THE artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography.
Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.
Art for Art’s Sake As a writer during the  Aesthetic Movement ,  Oscar Wilde’s  work reflected the temper of the times and focused on  “art for art’s sake” . Art was defined by beauty and many lived life in a hedonistic, self-gratifying way. This was a sharp contrast to the strict morality of the Victorian Era. In this aphorism, Wilde is suggesting that books should be judged on their literary value instead of based on a subjective moral judgement. Speaking in a broader context, art should be judged solely on an aesthetic level, instead of being deciphered for deeper meanings. Sometimes art is just frivolous, yet nice to look at. To Wilde, Art and books alike should have no ulterior purpose of informing the reader of moral obligations. Instead, Art and books should be enjoyed strictly for pleasure. 
 
 Wilde suggests that artists and writers should have the freedom to express their creative visions without being judged against a standard. Works of art should be taken as they are. As an author, Wilde received criticism for the decadence and homosexual allusions in  The Picture of Dorian Gray . In a sense, Wilde’s defiance to judgement against homosexuality is portrayed through his writing. 

The Picture of Dorian Gray Preface