developed within Western philosophical and artistic traditions.

1. Objectivity and Subjectivity

2.1 the classical conception, 2.2 the idealist conception, 2.3 love and longing, 2.4 hedonist conceptions, 2.5 use and uselessness, 3.1 aristocracy and capital, 3.2 the feminist critique, 3.3 colonialism and race, 3.4 beauty and resistance, other internet resources, related entries.

Perhaps the most familiar basic issue in the theory of beauty is whether beauty is subjective—located ‘in the eye of the beholder’—or rather an objective feature of beautiful things. A pure version of either of these positions seems implausible, for reasons we will examine, and many attempts have been made to split the difference or incorporate insights of both subjectivist and objectivist accounts. Ancient and medieval accounts for the most part located beauty outside of anyone’s particular experiences. Nevertheless, that beauty is subjective was also a commonplace from the time of the sophists. By the eighteenth century, Hume could write as follows, expressing one ‘species of philosophy’:

Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others. (Hume 1757, 136)

And Kant launches his discussion of the matter in The Critique of Judgment (the Third Critique) at least as emphatically:

The judgment of taste is therefore not a judgment of cognition, and is consequently not logical but aesthetical, by which we understand that whose determining ground can be no other than subjective . Every reference of representations, even that of sensations, may be objective (and then it signifies the real [element] of an empirical representation), save only the reference to the feeling of pleasure and pain, by which nothing in the object is signified, but through which there is a feeling in the subject as it is affected by the representation. (Kant 1790, section 1)

However, if beauty is entirely subjective—that is, if anything that anyone holds to be or experiences as beautiful is beautiful (as James Kirwan, for example, asserts)—then it seems that the word has no meaning, or that we are not communicating anything when we call something beautiful except perhaps an approving personal attitude. In addition, though different persons can of course differ in particular judgments, it is also obvious that our judgments coincide to a remarkable extent: it would be odd or perverse for any person to deny that a perfect rose or a dramatic sunset was beautiful. And it is possible actually to disagree and argue about whether something is beautiful, or to try to show someone that something is beautiful, or learn from someone else why it is.

On the other hand, it seems senseless to say that beauty has no connection to subjective response or that it is entirely objective. That would seem to entail, for example, that a world with no perceivers could be beautiful or ugly, or perhaps that beauty could be detected by scientific instruments. Even if it could be, beauty would seem to be connected to subjective response, and though we may argue about whether something is beautiful, the idea that one’s experiences of beauty might be disqualified as simply inaccurate or false might arouse puzzlement as well as hostility. We often regard other people’s taste, even when it differs from our own, as provisionally entitled to some respect, as we may not, for example, in cases of moral, political, or factual opinions. All plausible accounts of beauty connect it to a pleasurable or profound or loving response, even if they do not locate beauty purely in the eye of the beholder.

Until the eighteenth century, most philosophical accounts of beauty treated it as an objective quality: they located it in the beautiful object itself or in the qualities of that object. In De Veritate Religione , Augustine asks explicitly whether things are beautiful because they give delight, or whether they give delight because they are beautiful; he emphatically opts for the second (Augustine, 247). Plato’s account in the Symposium and Plotinus’s in the Enneads connect beauty to a response of love and desire, but locate beauty itself in the realm of the Forms, and the beauty of particular objects in their participation in the Form. Indeed, Plotinus’s account in one of its moments makes beauty a matter of what we might term ‘formedness’: having the definite shape characteristic of the kind of thing the object is.

We hold that all the loveliness of this world comes by communion in Ideal-Form. All shapelessness whose kind admits of pattern and form, as long as it remains outside of Reason and Idea, is ugly from that very isolation from the Divine-Thought. And this is the Absolute Ugly: an ugly thing is something that has not been entirely mastered by pattern, that is by Reason, the Matter not yielding at all points and in all respects to Ideal-Form. But where the Ideal-Form has entered, it has grouped and coordinated what from a diversity of parts was to become a unity: it has rallied confusion into co-operation: it has made the sum one harmonious coherence: for the Idea is a unity and what it moulds must come into unity as far as multiplicity may. (Plotinus, 22 [ Ennead I, 6])

In this account, beauty is at least as objective as any other concept, or indeed takes on a certain ontological priority as more real than particular Forms: it is a sort of Form of Forms.

Though Plato and Aristotle disagree on what beauty is, they both regard it as objective in the sense that it is not localized in the response of the beholder. The classical conception ( see below ) treats beauty as a matter of instantiating definite proportions or relations among parts, sometimes expressed in mathematical ratios, for example the ‘golden section.’ The sculpture known as ‘The Canon,’ by Polykleitos (fifth/fourth century BCE), was held up as a model of harmonious proportion to be emulated by students and masters alike: beauty could be reliably achieved by reproducing its objective proportions. Nevertheless, it is conventional in ancient treatments of the topic also to pay tribute to the pleasures of beauty, often described in quite ecstatic terms, as in Plotinus: “This is the spirit that Beauty must ever induce: wonderment and a delicious trouble, longing and love and a trembling that is all delight” (Plotinus 23, [ Ennead I, 3]).

At latest by the eighteenth century, however, and particularly in the British Isles, beauty was associated with pleasure in a somewhat different way: pleasure was held to be not the effect but the origin of beauty. This was influenced, for example, by Locke’s distinction between primary and secondary qualities. Locke and the other empiricists treated color (which is certainly one source or locus of beauty), for example, as a ‘phantasm’ of the mind, as a set of qualities dependent on subjective response, located in the perceiving mind rather than of the world outside the mind. Without perceivers of a certain sort, there would be no colors. One argument for this was the variation in color experiences between people. For example, some people are color-blind, and to a person with jaundice much of the world allegedly takes on a yellow cast. In addition, the same object is perceived as having different colors by the same the person under different conditions: at noon and midnight, for example. Such variations are conspicuous in experiences of beauty as well.

Nevertheless, eighteenth-century philosophers such as Hume and Kant perceived that something important was lost when beauty was treated merely as a subjective state. They saw, for example, that controversies often arise about the beauty of particular things, such as works of art and literature, and that in such controversies, reasons can sometimes be given and will sometimes be found convincing. They saw, as well, that if beauty is completely relative to individual experiencers, it ceases to be a paramount value, or even recognizable as a value at all across persons or societies.

Hume’s “Of the Standard of Taste” and Kant’s Critique Of Judgment attempt to find ways through what has been termed ‘the antinomy of taste.’ Taste is proverbially subjective: de gustibus non est disputandum (about taste there is no disputing). On the other hand, we do frequently dispute about matters of taste, and some persons are held up as exemplars of good taste or of tastelessness. Some people’s tastes appear vulgar or ostentatious, for example. Some people’s taste is too exquisitely refined, while that of others is crude, naive, or non-existent. Taste, that is, appears to be both subjective and objective: that is the antinomy.

Both Hume and Kant, as we have seen, begin by acknowledging that taste or the ability to detect or experience beauty is fundamentally subjective, that there is no standard of taste in the sense that the Canon was held to be, that if people did not experience certain kinds of pleasure, there would be no beauty. Both acknowledge that reasons can count, however, and that some tastes are better than others. In different ways, they both treat judgments of beauty neither precisely as purely subjective nor precisely as objective but, as we might put it, as inter-subjective or as having a social and cultural aspect, or as conceptually entailing an inter-subjective claim to validity.

Hume’s account focuses on the history and condition of the observer as he or she makes the judgment of taste. Our practices with regard to assessing people’s taste entail that judgments of taste that reflect idiosyncratic bias, ignorance, or superficiality are not as good as judgments that reflect wide-ranging acquaintance with various objects of judgment and are unaffected by arbitrary prejudices. Hume moves from considering what makes a thing beautiful to what makes a critic credible. “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty” (“Of the Standard of Taste” 1757, 144).

Hume argues further that the verdicts of critics who possess those qualities tend to coincide, and approach unanimity in the long run, which accounts, for example, for the enduring veneration of the works of Homer or Milton. So the test of time, as assessed by the verdicts of the best critics, functions as something analogous to an objective standard. Though judgments of taste remain fundamentally subjective, and though certain contemporary works or objects may appear irremediably controversial, the long-run consensus of people who are in a good position to judge functions analogously to an objective standard and renders such standards unnecessary even if they could be identified. Though we cannot directly find a standard of beauty that sets out the qualities that a thing must possess in order to be beautiful, we can describe the qualities of a good critic or a tasteful person. Then the long-run consensus of such persons is the practical standard of taste and the means of justifying judgments about beauty.

Kant similarly concedes that taste is fundamentally subjective, that every judgment of beauty is based on a personal experience, and that such judgments vary from person to person.

By a principle of taste I mean a principle under the condition of which we could subsume the concept of the object, and thus infer, by means of a syllogism, that the object is beautiful. But that is absolutely impossible. For I must immediately feel the pleasure in the representation of the object, and of that I can be persuaded by no grounds of proof whatever. Although, as Hume says, all critics can reason more plausibly than cooks, yet the same fate awaits them. They cannot expect the determining ground of their judgment [to be derived] from the force of the proofs, but only from the reflection of the subject upon its own proper state of pleasure or pain. (Kant 1790, section 34)

But the claim that something is beautiful has more content merely than that it gives me pleasure. Something might please me for reasons entirely eccentric to myself: I might enjoy a bittersweet experience before a portrait of my grandmother, for example, or the architecture of a house might remind me of where I grew up. “No one cares about that,” says Kant (1790, section 7): no one begrudges me such experiences, but they make no claim to guide or correspond to the experiences of others.

By contrast, the judgment that something is beautiful, Kant argues, is a disinterested judgment. It does not respond to my idiosyncrasies, or at any rate if I am aware that it does, I will no longer take myself to be experiencing the beauty per se of the thing in question. Somewhat as in Hume—whose treatment Kant evidently had in mind—one must be unprejudiced to come to a genuine judgment of taste, and Kant gives that idea a very elaborate interpretation: the judgment must be made independently of the normal range of human desires—economic and sexual desires, for instance, which are examples of our ‘interests’ in this sense. If one is walking through a museum and admiring the paintings because they would be extremely expensive were they to come up for auction, for example, or wondering whether one could steal and fence them, one is not having an experience of the beauty of the paintings at all. One must focus on the form of the mental representation of the object for its own sake, as it is in itself. Kant summarizes this as the thought that insofar as one is having an experience of the beauty of something, one is indifferent to its existence. One takes pleasure, rather, in its sheer representation in one’s experience:

Now, when the question is whether something is beautiful, we do not want to know whether anything depends or can depend on the existence of the thing, either for myself or anyone else, but how we judge it by mere observation (intuition or reflection). … We easily see that, in saying it is beautiful , and in showing that I have taste, I am concerned, not with that in which I depend on the existence of the object, but with that which I make out of this representation in myself. Everyone must admit that a judgement about beauty, in which the least interest mingles, is very partial and is not a pure judgement of taste. (Kant 1790, section 2)

One important source of the concept of aesthetic disinterestedness is the Third Earl of Shaftesbury’s dialogue The Moralists , where the argument is framed in terms of a natural landscape: if you are looking at a beautiful valley primarily as a valuable real estate opportunity, you are not seeing it for its own sake, and cannot fully experience its beauty. If you are looking at a lovely woman and considering her as a possible sexual conquest, you are not able to experience her beauty in the fullest or purest sense; you are distracted from the form as represented in your experience. And Shaftesbury, too, localizes beauty to the representational capacity of the mind. (Shaftesbury 1738, 222)

For Kant, some beauties are dependent—relative to the sort of thing the object is—and others are free or absolute. A beautiful ox would be an ugly horse, but abstract textile designs, for example, may be beautiful without a reference group or “concept,” and flowers please whether or not we connect them to their practical purposes or functions in plant reproduction (Kant 1790, section 16). The idea in particular that free beauty is completely separated from practical use and that the experiencer of it is not concerned with the actual existence of the object leads Kant to conclude that absolute or free beauty is found in the form or design of the object, or as Clive Bell (1914) put it, in the arrangement of lines and colors (in the case of painting). By the time Bell writes in the early twentieth century, however, beauty is out of fashion in the arts, and Bell frames his view not in terms of beauty but in terms of a general formalist conception of aesthetic value.

Since in reaching a genuine judgment of taste one is aware that one is not responding to anything idiosyncratic in oneself, Kant asserts (1790, section 8), one will reach the conclusion that anyone similarly situated should have the same experience: that is, one will presume that there ought to be nothing to distinguish one person’s judgment from another’s (though in fact there may be). Built conceptually into the judgment of taste is the assertion that anyone similarly situated ought to have the same experience and reach the same judgment. Thus, built into judgments of taste is a ‘universalization’ somewhat analogous to the universalization that Kant associates with ethical judgments. In ethical judgments, however, the universalization is objective: if the judgment is true, then it is objectively the case that everyone ought to act on the maxim according to which one acts. In the case of aesthetic judgments, however, the judgment remains subjective, but necessarily contains the ‘demand’ that everyone should reach the same judgment. The judgment conceptually entails a claim to inter-subjective validity. This accounts for the fact that we do very often argue about judgments of taste, and that we find tastes that are different than our own defective.

The influence of this series of thoughts on philosophical aesthetics has been immense. One might mention related approaches taken by such figures as Schopenhauer (1818), Hanslick (1891), Bullough (1912), and Croce (1928), for example. A somewhat similar though more adamantly subjectivist line is taken by Santayana, who defines beauty as ‘objectified pleasure.’ The judgment of something that it is beautiful responds to the fact that it induces a certain sort of pleasure; but this pleasure is attributed to the object, as though the object itself were having subjective states.

We have now reached our definition of beauty, which, in the terms of our successive analysis and narrowing of the conception, is value positive, intrinsic, and objectified. Or, in less technical language, Beauty is pleasure regarded as the quality of a thing. … Beauty is a value, that is, it is not a perception of a matter of fact or of a relation: it is an emotion, an affection of our volitional and appreciative nature. An object cannot be beautiful if it can give pleasure to nobody: a beauty to which all men were forever indifferent is a contradiction in terms. … Beauty is therefore a positive value that is intrinsic; it is a pleasure. (Santayana 1896, 50–51)

It is much as though one were attributing malice to a balky object or device. The object causes certain frustrations and is then ascribed an agency or a kind of subjective agenda that would account for its causing those effects. Now though Santayana thought the experience of beauty could be profound or could even be the meaning of life, this account appears to make beauty a sort of mistake: one attributes subjective states (indeed, one’s own) to a thing which in many instances is not capable of having subjective states.

It is worth saying that Santayana’s treatment of the topic in The Sense of Beauty (1896) was the last major account offered in English for some time, possibly because, once beauty has been admitted to be entirely subjective, much less when it is held to rest on a sort of mistake, there seems little more to be said. What stuck from Hume’s and Kant’s treatments was the subjectivity, not the heroic attempts to temper it. If beauty is a subjective pleasure, it would seem to have no higher status than anything that entertains, amuses, or distracts; it seems odd or ridiculous to regard it as being comparable in importance to truth or justice, for example. And the twentieth century also abandoned beauty as the dominant goal of the arts, again in part because its trivialization in theory led artists to believe that they ought to pursue more urgent and more serious projects. More significantly, as we will see below, the political and economic associations of beauty with power tended to discredit the whole concept for much of the twentieth century. This decline is explored eloquently in Arthur Danto’s book The Abuse of Beauty (2003).

