"Art ought never to be considered except in its relations with its ideal beauty"

Alfred de Vigny, in stating that art should only be considered in connection with its "ideal beauty", underscores a vision of art that reaches beyond mere representation or functionality. He adopts a stance rooted in Romanticism, where art transcends the ordinary and aspires toward an elevated realm of perfection and timelessness. The notion of "ideal beauty" suggests a universal standard, something intrinsic and enduring, above transient tastes, individual whims, or societal conventions. Art, from this perspective, is neither a simple imitation of nature nor a tool for propaganda; it exists to engage with profound aesthetic principles that speak to the deepest longings and aspirations of the human spirit.

For de Vigny, the evaluation and contemplation of art become meaningful only in relation to these loftier ideals. If art loses this connection, it risks becoming trivial or ornamental, devoid of its true purpose. By prioritizing ideal beauty, he invites artists, critics, and viewers to measure works of art not by novelty, commercial success, or technical skill alone, but by their ability to evoke wonder, elevate the mind, and connect us to a sense of order and harmony that surpasses everyday experience.

The pursuit of ideal beauty implies an ongoing dialogue between the real and the imagined, the tangible and the unattainable. Art is not content with surface appearances; it seeks the underlying truth, distilled and purified through creativity and vision. To "consider" art is thus not simply to appraise its material qualities or narrative content but to discern how closely it aligns with these higher ideals. In advocating for art’s inseparability from ideal beauty, de Vigny champions the transformative power of art, its ability to aspire toward and momentarily realize that which is eternally significant and universally resonant.