The Timeless Three

Greek in origin, the three Charities or Graces are separated into the names of Beauty, Charm and Creativity, representing the aesthetic qualities that plague any artist in his attempt to transfer his idea of perfection from thoughts into media.  What is beauty, but the beautiful.  This concept, although entirely bias to any viewer, is still mandated by the sense that what one perceives as beauty is only beautiful because of it's perceived beauty, whether by a critic or an amateur, or by a crowd or an individual.  Likewise Beauty, Charm and Creativity are for the finding, in the finding and in the found, but so long as their is a desire to find.

Delaunay's The Three Graces

 Here we find Delaunay's representation of the Three Graces as merely the allusion to the goddesses in their exemplification of aesthetic purities.  As in life, we see just a glimpse of their beauty, their charm, their creativity.  We aren't meant to see them clearly or for long; too long in fact would destroy their divinity. Being just out of reach (just out of the grasp of our finger tips), keeps us worshiping, keeps us wanting and keeps us human, always in the pursuit of the unattainable divine perfection.

Rubens' The Three Graces

Sir Peter Paul Rubens, a master of draftsmanship, portrays the classical pose of the three divinities.  Interlinked as patronesses of amusement, they are inherently inseparable. A cohesive unit that together rationalises the classical inclination of the human race towards absolute perfection, constantly striving the artist to produce one step greater, one step more refined, and one step more beautiful than he himself thought possible. Like Bernini, the human race is constantly in contest with itself, and the goal (of any haute culture era) is the closeness with the awesome as dictated by the visual perfection of beauty, charm, and creativity.