However, there was a revival of interest in beauty in something like the classical philosophical sense in both art and philosophy beginning in the 1990s, to some extent centered on the work of art critic Dave Hickey, who declared that “the issue of the 90s will be beauty” (see Hickey 1993), as well as feminist-oriented reconstruals or reappropriations of the concept (see Brand 2000, Irigaray 1993). Several theorists made new attempts to address the antinomy of taste. To some extent, such approaches echo G.E. Moore’s: “To say that a thing is beautiful is to say, not indeed that it is itself good, but that it is a necessary element in something which is: to prove that a thing is truly beautiful is to prove that a whole, to which it bears a particular relation as a part, is truly good” (Moore 1903, 201). One interpretation of this would be that what is fundamentally valuable is the situation in which the object and the person experiencing are both embedded; the value of beauty might include both features of the beautiful object and the pleasures of the experiencer.

Similarly, Crispin Sartwell in his book Six Names of Beauty (2004), attributes beauty neither exclusively to the subject nor to the object, but to the relation between them, and even more widely also to the situation or environment in which they are both embedded. He points out that when we attribute beauty to the night sky, for instance, we do not take ourselves simply to be reporting a state of pleasure in ourselves; we are turned outward toward it; we are celebrating the real world. On the other hand, if there were no perceivers capable of experiencing such things, there would be no beauty. Beauty, rather, emerges in situations in which subject and object are juxtaposed and connected.

Alexander Nehamas, in Only a Promise of Happiness (2007), characterizes beauty as an invitation to further experiences, a way that things invite us in, while also possibly fending us off. The beautiful object invites us to explore and interpret, but it also requires us to explore and interpret: beauty is not to be regarded as an instantaneously apprehensible feature of surface. And Nehamas, like Hume and Kant, though in another register, considers beauty to have an irreducibly social dimension. Beauty is something we share, or something we want to share, and shared experiences of beauty are particularly intense forms of communication. Thus, the experience of beauty is not primarily within the skull of the experiencer, but connects observers and objects such as works of art and literature in communities of appreciation.

Aesthetic judgment, I believe, never commands universal agreement, and neither a beautiful object nor a work of art ever engages a catholic community. Beauty creates smaller societies, no less important or serious because they are partial, and, from the point of view of its members, each one is orthodox—orthodox, however, without thinking of all others as heresies. … What is involved is less a matter of understanding and more a matter of hope, of establishing a community that centers around it—a community, to be sure, whose boundaries are constantly shifting and whose edges are never stable. (Nehamas 2007, 80–81)

2. Philosophical Conceptions of Beauty

Each of the views sketched below has many expressions, some of which may be incompatible with one another. In many or perhaps most of the actual formulations, elements of more than one such account are present. For example, Kant’s treatment of beauty in terms of disinterested pleasure has obvious elements of hedonism, while the ecstatic neo-Platonism of Plotinus includes not only the unity of the object, but also the fact that beauty calls out love or adoration. However, it is also worth remarking how divergent or even incompatible with one another many of these views are: for example, some philosophers associate beauty exclusively with use, others precisely with uselessness.

The art historian Heinrich Wölfflin gives a fundamental description of the classical conception of beauty, as embodied in Italian Renaissance painting and architecture:

The central idea of the Italian Renaissance is that of perfect proportion. In the human figure as in the edifice, this epoch strove to achieve the image of perfection at rest within itself. Every form developed to self-existent being, the whole freely co-ordinated: nothing but independently living parts…. In the system of a classic composition, the single parts, however firmly they may be rooted in the whole, maintain a certain independence. It is not the anarchy of primitive art: the part is conditioned by the whole, and yet does not cease to have its own life. For the spectator, that presupposes an articulation, a progress from part to part, which is a very different operation from perception as a whole. (Wölfflin 1932, 9–10, 15)

The classical conception is that beauty consists of an arrangement of integral parts into a coherent whole, according to proportion, harmony, symmetry, and similar notions. This is a primordial Western conception of beauty, and is embodied in classical and neo-classical architecture, sculpture, literature, and music wherever they appear. Aristotle says in the Poetics that “to be beautiful, a living creature, and every whole made up of parts, must … present a certain order in its arrangement of parts” (Aristotle, volume 2, 2322 [1450b34]). And in the Metaphysics : “The chief forms of beauty are order and symmetry and definiteness, which the mathematical sciences demonstrate in a special degree” (Aristotle, volume 2, 1705 [1078a36]). This view, as Aristotle implies, is sometimes boiled down to a mathematical formula, such as the golden section, but it need not be thought of in such strict terms. The conception is exemplified above all in such texts as Euclid’s Elements and such works of architecture as the Parthenon, and, again, by the Canon of the sculptor Polykleitos (late fifth/early fourth century BCE).

The Canon was not only a statue deigned to display perfect proportion, but a now-lost treatise on beauty. The physician Galen characterizes the text as specifying, for example, the proportions of “the finger to the finger, and of all the fingers to the metacarpus, and the wrist, and of all these to the forearm, and of the forearm to the arm, in fact of everything to everything…. For having taught us in that treatise all the symmetriae of the body, Polyclitus supported his treatise with a work, having made the statue of a man according to his treatise, and having called the statue itself, like the treatise, the Canon ” (quoted in Pollitt 1974, 15). It is important to note that the concept of ‘symmetry’ in classical texts is distinct from and richer than its current use to indicate bilateral mirroring. It also refers precisely to the sorts of harmonious and measurable proportions among the parts characteristic of objects that are beautiful in the classical sense, which carried also a moral weight. For example, in the Sophist (228c-e), Plato describes virtuous souls as symmetrical.

The ancient Roman architect Vitruvius epitomizes the classical conception in central, and extremely influential, formulations, both in its complexities and, appropriately enough, in its underlying unity:

Architecture consists of Order, which in Greek is called taxis , and arrangement, which the Greeks name diathesis , and of Proportion and Symmetry and Decor and Distribution which in the Greeks is called oeconomia . Order is the balanced adjustment of the details of the work separately, and as to the whole, the arrangement of the proportion with a view to a symmetrical result. Proportion implies a graceful semblance: the suitable display of details in their context. This is attained when the details of the work are of a height suitable to their breadth, of a breadth suitable to their length; in a word, when everything has a symmetrical correspondence. Symmetry also is the appropriate harmony arising out of the details of the work itself: the correspondence of each given detail to the form of the design as a whole. As in the human body, from cubit, foot, palm, inch and other small parts come the symmetric quality of eurhythmy. (Vitruvius, 26–27)

Aquinas, in a typically Aristotelian pluralist formulation, says that “There are three requirements for beauty. Firstly, integrity or perfection—for if something is impaired it is ugly. Then there is due proportion or consonance. And also clarity: whence things that are brightly coloured are called beautiful” ( Summa Theologica I, 39, 8).

Francis Hutcheson in the eighteenth century gives what may well be the clearest expression of the view: “What we call Beautiful in Objects, to speak in the Mathematical Style, seems to be in a compound Ratio of Uniformity and Variety; so that where the Uniformity of Bodys is equal, the Beauty is as the Variety; and where the Variety is equal, the Beauty is as the Uniformity” (Hutcheson 1725, 29). Indeed, proponents of the view often speak “in the Mathematical Style.” Hutcheson goes on to adduce mathematical formulae, and specifically the propositions of Euclid, as the most beautiful objects (in another echo of Aristotle), though he also rapturously praises nature, with its massive complexity underlain by universal physical laws as revealed, for example, by Newton. There is beauty, he says, “In the Knowledge of some great Principles, or universal Forces, from which innumerable Effects do flow. Such is Gravitation, in Sir Isaac Newton’s Scheme” (Hutcheson 1725, 38).

A very compelling series of refutations of and counter-examples to the idea that beauty can be a matter of any specific proportions between parts, and hence to the classical conception, is given by Edmund Burke in A Philosophical Enquiry into the Origin of our Ideas of the Beautiful and the Sublime :

Turning our eyes to the vegetable kingdom, we find nothing there so beautiful as flowers; but flowers are of every sort of shape, and every sort of disposition; they are turned and fashioned into an infinite variety of forms. … The rose is a large flower, yet it grows upon a small shrub; the flower of the apple is very small, and it grows upon a large tree; yet the rose and the apple blossom are both beautiful. … The swan, confessedly a beautiful bird, has a neck longer than the rest of its body, and but a very short tail; is this a beautiful proportion? we must allow that it is. But what shall we say of the peacock, who has comparatively but a short neck, with a tail longer than the neck and the rest of the body taken together? … There are some parts of the human body, that are observed to hold certain proportions to each other; but before it can be proved, that the efficient cause of beauty lies in these, it must be shewn, that wherever these are found exact, the person to whom they belong is beautiful. … For my part, I have at several times very carefully examined many of these proportions, and found them to hold very nearly, or altogether alike in many subjects, which were not only very different from one another, but where one has been very beautiful, and the other very remote from beauty. … You may assign any proportions you please to every part of the of the human body; and I undertake, that a painter shall observe them all, and notwithstanding produce, if he pleases, a very ugly figure. (Burke 1757, 84–89)

There are many ways to interpret Plato’s relation to classical aesthetics. The political system sketched in the Republic characterizes justice in terms of the relation of part and whole. But Plato was also no doubt a dissident in classical culture, and the account of beauty that is expressed specifically in the Symposium —perhaps the key Socratic text for neo-Platonism and for the idealist conception of beauty—expresses an aspiration toward beauty as perfect unity.

In the midst of a drinking party, Socrates recounts the teachings of his instructress, one Diotima, on matters of love. She connects the experience of beauty to the erotic or the desire to reproduce (Plato, 558–59 [ Symposium 206c–207e]). But the desire to reproduce is associated in turn with a desire for the immortal or eternal: “And why all this longing for propagation? Because this is the one deathless and eternal element in our mortality. And since we have agreed that the lover longs for the good to be his own forever, it follows that we are bound to long for immortality as well as for the good—which is to say that Love is a longing for immortality” (Plato, 559, [ Symposium 206e–207a]). What follows is, if not classical, at any rate classic:

The candidate for this initiation cannot, if his efforts are to be rewarded, begin too early to devote himself to the beauties of the body. First of all, if his preceptor instructs him as he should, he will fall in love with the beauty of one individual body, so that his passion may give life to noble discourse. Next he must consider how nearly related the beauty of any one body is to the beauty of any other, and he will see that if he is to devote himself to loveliness of form it will be absurd to deny that the beauty of each and every body is the same. Having reached this point, he must set himself to be the lover of every lovely body, and bring his passion for the one into due proportion by deeming it of little or no importance. Next he must grasp that the beauties of the body are as nothing to the beauties of the soul, so that wherever he meets with spiritual loveliness, even in the husk of an unlovely body, he will find it beautiful enough to fall in love with and cherish—and beautiful enough to quicken in his heart a longing for such discourse as tends toward the building of a noble nature. And from this he will be led to contemplate the beauty of laws and institutions. And when he discovers how every kind of beauty is akin to every other he will conclude that the beauty of the body is not, after all, of so great moment. … And so, when his prescribed devotion to boyish beauties has carried our candidate so far that the universal beauty dawns upon his inward sight, he is almost within reach of the final revelation. … Starting from individual beauties, the quest for universal beauty must find him mounting the heavenly ladder, stepping from rung to rung—that is, from one to two, and from two to every lovely body, and from bodily beauty to the beauty of institutions, from institutions to learning, and from learning in general to the special lore that pertains to nothing but the beautiful itself—until at last he comes to know what beauty is. And if, my dear Socrates, Diotima went on, man’s life is ever worth living, it is when he has attained this vision of the very soul of beauty. (Plato, 561–63 [ Symposium 210a–211d])

Beauty here is conceived—perhaps explicitly in contrast to the classical aesthetics of integral parts and coherent whole—as perfect unity, or indeed as the principle of unity itself.

Plotinus, as we have already seen, comes close to equating beauty with formedness per se: it is the source of unity among disparate things, and it is itself perfect unity. Plotinus specifically attacks what we have called the classical conception of beauty:

Almost everyone declares that the symmetry of parts towards each other and towards a whole, with, besides, a certain charm of colour, constitutes the beauty recognized by the eye, that in visible things, as indeed in all else, universally, the beautiful thing is essentially symmetrical, patterned. But think what this means. Only a compound can be beautiful, never anything devoid of parts; and only a whole; the several parts will have beauty, not in themselves, but only as working together to give a comely total. Yet beauty in an aggregate demands beauty in details; it cannot be constructed out of ugliness; its law must run throughout. All the loveliness of colour and even the light of the sun, being devoid of parts and so not beautiful by symmetry, must be ruled out of the realm of beauty. And how comes gold to be a beautiful thing? And lightning by night, and the stars, why are these so fair? In sounds also the simple must be proscribed, though often in a whole noble composition each several tone is delicious in itself. (Plotinus, 21 [ Ennead I,6])

Plotinus declares that fire is the most beautiful physical thing, “making ever upwards, the subtlest and sprightliest of all bodies, as very near to the unembodied. … Hence the splendour of its light, the splendour that belongs to the Idea” (Plotinus, 22 [ Ennead I,3]). For Plotinus as for Plato, all multiplicity must be immolated finally into unity, and all roads of inquiry and experience lead toward the Good/Beautiful/True/Divine.

This gave rise to a basically mystical vision of the beauty of God that, as Umberto Eco has argued, persisted alongside an anti-aesthetic asceticism throughout the Middle Ages: a delight in profusion that finally merges into a single spiritual unity. In the sixth century, Pseudo-Dionysius the Areopagite characterized the whole of creation as yearning toward God; the universe is called into being by love of God as beauty (Pseudo-Dionysius, 4.7; see Kirwan 1999, 29). Sensual/aesthetic pleasures could be considered the expressions of the immense, beautiful profusion of God and our ravishment thereby. Eco quotes Suger, Abbot of St Denis in the twelfth century, describing a richly-appointed church:

Thus, when—out of my delight in the beauty of the house of God—the loveliness of the many-colored gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner. (Eco 1959, 14)

This conception has had many expressions in the modern era, including in such figures as Shaftesbury, Schiller, and Hegel, according to whom the aesthetic or the experience of art and beauty is a primary bridge (or to use the Platonic image, stairway or ladder) between the material and the spiritual. For Shaftesbury, there are three levels of beauty: what God makes (nature); what human beings make from nature or what is transformed by human intelligence (art, for example); and finally, the intelligence that makes even these artists (that is, God). Shaftesbury’s character Theocles describes “the third order of beauty,”

which forms not only such as we call mere forms but even the forms which form. For we ourselves are notable architects in matter, and can show lifeless bodies brought into form, and fashioned by our own hands, but that which fashions even minds themselves, contains in itself all the beauties fashioned by those minds, and is consequently the principle, source, and fountain of all beauty. … Whatever appears in our second order of forms, or whatever is derived or produced from thence, all this is eminently, principally, and originally in this last order of supreme and sovereign beauty. … Thus architecture, music, and all which is of human invention, resolves itself into this last order. (Shaftesbury 1738, 228–29)

Schiller’s expression of a similar series of thoughts was fundamentally influential on the conceptions of beauty developed within German Idealism:

The pre-rational concept of Beauty, if such a thing be adduced, can be drawn from no actual case—rather does itself correct and guide our judgement concerning every actual case; it must therefore be sought along the path of abstraction, and it can be inferred simply from the possibility of a nature that is both sensuous and rational; in a word, Beauty must be exhibited as a necessary condition of humanity. Beauty … makes of man a whole, complete in himself. (1795, 59–60, 86)

For Schiller, beauty or play or art (he uses the words, rather cavalierly, almost interchangeably) performs the process of integrating or rendering compatible the natural and the spiritual, or the sensuous and the rational: only in such a state of integration are we—who exist simultaneously on both these levels—free. This is quite similar to Plato’s ‘ladder’: beauty as a way to ascend to the abstract or spiritual. But Schiller—though this is at times unclear—is more concerned with integrating the realms of nature and spirit than with transcending the level of physical reality entirely, a la Plato. It is beauty and art that performs this integration.

In this and in other ways—including in the tripartite dialectical structure of his account—Schiller strikingly anticipates Hegel, who writes as follows.

The philosophical Concept of the beautiful, to indicate its true nature at least in a preliminary way, must contain, reconciled within itself, both the extremes which have been mentioned [the ideal and the empirical] because it unites metaphysical universality with real particularity. (Hegel 1835, 22)

Beauty, we might say, or artistic beauty at any rate, is a route from the sensuous and particular to the Absolute and to freedom, from finitude to the infinite, formulations that—while they are influenced by Schiller—strikingly recall Shaftesbury, Plotinus, and Plato.

Hegel, who associates beauty and art with mind and spirit, holds with Shaftesbury that the beauty of art is higher than the beauty of nature, on the grounds that, as Hegel puts it, “the beauty of art is born of the spirit and born again ” (Hegel 1835, 2). That is, the natural world is born of God, but the beauty of art transforms that material again by the spirit of the artist. This idea reaches is apogee in Benedetto Croce, who very nearly denies that nature can ever be beautiful, or at any rate asserts that the beauty of nature is a reflection of the beauty of art. “The real meaning of ‘natural beauty’ is that certain persons, things, places are, by the effect which they exert upon one, comparable with poetry, painting, sculpture, and the other arts” (Croce 1928, 230).

Edmund Burke, expressing an ancient tradition, writes that, “by beauty I mean, that quality or those qualities in bodies, by which they cause love, or some passion similar to it” (Burke 1757, 83). As we have seen, in almost all treatments of beauty, even the most apparently object or objectively-oriented, there is a moment in which the subjective qualities of the experience of beauty are emphasized: rhapsodically, perhaps, or in terms of pleasure or ataraxia , as in Schopenhauer. For example, we have already seen Plotinus, for whom beauty is certainly not subjective, describe the experience of beauty ecstatically. In the idealist tradition, the human soul, as it were, recognizes in beauty its true origin and destiny. Among the Greeks, the connection of beauty with love is proverbial from early myth, and Aphrodite the goddess of love won the Judgment of Paris by promising Paris the most beautiful woman in the world.

There is an historical connection between idealist accounts of beauty and those that connect it to love and longing, though there would seem to be no entailment either way. We have Sappho’s famous fragment 16: “Some say thronging cavalry, some say foot soldiers, others call a fleet the most beautiful sights the dark world offers, but I say it’s whatever you love best” (Sappho, 16). (Indeed, at Phaedrus 236c, Socrates appears to defer to “the fair Sappho” as having had greater insight than himself on love [Plato, 483].)

Plato’s discussions of beauty in the Symposium and the Phaedrus occur in the context of the theme of erotic love. In the former, love is portrayed as the ‘child’ of poverty and plenty. “Nor is he delicate and lovely as most of us believe, but harsh and arid, barefoot and homeless” (Plato, 556 [Symposium 203b–d]). Love is portrayed as a lack or absence that seeks its own fulfillment in beauty: a picture of mortality as an infinite longing. Love is always in a state of lack and hence of desire: the desire to possess the beautiful. Then if this state of infinite longing could be trained on the truth, we would have a path to wisdom. The basic idea has been recovered many times, for example by the Romantics. It fueled the cult of idealized or courtly love through the Middle Ages, in which the beloved became a symbol of the infinite.

Recent work on the theory of beauty has revived this idea, and turning away from pleasure has turned toward love or longing (which are not necessarily entirely pleasurable experiences) as the experiential correlate of beauty. Both Sartwell and Nehamas use Sappho’s fragment 16 as an epigraph. Sartwell defines beauty as “the object of longing” and characterizes longing as intense and unfulfilled desire. He calls it a fundamental condition of a finite being in time, where we are always in the process of losing whatever we have, and are thus irremediably in a state of longing. And Nehamas writes that “I think of beauty as the emblem of what we lack, the mark of an art that speaks to our desire. … Beautiful things don’t stand aloof, but direct our attention and our desire to everything else we must learn or acquire in order to understand and possess, and they quicken the sense of life, giving it new shape and direction” (Nehamas 2007, 77).

Thinkers of the 18 th century—many of them oriented toward empiricism—accounted for beauty in terms of pleasure. The Italian historian Ludovico Antonio Muratori, for example, in quite a typical formulation, says that “By beautiful we generally understand whatever, when seen, heard, or understood, delights, pleases, and ravishes us by causing within us agreeable sensations” (see Carritt 1931, 60). In Hutcheson it is not clear whether we ought to conceive beauty primarily in terms of classical formal elements or in terms of the viewer’s pleasurable response. He begins the Inquiry Into the Original of Our Ideas of Beauty and Virtue with a discussion of pleasure. And he appears to assert that objects which instantiate his ‘compound ratio of uniformity and variety’ are peculiarly or necessarily capable of producing pleasure:

The only Pleasure of sense, which our Philosophers seem to consider, is that which accompanys the simple Ideas of Sensation; But there are vastly greater Pleasures in those complex Ideas of objects, which obtain the Names of Beautiful, Regular, Harmonious. Thus every one acknowledges he is more delighted with a fine Face, a just Picture, than with the View of any one Colour, were it as strong and lively as possible; and more pleased with a Prospect of the Sun arising among settled Clouds, and colouring their Edges, with a starry Hemisphere, a fine Landskip, a regular Building, than with a clear blue Sky, a smooth Sea, or a large open Plain, not diversify’d by Woods, Hills, Waters, Buildings: And yet even these latter Appearances are not quite simple. So in Musick, the Pleasure of fine Composition is incomparably greater than that of any one Note, how sweet, full, or swelling soever. (Hutcheson 1725, 22)

When Hutcheson then goes on to describe ‘original or absolute beauty,’ he does it, as we have seen, in terms of the qualities of the beautiful thing (a “compound ratio” of uniformity and variety), and yet throughout, he insists that beauty is centered in the human experience of pleasure. But of course the idea of pleasure could come apart from Hutcheson’s particular aesthetic preferences, which are poised precisely opposite Plotinus’s, for example. That we find pleasure in a symmetrical rather than an asymmetrical building (if we do) is contingent. But that beauty is connected to pleasure appears, according to Hutcheson, to be necessary, and the pleasure which is the locus of beauty itself has ideas rather than things as its objects.

Hume writes in a similar vein in the Treatise of Human Nature :

Beauty is such an order and construction of parts as, either by the primary constitution of our nature, by custom, or by caprice, is fitted to give a pleasure and satisfaction to the soul. … Pleasure and pain, therefore, are not only necessary attendants of beauty and deformity, but constitute their very essence. (Hume 1740, 299)

Though this appears ambiguous as between locating the beauty in the pleasure or in the impression or idea that causes it, Hume is soon talking about the ‘sentiment of beauty,’ where sentiment is, roughly, a pleasurable or painful response to impressions or ideas, though the experience of beauty is a matter of cultivated or delicate pleasures. Indeed, by the time of Kant’s Third Critique and after that for perhaps two centuries, the direct connection of beauty to pleasure is taken as a commonplace, to the point where thinkers are frequently identifying beauty as a certain sort of pleasure. Santayana, for example, as we have seen, while still gesturing in the direction of the object or experience that causes pleasure, emphatically identifies beauty as a certain sort of pleasure.

One result of this approach to beauty—or perhaps an extreme expression of this orientation—is the assertion of the positivists that words such as ‘beauty’ are meaningless or without cognitive content, or are mere expressions of subjective approval. Hume and Kant were no sooner declaring beauty to be a matter of sentiment or pleasure and therefore to be subjective than they were trying to ameliorate the sting, largely by emphasizing critical consensus. But once this fundamental admission is made, any consensus seems contingent. Another way to formulate this is that it appears to certain thinkers after Hume and Kant that there can be no reasons to prefer the consensus to a counter-consensus assessment. A.J. Ayer writes:

Such aesthetic words as ‘beautiful’ and ‘hideous’ are employed … not to make statements of fact, but simply to express certain feelings and evoke a certain response. It follows…that there is no sense attributing objective validity to aesthetic judgments, and no possibility of arguing about questions of value in aesthetics. (Ayer 1952, 113)

All meaningful claims either concern the meaning of terms or are empirical, in which case they are meaningful because observations could confirm or disconfirm them. ‘That song is beautiful’ has neither status, and hence has no empirical or conceptual content. It merely expresses a positive attitude of a particular viewer; it is an expression of pleasure, like a satisfied sigh. The question of beauty is not a genuine question, and we can safely leave it behind or alone. Most twentieth-century philosophers did just that.

Philosophers in the Kantian tradition identify the experience of beauty with disinterested pleasure, psychical distance, and the like, and contrast the aesthetic with the practical. “ Taste is the faculty of judging an object or mode of representing it by an entirely disinterested satisfaction or dissatisfaction. The object of such satisfaction is called beautiful ” (Kant 1790, 45). Edward Bullough distinguishes the beautiful from the merely agreeable on the grounds that the former requires a distance from practical concerns: “Distance is produced in the first instance by putting the phenomenon, so to speak, out of gear with our practical, actual self; by allowing it to stand outside the context of our personal needs and ends” (Bullough 1912, 244).

On the other hand, many philosophers have gone in the opposite direction and have identified beauty with suitedness to use. ‘Beauty’ is perhaps one of the few terms that could plausibly sustain such entirely opposed interpretations.

According to Diogenes Laertius, the ancient hedonist Aristippus of Cyrene took a rather direct approach.

Is not then, also, a beautiful woman useful in proportion as she is beautiful; and a boy and a youth useful in proportion to their beauty? Well then, a handsome boy and a handsome youth must be useful exactly in proportion as they are handsome. Now the use of beauty is, to be embraced. If then a man embraces a woman just as it is useful that he should, he does not do wrong; nor, again, will he be doing wrong in employing beauty for the purposes for which it is useful. (Diogenes Laertius, 94)

In some ways, Aristippus is portrayed parodically: as the very worst of the sophists, though supposedly a follower of Socrates. And yet the idea of beauty as suitedness to use finds expression in a number of thinkers. Xenophon’s Memorabilia puts the view in the mouth of Socrates, with Aristippus as interlocutor:

Socrates : In short everything which we use is considered both good and beautiful from the same point of view, namely its use. Aristippus : Why then, is a dung-basket a beautiful thing? Socrates : Of course it is, and a golden shield is ugly, if the one be beautifully fitted to its purpose and the other ill. (Xenophon, Book III, viii)

Berkeley expresses a similar view in his dialogue Alciphron , though he begins with the hedonist conception: “Every one knows that beauty is what pleases” (Berkeley 1732, 174; see Carritt 1931, 75). But it pleases for reasons of usefulness. Thus, as Xenophon suggests, on this view, things are beautiful only in relation to the uses for which they are intended or to which they are properly applied. The proper proportions of an object depend on what kind of object it is and, again, a beautiful car might make an ugly tractor. “The parts, therefore, in true proportions, must be so related, and adjusted to one another, as they may best conspire to the use and operation of the whole” (Berkeley 1732, 174–75; see Carritt 1931, 76). One result of this is that, though beauty remains tied to pleasure, it is not an immediate sensible experience. It essentially requires intellection and practical activity: one has to know the use of a thing and assess its suitedness to that use.

This treatment of beauty is often used, for example, to criticize the distinction between fine art and craft, and it avoids sheer philistinism by enriching the concept of ‘use,’ so that it might encompass not only performing a practical task, but performing it especially well or with an especial satisfaction. Ananda Coomaraswamy, the Ceylonese-British scholar of Indian and European medieval arts, adds that a beautiful work of art or craft expresses as well as serves its purpose.

A cathedral is not as such more beautiful than an airplane, … a hymn than a mathematical equation. … A well-made sword is not less beautiful than a well-made scalpel, though one is used to slay, the other to heal. Works of art are only good or bad, beautiful or ugly in themselves, to the extent that they are or are not well and truly made, that is, do or do not express, or do or do not serve their purpose. (Coomaraswamy 1977, 75)

Roger Scruton, in his book Beauty (2009) returns to a modified Kantianism with regard to both beauty and sublimity, enriched by many and varied examples. “We call something beautiful,” writes Scruton, “when we gain pleasure from contemplating it as an individual object, for its own sake, and in its presented form ” (Scruton 2009, 26). Despite the Kantian framework, Scruton, like Sartwell and Nehamas, throws the subjective/objective distinction into question. He compares experiencing a beautiful thing to a kiss. To kiss someone that one loves is not merely to place one body part on another, “but to touch the other person in his very self. Hence the kiss is compromising – it is a move from one self toward another, and a summoning of the other into the surface of his being” (Scruton 2009, 48). This, Scruton says, is a profound pleasure.

3. The Politics of Beauty

Kissing sounds nice, but some kisses are coerced, some pleasures obtained at a cost to other people. The political associations of beauty over the last few centuries have been remarkably various and remarkably problematic, particularly in connection with race and gender, but in other aspects as well. This perhaps helps account for the neglect of the issue in early-to-mid twentieth-century philosophy as well as its growth late in the century as an issue in social justice movements, and subsequently in social-justice oriented philosophy.

The French revolutionaries of 1789 associated beauty with the French aristocracy and with the Rococo style of the French royal family, as in the paintings of Fragonard: hedonist expressions of wealth and decadence, every inch filled with decorative motifs. Beauty itself became subject to a moral and political critique, or even to direct destruction, with political motivations (see Levey 1985). And by the early 20th century, beauty was particularly associated with capitalism (ironically enough, considering the ugliness of the poverty and environmental destruction it often induced). At times even great art appeared to be dedicated mainly to furnishing the homes of rich people, with the effect of concealing the suffering they were inflicting. In response, many anti-capitalists, including many Marxists, appeared to repudiate beauty entirely. And in the aesthetic politics of Nazism, reflected for example in the films of Leni Riefenstahl, the association of beauty and right wing politics was sealed to devastating effect (see Spotts 2003).

Early on in his authorship, Karl Marx could hint that the experience of beauty distinguishes human beings from all other animals. An animal “produces only under the dominion of immediate physical need, whilst man produces even when he is free from physical need and only truly produces in freedom therefrom. Man therefore also forms objects in accordance with the laws of beauty” (Marx 1844, 76). But later Marx appeared to conceive beauty as “superstructure” or “ideology” disguising the material conditions of production. Perhaps, however, he also anticipated the emergence of new beauties, available to all both as makers and appreciators, in socialism.

Capitalism, of course, uses beauty – at times with complete self-consciousness – to manipulate people into buying things. Many Marxists believed that the arts must be turned from providing fripperies to the privileged or advertising that helps make them wealthier to showing the dark realities of capitalism (as in the American Ashcan school, for example), and articulating an inspiring Communist future. Stalinist socialist realism consciously repudiates the aestheticized beauties of post-impressionist and abstract painting, for example. It has urgent social tasks to perform (see Bown and Lanfranconi 2012). But the critique tended at times to generalize to all sorts of beauty: as luxury, as seduction, as disguise and oppression. The artist Max Ernst (1891–1976), having survived the First World War, wrote this about the radical artists of the early century: “To us, Dada was above all a moral reaction. Our rage aimed at total subversion. A horrible futile war had robbed us of five years of our existence. We had experienced the collapse into ridicule and shame of everything represented to us as just, true, and beautiful. My works of that period were not meant to attract, but to make people scream” (quoted in Danto 2003, 49).

Theodor Adorno, in his book Aesthetic Theory , wrote that one symptom of oppression is that oppressed groups and cultures are regarded as uncouth, dirty, ragged; in short, that poverty is ugly. It is art’s obligation, he wrote, to show this ugliness, imposed on people by an unjust system, clearly and without flinching, rather to distract people by beauty from the brutal realities of capitalism. “Art must take up the cause of what is proscribed as ugly, though no longer to integrate or mitigate it or reconcile it with its own existence,” Adorno wrote. “Rather, in the ugly, art must denounce the world that creates and reproduces the ugly in its own image” (Adorno 1970, 48–9).

The political entanglements of beauty tend to throw into question various of the traditional theories. For example, the purity and transcendence associated with the essence of beauty in the realm of the Forms seems irrelevant, as beauty shows its centrality to politics and commerce, to concrete dimensions of oppression. The austere formalism of the classical conception, for example, seems neither here nor there when the building process is brutally exploitative.

As we have seen, the association of beauty with the erotic is proverbial from Sappho and is emphasized relentlessly by figures such as Burke and Nehamas. But the erotic is not a neutral or universal site, and we need to ask whose sexuality is in play in the history of beauty, with what effects. This history, particularly in the West and as many feminist theorists and historians have emphasized, is associated with the objectification and exploitation of women. Feminists beginning in the 19th century gave fundamental critiques of the use of beauty as a set of norms to control women’s bodies or to constrain their self-presentation and even their self-image in profound and disabling ways (see Wollstonecraft 1792, Grimké 1837).

In patriarchal society, as Catherine MacKinnon puts it, the content of sexuality “is the gaze that constructs women as objects for male pleasure. I draw on pornography for its form and content,” she continues, describing her treatment of the subject, “for the gaze that eroticizes the despised, the demeaned, the accessible, the there-to-be-used, the servile, the child-like, the passive, and the animal. That is the content of sexuality that defines gender female in this culture, and visual thingification is its method” (MacKinnon 1987, 53–4). Laura Mulvey, in “Visual Pleasure and Narrative Cinema,” reaches one variety of radical critique and conclusion: “It is said that analyzing pleasure, or beauty, destroys it. That is the intention of this article” (Mulvey 1975, 60).

Mulvey’s psychoanalytic treatment was focused on the scopophilia (a Freudian term denoting neurotic sexual pleasure configured around looking) of Hollywood films, in which men appeared as protagonists, and women as decorative or sexual objects for the pleasure of the male characters and male audience-members. She locates beauty “at the heart of our oppression.” And she appears to have a hedonist conception of it: beauty engenders pleasure. But some pleasures, like some kisses, are sadistic or exploitative at the individual and at the societal level. Art historians such as Linda Nochlin (1988) and Griselda Pollock (1987) brought such insights to bear on the history of painting, for example, where the scopophilia is all too evident in famous nudes such as Titian’s Venus of Urbino or Velazquez’s Rokeby Venus , which a feminist slashed with knife in 1914 because “she didn’t like the way men gawked at it”.

Feminists such as Naomi Wolf in her book The Beauty Myth , generalized such insights into a critique of the ways women are represented throughout Western popular culture: in advertising, for example, or music videos. Such practices have the effect of constraining women to certain acceptable ways of presenting themselves publicly, which in turn greatly constrains how seriously they are taken, or how much of themselves they can express in public space. As have many other commentators, Wolf connects the representation of the “beautiful” female body, in Western high art but especially in popular culture, to eating disorders and many other self-destructive behaviors, and indicates that a real overturning of gender hierarchy will require deeply re-construing the concept of beauty.

The demand on women to create a beautiful self-presentation by male standards, Wolf argues, fundamentally compromises women’s action and self-understanding, and makes fully human relationships between men and women difficult or impossible. In this Wolf follows, among others, the French thinker Luce Irigaray, who wrote that “Female beauty is always considered as finery ultimately designed to attract the other into the self. It is almost never perceived as a manifestation of, an appearance of, a phenomenon expressive of interiority – whether of love, of thought, of flesh. We look at ourselves in the mirror to please someone , rarely to interrogate the state of our body or our spirit, rarely for ourselves and in search of our becoming” (quoted in Robinson 2000, 230).

“Sex is held hostage by beauty,” Wolf remarks, “and its ransom terms are engraved in girls’ minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film” (Wolf 1991f, 157).

Early in the 20th century, black nationalist leader Marcus Garvey (1887–1940) described European or white standards of beauty as a deep dimension of oppression, quite similarly to the way Naomi Wolf describes beauty standards for women. These standards are relentlessly reinforced in authoritative images, but they are incompatible with black skin, black bodies, and also traditional African ways of understanding human beauty. White standards of beauty, Garvey argued, devalue black bodies. The truly oppressive aspects of such norms can be seen in the way they induce self-alienation, as Wolf argues with regard to sexualized images of women. “Some of us in America, the West Indies, and Africa believe that the nearer we approach the white man in color, the greater our social standing and privilege,” he wrote (Garvey 1925 [1986], 56). He condemns skin bleaching and hair straightening as ways that black people are taught to devalue themselves by white standards of beauty. And he connects such standards to ‘colorism’ or prejudice in the African-American community toward darker-skinned black people.

Such observations suggest some of the strengths of cultural relativism as opposed to subjectivism or universalism: standards of beauty appear in this picture not to be idiosyncratic to individuals, nor to be universal among all people, but to be tied to group identities and to oppression and resistance.

In his autobiography, Malcolm X (1925–1965), whose parents were activists in the Garvey movement, describes ‘conking’ or straightening his hair with lye products as a young man. “This was my first really big step toward self-degradation,” he writes, “when I endured all of that pain, literally burning my flesh to have it look like a white man’s hair. I had joined that multitude of Negro men and women in America who are brainwashed into believing that black people are ‘inferior’ – and white people ‘superior’ – that they will even violate and mutilate their God-created bodies to try to look ‘pretty’ by white standards” (X 1964, 56–7). For both Marcus Garvey and Malcolm X, a key moment in the transformation of racial oppression would be the affirmation of standards of black beauty that are not parasitic on white standards, and hence not directly involved in racial oppression. This was systematically developed after Malcolm’s death in the “natural” hairstyles and African fabrics in the Black Power movement. Certainly, people have many motivations for straightening or coloring their hair, for example. But the critical examination of the racial content of beauty norms was a key moment in black liberation movements, many of which, around 1970, coalesced around the slogan Black is beautiful . These are critiques of specific standards of beauty; they are also tributes to beauty’s power.

Imposing standards of beauty on non-Western cultures, and, in particular, misappropriating standards of beauty and beautiful objects from them, formed one of the most complex strategies of colonialism. Edward Said famously termed this dynamic “orientalism.” Novelists such as Nerval and Kipling and painters such as Delacroix and Picasso, he argued, used motifs drawn from Asian and African cultures, treating them as “exotic” insertions into Western arts. Such writers and artists might even have understood themselves to be celebrating the cultures they depicted in pictures of Arabian warriors or African masks. But they used this imagery precisely in relation to Western art history. They distorted what they appropriated.

“Being a White Man, in short,” writes Said, “was a very concrete manner of being-in-the-world, a way of taking hold of reality, language, and thought. It made a specific style possible” (Said 1978, 227). This style might be encapsulated in the outfits of colonial governors, and their mansions. But it was also typified by an appropriative “appreciation” of “savage” arts and “exotic” beauties, which were of course not savage or exotic in their own context. Even in cases where the beauty of such objects was celebrated, the appreciation was mixed with condescension and misapprehension, and also associated with stripping colonial possessions of their most beautiful objects (as Europeans understood beauty)—shipping them back to the British Museum, for example. Now some beautiful objects, looted in colonialism, are being returned to their points of origin (see Matthes 2017), but many others remain in dispute.

However, if beauty has been an element in various forms of oppression, it has also been an element in various forms of resistance, as the slogan “Black is beautiful” suggests. The most compelling responses to oppressive standards and uses of beauty have given rise to what might be termed counter-beauties . When fighting discrimination against people with disabilities, for example, one may decry the oppressive norms that regard disabled bodies as ugly and leave it at that. Or one might try to discover what new standards of beauty and subversive pleasures might arise in the attempt to regard disabled bodies as beautiful (Siebers 2005). For that matter, one might uncover the ways that non-normative bodies and subversive pleasures actually do fulfill various traditional criteria of beauty. Indeed, for some decades there has been a disability arts movement, often associated with artists such as Christine Sun Kim and Riva Lehrer, which tries to do just that (see Siebers 2005).

The exploration of beauty, in some ways flipping it over into an instrument of feminist resistance, or showing directly how women’s beauty could be experienced outside of patriarchy, has been a theme of much art by women of the 20th and 21st centuries. Georgia O’Keeffe’s flowers and Judy Chicago’s “Dinner Party” place settings undertake to absorb and reverse the objectifying gaze. The exploration of the meaning of the female body in the work of performance artists such as Hannah Wilke, Karen Finley, and Orlan, tries both to explore the objectification of the female body and to affirm women’s experience in its concrete realities from the inside: to make of it emphatically a subject rather than an object (see Striff 1997).

“Beauty seems in need of rehabilitation today as an impulse that can be as liberating as it has been deemed enslaving,” wrote philosopher Peg Zeglin Brand in 2000. “Confident young women today pack their closets with mini-skirts and sensible suits. Young female artists toy with feminine stereotypes in ways that make their feminist elders uncomfortable. They recognize that … beauty can be a double-edged sword – as capable of destabilizing rigid conventions and restrictive behavioral models as it is of reinforcing them” (Brand 2000, xv). Indeed, vernacular norms of beauty as expressed in media and advertising have shifted in virtue of the feminist and anti-racist attacks on dominant body norms, as the concept’s long journey continues.

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• Wollstonecraft, Mary, 1792. A Vindication of the Rights of Women , Boston: Thomas & Andrews.
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aesthetics: British, in the 18th century | aesthetics: French, in the 18th century | Aquinas, Thomas | Aristotle | Ayer, Alfred Jules | Burke, Edmund | Croce, Benedetto: aesthetics | feminist philosophy, interventions: aesthetics | hedonism | Hegel, Georg Wilhelm Friedrich: aesthetics | Hume, David: aesthetics | Kant, Immanuel: aesthetics and teleology | Kant, Immanuel: theory of judgment | medieval philosophy | Neoplatonism | Plato: aesthetics | Plotinus | Santayana, George | Schiller, Friedrich | Schopenhauer, Arthur | Scottish Philosophy: in the 18th Century | Shaftesbury, Lord [Anthony Ashley Cooper, 3rd Earl of]

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Beauty Standards and Their Impact Essay

Introduction.

Beauty generally refers to the mixture of aesthetic qualities such as form, shape and color that pleases the eyesight. Beauty is divided into two broad branches, that is, human beauty and beauty in things around us. Human beauty can also be classified into physical beauty and beauty of the soul. Beauty in things around us entails architecture and physical features.

Society at large has always put emphasis that beauty being admired and looked after trait. A good example in a society is a Marketing and Advertisement Industry that sells all everything by showcasing its beauty. Some countries however hold beauty more highly than others. Such countries include The U.S is the leading.

The physical beauty of a person opens ways for the person to get their soulmates without struggle. It is usually the first impression that makes the attraction to a mate much easier. It smoothens the bumps that life gives during the search for a soulmate. However, you should take into account that its importance fades away quickly with time. As you go through life, you realize that what you thought was beauty fades away. During this period, people tend to embark on the other kind of beauty which is the beauty of the soul. The beauty of the soul entails traits such as personality, sense of humor, intelligence and other factors that entail a person’s character.

The beauty of the things around us such as the works of architecture such as unique buildings, bridges and others and physical features such as mountains and water bodies are very important as they bring happiness and joy to our eyesight. They are used as sources of recreational facilities for both children and adults. Children go to places rich in physical features to break class monotony. Adults go to beautiful places while depressed or just while they need some refreshment. They are also used as sources of learning facilities for persons of all ages. Children go to learn new things in their environment and that is the same with adults.

All people need beauty but it depends on which type of beauty is in question. To explain this, children only find beauty in things such as toys and also in places they go. Adults on the other hand see the world clearly and thus they need beauty in everything they do and places they go. Some people however need beauty more than others. Women for example tend to be more obsessed with beauty in almost everything. They always look for perfection in their body and also in everything they do on a daily basis. This has consequently made them turn to cosmetics in order to look more beautiful. Some are now even doing surgery to modify their faces and other parts of their bodies. People always need beauty in their lives. This is always largely contributed by things around them. Take, for example, a beautiful compound with a wonderful house and a beautiful garden in the backyard that will always bring happiness and improve the lives of people living there.

As the say goes, beauty is in the beholder’s eyes. The perception of people on beauty is influenced by cultural heritage. For instance, American culture perceives youthfulness as beauty and European perceives flawless skin as an ideal beauty. In Africa, however, a filled-out large figure is referred to as beauty. In today’s society, beauty is people are beginning to relate beauty to be prosperous and happy. Many cultures have fueled the obsession with women being pretty and that in turn led to the introduction of cosmetics among different cultures. Almost all the cultures in the world value beauty so highly that many quantitative measures of beauty are constructed socially.

There are some types of beauty that the media have long forgotten and no longer classify as types of beauty. These include architecture and music. The media nowadays classify architecture as more of a science than art while the music on the other hand is long forgotten when they talk about those categories. Through the help of the media, our concepts about beauty can be globalized more so through social media networks as almost all the young people in this new generation are using social media networks and the information can travel faster.

There are many controversies about beauty in nature compared to that in human form. It is important that we consider all as having beauty but the one has more beauty than the other. Human being has a beauty that fades away with time while nature has a permanent beauty that never fades away. For example, take a look at the sky, the moon, the river and so on, their beauty last forever. Men are interested in the beauty of other things than that of their own while women always tend to be self-centered when it comes to beauty. Concerning your appearance is normal and understandable. In today’s society, everywhere you go be it at work, school, or interview, your personal appearance will always influence people’s impression of you.

Looking at the other side of the coin, the standards that society has put on women have enabled some women to thrive and become successful. Let’s take America for example, a country that produces many models and enables women to develop their careers in terms of beauty. It has led to many other opportunities such as selling cosmetics and fashion design.

The physical beauty of human beings fades away with time. The beauty of nature and of the soul is permanent. Society has set some unrealistic standards for women in terms of beauty which are vague and should be overlooked.

Skivko, M. (2020). Deconstruction in Fashion as a Path Toward New Beauty Standards: The Maison Margiela Case. ZoneModa Journal , 10 (1), 39-49.

McCray, S. (2018). Redefining Society’s Beauty Standards.

Capaldi, C. A., Passmore, H. A., Ishii, R., Chistopolskaya, K. A., Vowinckel, J., Nikolaev, E. L., & Semikin, G. I. (2017). Engaging with natural beauty may be related to well-being because it connects people to nature: Evidence from three cultures. Ecopsychology, 9(4), 199-211.

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What is beauty essay

• December 18, 2023

What is Beauty Essay: Exploring the Essence of Beauty

The "What is beauty essay" is a well-crafted and thought-provoking piece that delves into the multifaceted concept of beauty. This enlightening essay offers readers a comprehensive understanding of beauty, its subjective nature, and its significance in various aspects of life. Let's explore the positive aspects and benefits of this essay, as well as the conditions in which it can be useful.

Benefits of What is Beauty Essay:

Comprehensive Exploration:

The essay provides an in-depth analysis of beauty, going beyond its superficial definition. It explores beauty from various dimensions, including physical attractiveness, inner qualities, societal standards, and cultural perspectives. This holistic approach broadens the reader's understanding of beauty.

Thought-Provoking Insights:

The essay offers thought-provoking insights that challenge conventional notions of beauty. It encourages readers to question society's narrow definitions and embrace a more inclusive and diverse understanding of beauty. Such insights can foster personal growth and promote a more accepting and tolerant society.

Engaging Writing Style:

Written in a simple and easy-to-understand style, the essay ensures accessibility for a wide range of readers. It effectively communicates complex ideas without overwhelming the reader, making it suitable

Table of Contents

What beauty means to me essay

What is beauty according to essay, what is beauty in your own words, how can you explain beauty, what is your true definition of beauty.

For our new Beauty issue, Sandra wrote a brilliant cover story on ‘90s Black hair , linked below. Love this essay, and these images. https://t.co/6DLOZ7Hdie pic.twitter.com/xAhW0fZDtG — Kurt Soller (@kurtsoller) May 10, 2021

How do you personally define beauty?

Frequently asked questions, how do people define beauty, what is the best way to describe beauty.

• Attractive.

What is the concept of beauty?

• True beauty is the full acceptance of who we are and the constant refinement on becoming a better human being (humane, loving, kind, joyful, helpful, patient, resilient and peaceful).
• Beauty is the combination of qualities that give us pleasure to the body, mind, and soul . As defined by the Merriam Webster Dictionary, beauty is defined as the quality or aggregate of qualities in a person or thing that gives pleasure to the senses or pleasurably exalts the mind or spirit.
• Every fine art is a treasure house of beauty - be it dance, or poetry or sculpture . What the tribal people regard as beauty may look ugly to us. So, beauty has as many forms as one can imagine. But nobody can fail to see beauty in good deeds, heroic actions, sweet voice and in nature.

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What is beauty essay

• December 17, 2023

What is Beauty Essay: Understanding and Appreciating the Essence of Beauty

In this article, we will explore the concept of beauty through an essay titled "What is Beauty." This thought-provoking piece aims to provide readers with a comprehensive understanding of beauty, its various dimensions, and its significance in our lives. Whether you are a student seeking inspiration for an academic assignment or someone interested in contemplating the nature of beauty, this essay will serve as an enlightening resource.

Benefits and Positive Aspects of "What is Beauty" Essay:

• Clear Definition:
• The essay begins by elucidating the definition of beauty, ensuring readers grasp the core concept right from the start.
• It provides a well-structured and concise explanation, making it easy to comprehend and retain.
• Inclusive Approach:
• The essay explores beauty beyond superficial appearances, delving into its subjective nature and the influence of culture, society, and personal experiences.
• It emphasizes that beauty can be found in various forms, such as art, nature, relationships, and personal qualities, fostering a more inclusive understanding of the concept.
• Thoughtful Analysis:
• The essay offers a deep analysis of the impact of beauty on individuals and society as a whole.
• It presents different perspectives on beauty

Table of Contents

What is beauty in your own words?

How can you explain beauty, what is the true definition of beauty, why is beauty so important, what is your definition of beauty essay.

Wrote an essay about my body, beauty, limitations of self love and the power of art in reconnecting with the self. https://t.co/cnmqHmNHhi — Wana Wana (@MissWanaWana) November 4, 2020

What is the true meaning of beauty?

Frequently asked questions, what is beauty and why is it important, what is the main idea of beauty, what is beauty according to me, what is beauty in our life, what is your true definition of beauty, what defines beauty for you, what is my idea of beauty.

• Beauty noun (BEING BEAUTIFUL) the quality of being pleasing and attractive, especially to look at : natural beauty This is an area of outstanding natural beauty. She believes that beauty comes from within.
• Beauty is being kind to others and also being kind to yourself . Beauty is being able to give and receive love. Beauty is accepting yourself for who you are and standing tall in that truth. Beauty is being your best self, unapologetically. Today I challenge you to think of at least 3 things that make you beautiful.
• Her beauty faded as she got older . He admired the classical beauty of her face. The beauty of the city amazed her. They took a walk, enjoying the beauty of the landscape.
• Beauty is believing in yourself and remembering that you are worth it . Beauty is being kind to others and also being kind to yourself. Beauty is being able to give and receive love. Beauty is accepting yourself for who you are and standing tall in that truth. Beauty is being your best self, unapologetically.
• the quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind , whether arising from sensory manifestations (as shape, color, sound, etc.), a meaningful design or pattern, or something else (as a personality in which high spiritual qualities are manifest).
• Beauty is defined by a combination of qualities existent in a person or thing that fulfills the aesthetic feels or brings about profound gratification. Many 

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What Is Beauty?

Table of Contents

The concept of beauty is studied in sociology, philosophy, psychology, culture, and aesthetics.

It is regarded as a property of an object, idea, animal, place, or a person, and it often interpreted as balance and harmony with nature.

Beauty as a concept has been argued throughout the entire history of civilization, but even today, there is neither single definition accepted by many people nor shared vision.

People think that something or someone is beautiful when it gives them feelings of attraction, placidity, pleasure, and satisfaction, which may lead to emotional well-being.

If speaking about a beautiful person, he or she can be characterized by the combination of inner beauty (personality, elegance, integrity, grace, intelligence, etc.) and outer beauty or physical attractiveness.

The interpretation of beauty and its standards are highly subjective. They are based on changing cultural values.

Besides, people have unique personalities with different tastes and standards, so everyone has a different vision of what is beautiful and what is ugly.

We all know the saying that beauty is in the eyes of the beholder.

That’s why writing a beauty definition essay is not easy. In this article, we will explore this type of essay from different angles and provide you with an easy how-to writing guide.

Besides, you will find 20 interesting beauty essay topics and a short essay sample which tells about the beauty of nature.

What is beauty essay?

Let’s talk about the specifics of what is beauty philosophy essay.

As we have already mentioned, there is no single definition of this concept because its interpretation is based on constantly changing cultural values as well as the unique vision of every person.

…So if you have not been assigned a highly specific topic, you can talk about the subjective nature of this concept in the “beauty is in the eye of the beholder essay.”

Communicate your own ideas in “what does beauty mean to you essay,” tell about psychological aspects in the “inner beauty essay” or speak about aesthetic criteria of physical attractiveness in the “beauty is only skin deep essay.”

You can choose any approach you like because there are no incorrect ways to speak about this complex subjective concept.

How to write a beauty definition essay?

When you are writing at a college level, it’s crucial to approach your paper in the right way.

Keep reading to learn how to plan, structure, and write a perfect essay on this challenging topic.

You should start with a planning stage which will make the entire writing process faster and easier. There are different planning strategies, but it’s very important not to skip the essential stages.

• Analyzing the topic – break up the title to understand what is exactly required and how complex your response should be. Create a mind map, a diagram, or a list of ideas on the paper topic.
• Gathering resources – do research to find relevant material (journal and newspaper articles, books, websites). Create a list of specific keywords and use them for the online search. After completing the research stage, create another mind map and carefully write down quotes and other information which can help you answer the essay question.
• Outlining the argument – group the most significant points into 3 themes and formulate a strong specific thesis statement for your essay. Make a detailed paper plan, placing your ideas in a clear, logical order. Develop a structure, forming clear sections in the main body of your paper.

If you know exactly what points you are going to argue, you can write your introduction and conclusion first. But if you are unsure about the logical flow of the argument, it would be better to build an argument first and leave the introductory and concluding sections until last.

Stick to your plan but be ready to deviate from it as your work develops. Make sure that all adjustments are relevant before including them in the paper.

Keep in mind that the essay structure should be coherent.

In the introduction, you should move from general to specific.

• Start your essay with an attention grabber : a provocative question, a relevant quote, a story.
• Then introduce the topic and give some background information to provide a context for your subject.
• State the thesis statement and briefly outline all the main ideas of the paper.
• Your thesis should consist of the 2 parts which introduce the topic and state the point of your paper .

Body paragraphs act like constructing a block of your argument where your task is to persuade your readers to accept your point of view.

• You should stick to the points and provide your own opinion on the topic .
• The number of paragraphs depends on the number of key ideas.
• You need to develop a discussion to answer the research question and support the thesis .
• Begin each body paragraph with a topic sentence that communicates the main idea of the paragraph.
• Add supporting sentences to develop the main idea and provide appropriate examples to support and illustrate the point .
• Comment on the examples and analyze their significance .
• Use paraphrases and quotes with introductory phrases. They should be relevant to the point you are making.
• Finish every body paragraph with a concluding sentence that provides a transition to the next paragraph .
• Use transition words and phrases to help your audience follow your ideas .

In conclusion, which is the final part of your essay, you need to move from the specific to general.

• You may restate your thesis , give a brief summary of the key points, and finish with a broad statement about the future direction for research and possible implications.
• Don’t include any new information here.

When you have written the first draft, put it aside for a couple of days. Reread the draft and edit it by improving the content and logical flow, eliminating wordiness, and adding new examples if necessary to support your main points. Edit the draft several times until you are completely satisfied with it.

Finally, proofread the draft, fix spelling and grammar mistakes, and check all references and citations to avoid plagiarism. Review your instructions and make sure that your essay is formatted correctly.

Winning beauty essay topics

• Are beauty contests beneficial for young girls?
• Is it true that beauty is in the eyes of the beholder?
• Inner beauty vs physical beauty.
• History of beauty pageants.
• How can you explain the beauty of nature?
• The beauty of nature as a theme of art.
• The beauty of nature and romanticism.
• Concept of beauty in philosophy.
• Compare concepts of beauty in different cultures.
• Concept of beauty and fashion history.
• What is the aesthetic value of an object?
• How can beauty change and save the world?
• What is the ideal beauty?
• Explain the relationship between art and beauty.
• Can science be beautiful?
• What makes a person beautiful?
• The cult of beauty in ancient Greece.
• Rejection of beauty in postmodernism.
• Is beauty a good gift of God?
• Umberto Eco on the western idea of beauty.

The beauty of nature essay sample

The world around us is so beautiful that sometimes we can hardly believe it exists. The beauty of nature has always attracted people and inspired them to create amazing works of art and literature. It has a great impact on our senses, and we start feeling awe, wonder or amazement. The sight of flowers, rainbows, and butterflies fills human hearts with joy and a short walk amidst nature calms their minds. …Why is nature so beautiful? Speaking about people, we can classify them between beautiful and ugly. But we can’t say this about nature. You are unlikely to find an example in the natural world which we could call ugly. Everything is perfect – the shapes, the colors, the composition. It’s just a magic that nature never makes aesthetic mistakes and reveals its beauty in all places and at all times. Maybe we are psychologically programmed to consider natural things to be beautiful. We think that all aspects of nature are beautiful because they are alive. We see development and growth in all living things, and we consider them beautiful, comparing that movement with the static state of man-made things. Besides, maybe we experience the world around us as beautiful because we view it as an object of intellect and admire its rational structure. Nature has intrinsic value based on its intelligible structure. It’s an integral part of our lives, and it needs to be appreciated.

On balance…

We have discussed specifics of the “what is true beauty essay” and the effective writing strategies you should use to approach this type of academic paper. Now it’s time to practice writing.

You should write whenever you have a chance because practice makes perfect. If you feel you need more information about writing essays, check other articles on our website with useful tips and tricks.

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What Is Beauty? And What's Your Definition of Your Beauty?

Beauty, Skincare and Wellbeing Writer

The Oxford dictionary defines it as:

"A combination of qualities, such as shape, colour, or form, that pleases the aesthetic senses, especially the sight".

The philosopher and teacher, Confucius said of beauty: "Everything has beauty but not everyone sees it."

Popular phrases define beauty as:

Beauty is in the eye of the beholder

Beauty is pain

Beauty is only skin deep

So what is beauty? Is it defined by the symmetry of your face, is it your age, colour, race, bone structure, gender, body shape, weight or how flat your stomach is? Or maybe it's defined by what you see in the media or by popular culture and trends, for example big bums and big lips are in, simply because of certain trending celebrities.

Various cultures have different definitions and perceptions of beauty. From the Kayan tribes who believe that long giraffe type necks are the ultimate sign of beauty and from age five, start priming their necks with heavy brass rings, to several parts of Asia where pale or white skin is often seen as a sign of beauty and affluence.

Or maybe beauty is down to the aesthetic artists, facialists and makeup artists who can transform faces or bring about a bloom of youth?

Watching a very beautiful girl on TV sadly describe herself as "not being very pretty and not even attractive" got me thinking about my definition of beauty and wanting to ask you what your definition of beauty is?

Have you ever come out of a steamy hot shower and tried to look at your reflection in the mirror when it's completely steamed and fogged up?

I often think that is how we tend to view our beauty through fogged up mirrors. We are seeing ourselves but the picture isn't exactly clear and we have limited visibility! The mirrors have been fogged up through different life experiences and memories as we have grown up, and now blend together to form our own definition of our beauty.

The first mirror is formed as a young child and is often based on what was said about us from our parents and those around us. I remember being told that I was a cute child, so that when I got a little older and was around six or seven and another child (not surprisingly a little boy in the playground) tried to tell me I was ugly - everything within me rose up against the statement and I completely denied it. The statement was in such contrast to what had been drilled into me, that my self-belief in what my parents had said stood strong.

The second mirror is the mirror of adolescence, those formative years where we are thrust into the big wild world and out of the safety and cocoon of home. As a teenager I went to a boarding school, and for a period of time, remember being one of the only two black people in the entire school. Children being naturally curious, I felt like I was asked a million and one different questions about both my hair and skin tone - and I don't think there has ever been a time where I have been more acutely aware of my appearance, which in turn opened up the door for me to question how I looked and to thankfully embrace my differences.

The final mirror comes from socially constructed ideas of beauty. We are often bombarded with images in the media, popular culture, society, peers and social media, which can create a false ideal of beauty in our eyes. We tend to compare ourselves to those ideals and use it as some sort of margin of measurement.

I believe that real beauty is acceptance of yourself, perceived flaws and all and to realise that they are a part of what makes you, you. It's a radiance of spirit, having character, kindness to ourselves and to others, it's strength and self-confidence to know that with or without makeup the real beauty is you.

Part of beauty also has to be about the things that make you feel beautiful. For me that's anything from lounging at home with my hair up in a bun minus the makeup, to a compliment from a stranger when I'm not even trying, to wearing an amazing new outfit combined with a bright red lipstick.

I say beauty comes from within - you are beauty and beauty is you. You are a masterpiece - a work of art. There is only one you, made up of your genes and life experiences. And there will never be another.

I think it's about starting to appreciate yourself as you would any other piece of art or nature.

If you look at a flower or sunset, you don't tend to judge it; you simply accept and appreciate it for what it is.

So maybe it's time to create a fourth mirror, a new mirror that is wiped clean and is minus the fog of comparisons, accusations, judgement and expectations.

Take a look, a real hard look and embrace and accept you as you - beauty.

More In Style

Are there objective standards of beauty? Or is beauty in the eye of the beholder? Must art be beautiful to be great art? What is the role of the experience of beauty in a good life? John and Ken take in the beauty with Alexander Nehamas from Princeton University, author of Only a Promise of Happiness: The Place of Beauty in a World of Art.

Listening Notes

Is beauty in the eye of the beholder? John defines beauty as that which brings enjoyment to the person who looks or contemplates. John defines subjective properties as properties that require subjects of the right sort to make a difference. When we say something is beautiful, are we recommending to others that they should take delight in it? Beauty may be intersubjective, but is it objective? Can we argue rationally about whether something is beautiful? Ken introduces Alexander Nehamas, professor at Princeton. Is beauty both skin deep and in the eye of the beholder? Nehamas distinguishes between surface beauty and deep beauty. 

Kant thought that if we think something is beautiful then we want everyone to agree with us. Ken proposes the idea that perception is a skill. Would the world be better off if everyone agreed on what is beautiful? Nehamas thinks the world would not be better off because what we find beautiful is a reflection of our personality and individuality. What can we learn about ourselves from what we find beautiful? Nehamas thinks that it illuminates our style. Is taste a function of education and economics? 

Is natural beauty ever better than constructed beauty, like in art or music? Do beauty and happiness go together? What is the relation between beauty and the sublime? Nehamas says that the sublime is our reaction in the face of something so overpowering that it consumes or obliterates us. There is a saying that truth is beauty and beauty is truth, but is that correct? John thinks it is false. Why does beauty matter?

• Roving Philosophical Report  (Seek to 04:55): Amy Standen asks people on the street what they think is beautiful.

Get Philosophy Talk

Sunday at 11am (Pacific) on  KALW 91.7 FM , San Francisco, and rebroadcast on many other stations nationwide

Full episode downloads via Apple Music and abbreviated episodes (Philosophy Talk Starters) via Apple Podcasts , Spotify , and Stitcher

Unlimited Listening

Buy the episode, related blogs, the experience of beautiful things12, beauty and subjectivity12, beauty: skin-deep, in the eye of the beholder and valuable12, beauty that haunts12, related resources.

• The Stanford Encyclopedia of Philosophy
• entry on aesthetic judgment
• entry on 18th century French aesthetics
• entry on Kant's aesthetics
• The website for the American Aesthetics Association
• A nutritionist discusses beauty
• The Journal of Aesthetics and Art Criticism
• The Wikipedia entry on aesthetics
• A collection of quotes by mathematicians on beauty
• John Keats's poem "Ode on a Grecian Urn" which contains the line about beauty and truth mentioned in the show 
• Peggy Zeglin Brand's Beauty Matters
• Umberto Eco's History of Beauty
• Kant's Critique of the Power of Judgment
• The Blackwell Guide to Aesthetics
• Monroe Beardsley's Aesthetics
• Roger Scruton's The Aesthetics of Architecture
• George Dickey's Evaluating Art
• Eddy Zemach's Real Beauty
• Jerrold Levinson's Pleasures of Aesthetics
• Noel Carroll's Philosophy of Art
• The Oxford Reader on Aesthetics

Bonus Content

Guest blog by Alexander Nehamas

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Beautifully Simply You

Beauty is Believing In Yourself and Knowing You Are Worth It

When you hear the word “beauty”, what do you immediately think of? Do you think of outward appearance? Do you think of a celebrity who you always thought was drop dead gorgeous? Or do you think about internal beauty?

Do you base your beauty off of what you see in the mirror or what you feel on the inside? 

Society has told us to base our beauty on our outward appearance. If we aren’t the perfect body type or if we don’t have the perfect skin, then we are told we are not beautiful, and we in turn struggle with self-confidence. When in reality, society again has lied to us because our beauty starts within us and radiates outwardly from within. If we feel beautiful inside, we are far more beautiful overall than if we only meet society’s standards of outward beauty. We have all met that person who we thought was absolutely stunning on the outside, only to find out they were a pretty rude and rotten person on the inside? Those encounters usually make us find that person a little or a lot less attractive. So does outward appearance even matter as much, if the beauty inside us dictates how people feel about us? It shouldn’t and it doesn’t matter as much, but we have been taught our entire lives that outward appearance does matter. But what would happen as a society if the dynamic switched and instead we immediately thought of beautiful people not because of how they looked, but because of who they were?

When you think of the word beauty, instead of immediately thinking about your outward appearance, think about what light and beauty you bring to this world simply by being you. Beauty is being exactly who you are. Beauty is believing in yourself and remembering that you are worth it. Beauty is being kind to others and also being kind to yourself. Beauty is being able to give and receive love. Beauty is accepting yourself for who you are and standing tall in that truth. Beauty is being your best self, unapologetically.

Today I challenge you to think of at least 3 things that make you beautiful. When you look in the mirror, look deeper than the surface. Recognize that you are amazing and beautiful on the inside and outside. You can certainly do things to make you feel more beautiful on the outside, you can color your hair or put on makeup, but make sure the focus doesn’t only remain on your outer beauty – don’t forget how much beauty you also have inside of you.

3 Things About Me That Make Me Beautiful:

• I am a strong woman who goes after her goals.
• I am a caring person and a great friend and I am there for those around me.
• I am a positive person, and I can use my positive mindset to fight the inevitable negative thoughts, which is so incredibly brave.

I am beautiful just by being me. You are beautiful simply by being you. It isn’t always easy to challenge society’s expectations and look inwards, but we are in this together. 

Beauty is deeper than what is on the outside. Beauty is believing in yourself every day and knowing that you are worthy of all things.

How beautiful is that?

Be Beautifully Simply You 

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3 thoughts on “ beauty is believing in yourself and knowing you are worth it ”.

Hi Ivy! Brenda here, I don’t know if you recall the conversation that we had, messaging about a week ago, about my friend Liz.  She is the friend that has MS and had a horrific childhood very abusive in foster homes Etc. I told you about how she is not open at all to new things to help improve her life and so I had decided I was not going to do anything but just be a good friend and listen and be there for her. But I guess my love for her and after speaking to you and realizing how much your video reminded me of her that I decided to do one last thing and that was to just simply send her a link to your video.  I really didn’t expect the response I got from her. She texted me saying OMG! Someone who finally gets me. She was so impressed and connected with you that she watched the other video and that she couldn’t wait to watch the second one and is really looking forward to following you. This was not the response I expected it was far better and just made me feel so good. So I want to thank you for all the wonderful things you’re doing to help people with mental illness like myself and people like Liz.  I know you mentioned about wanting to do this full-time and I definitely would agree that this is your calling. Looking forward to your next video!  With love,Brenda  Sent from Yahoo Mail on Android

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Hi Brenda! Yes, of course I remember you reaching out last week, so good to chat with you and I am so glad that your love for your friend made you try another approach, and I am so over the moon that she felt connected with me and my story! I am so happy for you and for your friend, Liz. This means so much to me as I think about my transition to full time speaking. I appreciate this so much xoxo

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Essay About Beauty: What Is Beautiful For You?

We hear this word very often in our life, but we even do not think, what does it mean. We used to think, that it is something, that everyone like and that is all. If we ask any person what is beauty for him, he can name a lot of things, but it will be very difficult to explain, why he considers that they are beautiful.

What Beauty For You mean ?

The definition of the word “beauty” is an aesthetically pleasing feature of an object or a person. The word “beauty” holds a distinctive positive meaning if applied to a person. It means that the character or the physical appearance of said individual is considered as beautiful in the speaker’s opinion. The definition of beauty is usually considered as subjective.

If we speak in general, when you see something and you are glad to see it, then we can say, that it is beautiful. There is no matter it it is the field with the flowers or the exotic bird, it is the beauty for us.

But the definition of the beauty is different for everyone, because everyone has his/her own point of view and all people are different, because of it they cannot like the same things. Also, it depends on the culture and on the level of the development of the person. For example, some men like blond women, but some of them just hate when the woman has blond hair. There can be a lot of discussions about personal point of view of every person and there will not be the winner. If your teacher asked you to write the beauty definition essay and you do not know where to start from, you can place the order on our site and we will write this essay for you. You can be sure, that you will get the high quality paper, because we have only professional writers with the great experience.

This example can be also connected with the clothes. For example, you like something in the shop and you think, that it is really beautiful and can be even your favorite one, but at the same time, your friend can say, that this thing is awful and she does not understand how you can even think to purchase it. It should not be like a shock, because it is just the personal statement and as all people are different, it is normal that they all think in the different way and have different point of view.

There are a lot of examples of the beauty which we can meet in our world. Even if we look through the history, we will see, that people liked to be the slaves of the beauty during many generations. But if there was one person, who showed the other point of view, the society did not accept him, but it was only the fact, that this person is individual and did not think like the other people.

The definition of the word “beauty” is an aesthetically pleasing feature of an object or a person. This word holds a distinctive positive meaning if applied to a person. It means that the character or the physical appearance of said individual is considered as attractive in the speaker’s opinion.

How to correctly define the meaning of beauty.

Everyone today can look up the word “beauty” in a dictionary and get to know its definition. But what about the concept itself? Why is it often said that beauty is in the eyes of the beholder? This article will help you understand why beauty is so ephemeral.

If you ask anyone about what they can consider as beautiful, you will get an uncountable number of answers. Sure, some of them would sound similar, but the fundamental reasoning behind them would hugely differ from each other. For example, the beauty standards for men and women underwent a significant change throughout the existence of humankind.

As they say – for each their own. Many kinds of material or spiritual events, objects, or even their aesthetic can be considered beautiful for different personal reasons, views, or opinions. Even if two people like the same thing, it is not always the case that they consider it as likable for the same reasons.

Every single person in the world is unique and has his or her own set of experiences, beliefs, or principles. Each human possesses a distinctive and intricate identity, which is impossible to classify by any means one can come up with.

The only thing you can truly figure out for sure is that every similarity between human personalities is only superficial.

Here we provided you with a short list of what may be distinguished as beautiful. This will help you understand the point that we are trying to make in this article.

• The external features of the human body. There is no need to explain how much consideration every person gives to this subject. The skin tone, hair color, or even the quantity of a body fat one can be thoroughly examined by a lot of people to decide if the person in question is beautiful or not.
• Any characteristic that can be applied to a physical object. Its shape, color, softness, hardness, or transparency can be measured and judged as pleasing to the senses or hideous and ugly.
• Such an intangible thing as sound can also be beautiful. If you hear a delicate and alluring melody, you would state that it is definitely more beautiful than the sound of nails on the chalkboard.
• The aesthetic of any kind is, without a doubt, belongs to the category of things that can be acknowledged as grand and wonderful.

This is just a small portion from a wide variety of instances where the idea of beauty can be implemented.

The inner beauty

What is the inner beauty.

A lot of people can even forget, that the important role plays not only beautiful body, but the beautiful soul too. It is impossible to have a lot of beautiful clothes, but at that time to forget, that all we are human. And it is impossible to say, that one person is better that the other one. It is not true. We all are different, and it is very good, because if we were the same, we would not try to develop ourselves in the best way and we would not want to change our life. If you wish to get the inner beauty essay, you can order it on our site and we will be glad to create the best essay with all detailed information you wish to know. Also, you will be really surprised because of our prices. You can just check our site and you will be able to see the examples of our essays on the different topics. We hope, that you will find the needed information there. Also, you can order the essay on any other theme on our site. It will be a pleasure for us to do it for you.

The main sides of the inner beauty

• When people are very kind to other people or animals
• They are ready for help other people
• These people are open to the whole world
• High IQ level
• You can see, that they are honest .

What can you get?

The beauty plays a very big role exactly for women. It is believed, that if the woman is beauty, she can have a good husband and the great job. If the girl would like to be a model, it is needed to be beautiful, because everyone will see you and you will be famous. Also, if the woman would like to get, for example, the position of the secretary in some huge and famous company, it means that she should be beautiful, because she will be “ the face” of the company and she will meet a lot of people.

The health and the beauty

Do not you notice, that people, which are healthy, are beautiful? These people are very attractive for the society. They do not need to use a lot of cosmetics or to purchase expensive and brand clothes. They do some physical exercises and just eat healthy food , because of it they are beautiful. It is very important to understand, that the beauty starts inside of you and only you are responsible for it.

There are a lot of definitions, which are connected with the beauty. For example: beautiful life, natural beauty, beautiful soul, which you cannot hide from the other people. But everyone should understand, that there is no need just to follow the other people, it is needed to find something that you really like and to find the definition of the beauty which will be exactly for you. And then, even the things, which are usual, will be beautiful. We are sure, that this 5 paragraph essay on beauty will help you to understand this world better and will help you not just to follow the ideals, which people created, but to find your own definition of the beauty, that you will use for the whole life.

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Seeing Beauty As A Universal Concept: What Is Beauty For You

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what is beauty for you

1 – “Beauty means feeling comfortable in your own skin and appreciating your imperfections.” 2 – “Beauty means feeling good about yourself, whether it is because of makeup or nice clothes or exercising, it is having confidence in yourself.” 3 – “Confidence.” 5 – “Beauty is a means of empowering yourself.”04-May-2021

What defines your beauty?

It’s a radiance of spirit, having character, kindness to ourselves and to others, it’s strength and self-confidence to know that with or without makeup the real beauty is you. Part of beauty also has to be about the things that make you feel beautiful. … I say beauty comes from within – you are beauty and beauty is you.

What beauty means essay?

Synthesis Essay #2 The definition of beauty is a characteristic of a person, animal, place, object, or idea that provides a perceptual experience of pleasure, meaning, or satisfaction. … Beauty is not always about our outside looks but it’s about our inside personality also.

Why is beauty important to society?

Why Beauty is so important in society? Beauty has the power to spawn aspiration and passion, thus becoming the impetus to achieve our dreams. In our professional lives as fashion designers, we often deal with beauty as a physical manifestation. But beauty can also be an emotional, creative and deeply spiritual force.

What is inner beauty?

Inner beauty refers to the personality of a person including his/her mind and character. Whereas outer beauty simply refers to the looks of a person. It can easily be faked and changed through makeup, dressing, surgery etc.

What defines beautiful person?

1. adjective. A beautiful person is very attractive to look at. She was a very beautiful woman.

What is beauty art?

Beauty in terms of art refers to an interaction between line, color, texture, sound, shape, motion, and size that is pleasing to the senses.

How is beauty in yourself explain?

Answer: The poet says in the concluding stanza that beauty lies in ourselves; in good deeds, happy thoughts which are repeated in our dreams and in our work and even in our rest.

Is beauty an emotion?

They define beauty as an emotion that results out of experiences of novelty with a focus on mental growth instead of experiences of familiarity with a focus on preservation of knowledge. …

Why is it important to feel beautiful?

To feel beautiful is important as it makes you feel good about life, increase your self confidence and lifts up your mood, making you happy and a contented as individual. Beauty is the combination of factors, looks, styles, attitude and stance, to name few.

What is the value of beauty?

Beauty begets quality and should be considered every step of the way. It enables quick iteration and collaboration, and defines the quality of work surrounding it. By investing time in getting things right from the start, you make it easier for yourself and others to improve upon and interact with your work.

Does beauty matter in life?

Research shows attractive people have more occupational success and more dating experience than their unattractive counterparts. … For better or worse, the bottom line is that research shows beauty matters; it pervades society and affects how we perceive ourselves and others.

Why is beauty so powerful?

Physical attractiveness does create a powerful first impression on the mind, so powerful in fact that we may go much beyond looks and simply start generating assumptions about a person’s success, status, parenting, and intelligence, even if they prove not to be true.

What does external beauty mean?

To be beautiful externally means to be beautiful on the outside such as having a nice figure and an attractive smile. Internal beauty is important because beyond looks, it is your personality that is noticed.

What does beauty comes from within mean?

The language of inner beauty – a term that’s meant to describe character – gets used to discuss the kind of physical beauty that can’t be bought. In other words, that whole, ‘Ladies, you don’t need makeup to be beautiful’ line of thought is actually men’s way of saying that they will have none of our trickery.

How do you appreciate inner beauty?

Look at people directly in the eyes, and maintain eye contact. That saying, ‘eyes are the windows to the soul,’– it’s true. When you look into people’s eyes, you see vulnerability, passion, kindness, and genuine feelings and be more aware of these things in yourself, as well.

What is beauty in a woman?

“Beautiful is a woman who has a distinctive personality; one who can laugh at anything, including themselves, and one who is especially kind and caring to others. She is a woman, who above all else, knows the value of having fun, and not taking life too seriously.

What is the meaning of beautiful answer?

adjective. having beauty; possessing qualities that give great pleasure or satisfaction to see, hear, think about, etc.; delighting the senses or mind: a beautiful dress;a beautiful speech.

What is natural beauty in a woman?

Natural beauty is born naturally beautiful. … Natural beauty is one with attractive features and looking attractive naturally without any makeup. It means your lips are beautiful without any lipstick or lip balm, your eyes are beautiful without any kajal or eye makeup, your face is shiny without any compact.

What does beauty objective mean?

The word “beauty” (and cognates) can be used to make objective claims (claims whose truth is meant to be determined by the object referred to) or subjective claims (claims whose truth is meant to be determined by one’s subjective experience). It can work both ways.

What is beauty philosophical answer?

The term “beauty” is customarily associated with aesthetic experience and typically refers to an essential quality of something that arouses some type of reaction in the human observer — for example, pleasure, calm, elevation, or delight.

Why is beauty important in art?

how are beauty blenders made

What defines beauty, related articles, why is beauty important, why clavicle is called beauty bone, why does beauty matter, why is beauty so important, why did the french government ban beauty pageants, where is beauty, where do beauty supply stores get their products, does ulta beauty prosecute shoplifters, does beauty matter, does beauty pageants serve a purpose in society, leave a comment cancel reply.

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Home — Essay Samples — Life — Beauty — Definition of Beauty

Definition of Beauty

• Categories: Beauty Love Memories

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Words: 798 |

Published: Jan 25, 2024

Words: 798 | Pages: 2 | 4 min read

Table of contents

Beauty in memories, beauty in love, beauty in nature, works cited.

• Scruton, Roger. Beauty. 1st ed., Oxford, Oxford University Press, 2009.
• Sewell, Anna. Black Beauty. 1st ed., Champaign, Ill., Project Gutenberg.

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What’s the Difference Between Solawave and NuFace?

In the world of skin-care devices , the Solawave and NuFace are among the most popular. It’s rare that I go a few days without seeing someone talk about the way one of them changed their skin for the better, whether I’m scrolling on skin-care TikTok or reading the Strategist. And while they’re both popular and can address similar skin concerns, ultimately, they work very differently.

So how does the NuFace work?

NuFace’s big draw is its ability to carve out facial features seemingly in an instant. A quick perusal of testimonials will show impressive transformations — jaws are sculpted, brows are lifted, cheekbones toned. There’s a few reasons for this. First, the way you use NuFace is very similar to the way you’d do a manual lymphatic-drainage massage, which helps with any fluid retention in the face. This helps to make your face look more toned and sculpted. But NuFace, unlike a gua sha or your hands, also uses microcurrent, a low-level electrical current that stimulates muscles and skin cells. When the NuFace makes contact with your skin, a gentle current is delivered beneath the skin with the help of a conductive gel and stimulates the cell’s energy output, or ATP. This helps your skin to produce more collagen, which helps skin to look smoother over time. The electrical current also causes muscles to contract, which acts like a workout for your facial muscles. With consistent use, microcurrent helps to build up the facial muscles in your skin, giving your face a more sculpted look. But it also offers a temporary, immediate lift. Beauty writer Erica Metzger told us she found the cheekbone-lifting effect to be “immediate” and it lasted for about two days.

And what about the Solawave?

Solawave is a convergence of skin-care trends in a single device. It’s an all-in-one, offering a mix of red-light therapy and facial massage in a portable stick. The main draw, though, is the red-light technology. Red light, a form of LED therapy , travels deep into the skin and stimulates collagen while reducing inflammation. It’s especially popular for acne and hyperpigmentation and can help to improve skin over time. There are two types of Solawave wands — the Radiant Renewal wand and the four-in-one Advanced Skincare Wand. The four-in-one Advanced Skincare Wand combines red-light therapy and microcurrent to address issues like hyperpigmentation and acne while also offering the lifting and toning benefits of microcurrent. Because it’s a smaller device, it won’t be as effective for full-face sculpting, but it can be helpful for smaller areas that the NuFace can’t get to, like the brow or lip. The Radiant Renewal wand is slightly pricier, has two additional LEDs, and uses galvanic current instead of microcurrent. Writer Diksha Basu is a fan and says the device is incredibly easy to use and that her face “glows” and her  eyes  “look much less tired than they feel.” Galvanic current, also known as direct current, uses low-frequency, consistent electrical stimulation, which allows your skin-care products to penetrate deeper into the skin. This technology paired with red-light therapy can be very effective for enhancing your skin-care routine, making your products even more effective at their job.

Which one is better for wrinkles and sculpting?

It depends on what you want to achieve. If the goal is to define your jawline or reduce the look of fine lines and wrinkles, then a microcurrent device like the NuFace is going to be your best bet. The experience of using a NuFace is similar to using a gua sha, except you let it hover over your skin for a bit longer to let the microcurrent do its thing. Choosing a device also depends on how much time you’re willing to spend on achieving results. While a single NuFace session will make you a bit more lifted and toned, the most significant results will only be achieved as a result of using it consistently at least a few times a week.

Which one is better for acne and hyperpigmentation?

If you want to address issues like hyperpigmentation or acne, then the Solawave is a better option. The red light helps to stimulate collagen production and reduce inflammation, which is ideal for helping with breakouts and discoloration. As far as which Solawave to use, that also depends on what you need. The Radiant Renewal wand is good if you’d like your skin care to work more effectively, while the Advanced Skincare Wand could be the best option if you want to target smaller areas the NuFace can’t effectively reach, like the eyelids or upper lip area.

Can they be used together?

Definitely, and depending on your skin goals, both can be useful. Samantha Mims, an esthetician at Brooklyn Face and Eye , uses them together, alternating depending on what she’s trying to achieve. For softly defining her facial features, she reaches for the NuFace, which she says delivers pretty instant results. “It’s great if you’re wanting to look a little bit more lifted and supported,” she says. She prefers the Solawave for smaller, more targeted areas like around the eye or brow, and for addressing skin concerns like hyperpigmentation and acne. “The built in red-light therapy helps with scarring and getting products deeper into the skin.”

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Critic’s Pick

Review: Thomas Adès Meets the Profound Beauty of Schubert

The Danish String Quartet returned to Carnegie Hall with its Doppelgänger project, pairing Schubert’s String Quintet and a premiere by Adès.

By Joshua Barone

Franz Schubert and Thomas Adès are two composers whose works are capable of touching the cosmos — in different centuries, and often in different ways.

The beauty of Schubert tends to be quiet and shatteringly calm, his postcards from the beyond written in lyrical melodies sometimes underlined with nothing more than a chord. Adès, particularly in the past decade, seems to have flung open the gates of heaven, unleashing forces that overwhelm and awe in their immensity.

Yet each has also done the opposite: Schubert, in his aptly nicknamed “Great” Symphony, with its Beethovenian heft, for example, and Adès in his hypnotic and weightless “ Paradiso ” section of “Dante.” At Zankel Hall on Thursday , the composers met somewhere in the middle as they were paired for the fourth and final installment in the Danish String Quartet’s Doppelgänger project.

One of the great pleasures of recent seasons, Doppelgänger has surveyed Schubert’s late quartets while commissioning new works that respond to them. Thursday brought perhaps the composer’s finest chamber work, the String Quintet in C; Asbjorn Norgaard, the Danes’ violist, joked from the stage, “We are the Danish String Quartet, with a Finnish cellist,” gesturing to their guest, Johannes Rostamo.

In previous Doppelgänger programs at Zankel, Lotta Wennakoski’s “ Pige ” homed in on the maiden of “Death and the Maiden,” and Anna Thorvaldsdottir’s “ Rituals ” played with the repetitive nature of the “Rosamunde” Quartet. (Because of pandemic delays, the project will actually return next season , with Part I.) Each evening has ended with an arrangement of a Schubert song; on Thursday it was “Die Nebensonnen,” from “Winterreise.”

Adès himself behaves like something of a Doppelgänger. A master of the uncanny, he has arranged existing works and written homages to the likes of Couperin and Liszt in a slippery blend of reverence and surrealism. Here, in “Wreath for Franz Schubert,” he takes a single phrase from the second movement of the Quintet and riffs on it nearly beyond recognition, as in “ Darknesse Visible ,” his piano treatment of the John Dowland song “In Darkness Let Me Dwell.”

“Wreath” looks, and sounds, much simpler than it is. The players pluck or bow a two-note, upward phrase that continuously changes in its harmony and volume; each measure is different, transforming like the broken chords of Bach’s famous Prelude in C and settling into a meditative flow.

Once that happens, it can be easy to lose your sense of time. And that is baked into the score: “Wreath” runs “15-25 minutes” because neither its rhythms nor note durations are to be played as they appear. Adès writes “sempre molto rubato” in the first measure, a direction to maintain a constantly fluid tempo.

This is where the piece gets incredibly difficult, but also magical. The players are both independent and interdependent; if the violins are a central reference point, then the viola and cellos can be roughly within one measure of them in either direction. Their individual freedom requires constant attention to the greater ensemble, in a tricky balance of forward motion and patience. Often soft, ending on an extreme and mostly symbolic “pianississississimo,” the music takes on a perfumed haze.

It is gorgeous, more the Adès of “Paradiso” than the grandly rollicking “ Inferno .” And although it is inspired by the second movement of the Schubert, it is a fitting companion to the entire work, which even at its showiest is never far from profound beauty. The Quintet, as Norgaard said onstage, is “more than just a piece.” Like much of late Schubert, it seems to contain more than the heart can handle at once: mystery, grief, ferocity, joy, terror. Above all, grace.

All that was present on Thursday. The Danes — Norgaard on viola, Frederik Oland and Rune Tonsgaard Sorensen on violin, Fredrik Schoyen Sjoin on cello — are among the most skilled and intelligent interpreters of late Schubert and Beethoven, affecting but not overly emotional, organic and sometimes shockingly daring, but unified in their vision.

With Rostamo, the first movement’s opening chords had a reediness that gave way to lyricism with an underlying wildness that emerged, as the music developed, in swerving cello dissonances that felt as if they threatened to pummel the delicacy of the violins. The second movement unfurled as a lonely outpouring of ember intensity that, with a sudden blow, burst aflame. Specialists in folk music, the Danes brought a rustic bliss to the Scherzo and mercurial finale, in a juxtaposition of celebration and reflection, like the first party after the darkest days of the pandemic.

It can be difficult to talk about the Quintet without resorting to hyperbole. This is the kind of piece that you would take to a desert island, that you return to throughout your life and maybe even want to hear at the end. Not for nothing did Norgaard describe it as “legendary for a reason.” So it feels appropriate to say that Thursday’s excellent performance of it had the power to make you grateful for the very existence of music.

Danish String Quartet

Performed on Thursday at Carnegie Hall, Manhattan.

Joshua Barone is the assistant classical music and dance editor on the Culture Desk and a contributing classical music critic. More about Joshua Barone

Let Us Help You Love Classical Music Even More

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Listen to the sweeping musical statements at the foundation of the orchestral repertory: symphonies .

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Looking for specific musicians? Check out Maria Callas , opera’s defining diva; the genre-spanning genius of Mozart ; and 21st-century composers  like Caroline Shaw and Thomas Adès.

That’s just the beginning: Here are five minutes to fall in love with  tenors, the flute, the trumpet, Brahms, string quartets and so much more.

Move over Hawaii, The Azores Islands also bring vibrant beauty (with fewer crowds)

Destinations can be too crowded. Discover the antidote to overcrowded and overpriced vacation spots in " Here Not There: 100 Unexpected Travel Destinations " by National Geographic. The guide unveils imaginative and budget-friendly locales sure to inspire your next adventure, curated by longtime travel writer Andrew Nelson .

If you're looking for warmth, culture and beauty, try The Azores in Portugal instead of Hawaii.

What’s the perfect island chain? The default has always been Hawaii: Its eight principal islands rising from the Pacific’s deep are verdant and vibrant. But if you switch your gaze to the Atlantic, you will find a nine-island archipelago that’s equally lush, with flowering landscapes, cascading waterfalls, black sand beaches, volcanoes, and marine wildlife refuges swarming with animals. Like the Aloha State, the Portuguese Azores are islands where the locals both nurture and protect their unique culture, determined to keep the natural beauty safe from overdevelopment.

And there’s a lot in the Azores worth protecting. The islands are located in the North Atlantic, 2,390 miles (3,850 km) east of Boston and 870 miles (1,400 km) west of Lisbon. Colonized by Portugal in the early 15th century (the Vikings were rumored to have stopped by, too), today the Azores are an autonomous territory with a population of 242,796 (about two-thirds that of Honolulu). Thanks to the warm Gulf Stream and the archipelago’s latitude, the temperature is usually mild throughout the year, ranging in the 60s to 70s Fahrenheit (midteens to 20s Celsius), though it does rain. The islands’ many volcanoes are active, but so far fairly quiet this century. The last big eruption occurred in 1958.

Like in Hawaii, each of the islands of the Azores offers a distinct experience.

◾ The eastern part of the chain is home to Santa Maria, with its numerous vineyards and white-sand beaches. São Miguel is equivalent to the Big Island. Like the island of Hawaii, it exerts a strong influence over the rest of the archipelago and is a dynamic and geologically active place. Its landscape features geysers, volcanic lakes and thermal hot springs.

◾ The central Azores consist of the islands of Terceira, São Jorge, Pico, Faial, and Graciosa. Terceira is home to the oldest city in the Azores, Angra do Heroísmo, a UNESCO World Heritage site. Its fertile soil supports numerous vineyards. On Faial, visitors can hike to the extinct Capelinhos volcano. São Jorge is celebrated for its cheese. Rugged, rough-hewn Pico Island is home to the highest mountain in Portugal, 7,713-foot-tall (2,351 m) Mount Pico. Graciosa is known for its iconic star-shaped pastries and red-peaked, Flemish-style windmills, brought by immigrants from Belgium.

◾ The western islands are Flores and Corvo. The former, known as the Island of Flowers, offers a rugged coastline, high cliffs marked by waterfalls (Poço Ribeira do Ferreiro (Alagoinha) being the most famous to see), and seven crater lakes. Flores’s dramatic, verdant landscape and the surrounding turquoise waters often spark comparisons to Kauai.

As more travelers discover the Azores’ allure, the future looks both bright and worrying. Luckily the islands have begun the task to ensure their biodiversity will be safeguarded for the future. In 2019 the Azores became the world’s first archipelago to be named a sustainable tourism destination by EarthCheck, an Australia-based international advisory board. Four of the islands – Flores, Corvo, Gracioso, and São Jorge – are UNESCO biosphere reserves, and the government has established several marine reserves to protect seabirds, fish, sea turtles, whales, and dolphins. The fight to protect paradise is only just getting started.

The Amazing Flora of the Azores

Indigenous or imported, the flowering plants of the Azores play an important role in giving the islands their iconic Instagrammable look. Being one of the world’s most isolated archipelagos, the Azores harbor many unique species, including one of the world’s rarest flowers, Myosotis azorica. Called não-meesqueças , or forget-me-nots, the purple flowers were considered extinct before a cluster of plants was discovered growing on Corvo, the Azores’ smallest island, in 2014. Despite Corvo being a protected UNESCO biosphere reserve, these tiny flowers remain endangered thanks to the appetites of the island’s insatiable goats and sheep.

 In contrast, colorful hydrangeas are not native to the island chain. They are an invasive species believed to have been brought to the island by the Japanese in the late 19th century as decorative plants. Though they’re imported, the flowers have become a symbol of the Azores and grow throughout the archipelago. Faial Island is often called the Blue Island for the azure hydrangeas that blanket its fields and roadsides. Their hue is due to the island’s acidic soil, which deepens the hydrangeas’ rich color. Volcanic eruptions in 1957 and 1958 only added to the fertility. It was Azorean immigrants to the United States who are credited with popularizing the flower in America, especially in Massachusetts and Rhode Island, where many of these immigrants settled in the mid-20th century.

This is an excerpt from “ Here Not There: 100 Unexpected Travel Destinations ,”   published on April 2 by Disney Publishing Group. Author Andrew Nelson is an award-winning writer and editor for National Geographic Traveler, who has roamed all 50 states as well as numerous countries for the magazine and website, based in Washington, D.C.

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Suspended npr editor uri berliner says woke ceo is ‘the opposite’ of what embattled network needs.

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NPR suspended a top editor who ripped the network last week over its left-leaning bias – but the journalist doubled down on Tuesday, saying its new, controversial CEO is the “opposite” of what the embattled radio outlet needs.

Uri Berliner – who  published a bombshell essay  last week claiming NPR has “lost America’s trust” by reporting the news with a left-wing slant – was sidelined for five days without pay beginning last Friday after his article ignited a firestorm.

Nevertheless, Berliner in a Tuesday interview ripped NPR CEO Katherine Maher over a trove of past posts unearthed on X. Those included calling Donald Trump “racist” in 2018 and blasting Hillary Clinton for using the terms “boy” and “girl,” saying she was “erasing language for non-binary people.”

“We’re looking for a leader right now who’s going to be unifying and bring more people into the tent and have a broader perspective on, sort of, what America is all about,” Berliner told NPR media scribe David Folkenflik Tuesday. “And this seems to be the opposite of that.”

Folkenflik, who reviewed a copy of the suspension letter from NPR brass, said the company told Berliner he had failed to secure its approval for outside work for other news outlets — a requirement for NPR journalists.

NPR called the letter a “final warning,” saying Berliner would be fired if he violated its policy again. Berliner is a dues-paying member of NPR’s newsroom union, but Folkenflik reported that the editor is not appealing the punishment.

Berliner, a Peabody Award-winning journalist who has worked at NPR for 25 years, called out journalistic blind spots around major news events, including the origins of COVID-19, the war in Gaza and the Hunter Biden laptop, in an essay published last Tuesday on  Bari Weiss’ online news site the Free Press .

Last week, Maher defended NPR’s journalism, calling Berliner’s article “profoundly disrespectful, hurtful, and demeaning,” The 42-year-old exec added that the essay amounted to “a criticism of our people on the basis of who we are.”

Folkenflik said Berliner took umbrage at that, saying she had “denigrated him.” Berliner said he had a private exchange with Maher in which he supported diversifying NPR’s workforce to look more like the US population at large — a point that she failed to address in the exchange, according to Berliner.

“I love NPR and feel it’s a national trust,” Berliner said. “We have great journalists here. If they shed their opinions and did the great journalism they’re capable of, this would be a much more interesting and fulfilling organization for our listeners.”

Everything you need to know about the NPR political bias scandal

• Veteran NPR editor Uri Berliner wrote a bombshell essay that claimed the broadcaster allowed liberal bias to affect its coverage. The senior business editor also said the internal culture at NPR had made race and identity ”paramount in nearly every aspect of the workplace.”
• Berliner slammed NPR for ignoring the Hunter Biden laptop scandal,  and claimed a co-worker said he was happy the network wasn’t pursuing the story because it could help Donald Trump get re-elected.
• Berliner was suspended without pay following the essay and announced his resignation Wednesday .
• Berliner blasted NPR’s controversial new CEO, Katherine Maher, who previously posted hyper-partisan tweets , saying that she is the “opposite” of what the embattled radio outlet needs.
• After the essay was published, Berliner said, he received  “a lot of support from colleagues, and many of them unexpected, who say they agree with me.”
• Berliner’s essay prompted new calls from Republican lawmakers to strip NPR of government funding.
• COLUMN: NPR, New York Times are in immense turmoil with the world on the verge of global conflict

The fiasco has also put the spotlight on Maher, whose own left-leaning bias came to light in a  trove of ultra woke tweets she penned  on X over the years. 

In January, when Maher was announced as NPR’s new leader,  The Post revealed her penchant  for parroting the progressive line on social media — including since-deleted Twitter posts like “Donald Trump is a racist,” which she wrote in 2018. She also  called  HBO’s Bill Maher a “racist bigot” in tweet that year.

In 2020, Maher weighed in on the widespread looting and property damage during the Black Lives Matter protests, saying it was “hard to be mad” about the destruction.

“I mean, sure, looting is counterproductive. But it’s hard to be mad about protests not prioritizing the private property of a system of oppression founded on treating people’s ancestors as private property,” she  wrote .

“White silence is complicity. If you are white, today is the day to start a conversation in your community,” she  added  a day later.

Maher also weighed in on race-based reparations, writing in 2020: “Yes, the North, yes all of us, yes America. Yes, our original collective sin and unpaid debt. Yes, reparations. Yes, on this day.”

An NPR spokeswoman, Isabel Lara, said in statement Maher “was not working in journalism at the time and was exercising her First Amendment right to express herself like any other American citizen.”

The rep added that Maher had upheld the network’s code of ethics since she took the helm.

“Since stepping into the role she has upheld and is fully committed to NPR’s code of ethics and the independence of NPR’s newsroom,” the statement said. “The C.E.O. is not involved in editorial decisions.”

Christopher Rufo, a fellow at the conservative Manhattan Institute, dug up some of Maher’s other race-tinged posts over the weekend, including one where she called herself “someone with cis white mobility privilege.”

In response, Tesla boss Elon Musk wrote, “This person is a crazy racist!”

In another bizarre post, Maher wrote , “Had a dream where Kamala and I were on a road trip in an unspecified location, sampling and comparing nuts and baklava from roadside stands,” referring to Vice President Kamala Harris. “Woke up very hungry.”

Berliner’s essay  sparked outrage from the network’s left-leaning colleagues. Late Monday afternoon, NPR chief news executive Edith Chapin announced to the newsroom that executive editor Eva Rodriguez would lead monthly meetings to review coverage.

Berliner said that among editorial staff at NPR’s Washington, DC, headquarters,  he counted 87 registered Democrats and no Republicans. He wrote that he presented these findings to his colleagues at a May 2021 all-hands editorial staff meeting.

“When I suggested we had a diversity problem with a score of 87 Democrats and zero Republicans, the response wasn’t hostile,” Berliner wrote. “It was worse. It was met with profound indifference.”

The fiasco also ignited a firestorm of criticism from prominent conservatives — with former President Donald Trump demanding NPR’s federal funding be yanked — and has led to internal tumult,  the New York Times reported  Friday.

Berliner had  told The Times  he had not been disciplined by managers when interviewed last Thursday, though he received a note from his supervisor reminding him that NPR required its employees to clear speaking appearances and media requests with standards and media relations. 

He told The Times he didn’t run his initial remarks or those to the Gray Lady by NPR.  

Days earlier,  Berliner appeared on Chris Cuomo’s show on NewsNation , telling the anchor that his essay garnered “a lot of support from colleagues, and many of them unexpected, who say they agree with me.”

“Some of them say this confidentially,” said Berliner, who added that he wrote the essay partly because “we’ve been too reluctant, too frightened to, too timid to deal with these things.”

Journalist  Matt Taibbi also slammed Maher for her biased views, as well as her lefty resume , which he wrote in his substack Racket News, reads so much like “overeducated nonsense-babbling white ladies that it’s difficult to believe she’s real.”

Amid the scrutiny on her CV and posts, Maher told  The New York Times  on Tuesday that in America “everyone is entitled to free speech as a private citizen.”

“What matters is NPR’s work and my commitment as its C.E.O.: public service, editorial independence and the mission to serve all of the American public,” she said. “NPR is independent, beholden to no party, and without commercial interests.”

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Top beauty brands are challenged more than ever.

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Photographer: Gabby Jones/Bloomberg

Beauty Inc., a special edition of WWD, just hit my desk listing the top beauty companies. The top ten are 1. L’Oreal, 2. Unilever, 3. The Estée Lauder Cos., 4. Procter & Gamble PG , 5. LVMH Möet Hennessy Louis Vuitton, 6. Chanel Ltd., 7. Beiersdorf, 8. Shiseido, 9. Natura & Co. NTCO , and 10. Coty COTY .

While most companies showed an increase in sales compared to the previous year, major companies including Estée Lauder, Shiseido, and Natura & Co., showed a decline in sales in the current fiscal year. The reasons for these declines include a sales decrease in China or other international markets or a change in business scope.

However, there is more going on that is reshaping the beauty industry. Some observers are intrigued by the spectacular increases of young companies. Rare Beauty grew by about +200%, e.l.f. Beauty grew by +78%, Oddity Tech Ltd. Grew by +57%, Chicmax Cosmetic Co. Ltd. grew by +53.3%, Joy Group grew by +48%, Betterware grew by +41%, Guangdong Marubi. Biotechnology Co. Ltd. grew by +33.9%, Cosnova Beauty grew by +32%, Proya Cosmetics Co. Ltd. grew by +30%, and Grupo Boticario also grew by +30%.

So, what impact are these new brands having on customers and the traditional leading brands? Did the younger companies gain share of market from the older, established companies? Or is something fundamentally changing in the beauty world?

There are many reasons for the growth of these new brands, ranging from better promotions to introduction of new products. The new brands needed to build a following and frequently resorted to many different tactics to attract customers. They may connect by having a new scent or taking a new health angle. For instance, consider what Rare Beauty (El Secundo, California) has been doing. Launched in 2020, during the height of the pandemic, it drove awareness by focusing on mental health issues. It is now in 36 countries and has expanded beyond makeup. It has launched the Comfort Club (a digital hub promoting comfort) and raised $12 million in its commitment to raise $100 million for the Rare Impact Fund. Rare Beauty helps to solve mental health issues, and its customers support the mission.

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Then, there is Joy Club (Shanghai), is a Gen Z friendly cosmetic group. It opened more than 60 boutiques across Chinese cities and established partnerships with Chinese top retailers. The label is currently stocked in 10,000 retail outlets. In the makeup category, the company was number 5 last year, according to Beauty Inc.

POSTSCRIPT: Some new product lines embrace a worthwhile cause while other brands seek the young customer as their target client. It does not matter; the result is the same - the beauty business is expanding with new creative talent. The established brands must maintain the customer base, but young companies can add vitality to the industry.

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