The phrase "aesthetic impulses" is correct and usable in written English.
It can be used to describe natural tendencies or urges related to beauty, art, or sensory experiences.
Example: "The artist's work is deeply influenced by her aesthetic impulses, which guide her choice of colors and forms."
Alternatives: "artistic inclinations" or "sensory urges".
But if Anderson's unwavering respect for his own fascinations and aesthetic impulses in every project he works on doesn't count as integrity, what does?
But these reactions might also be taken as evidence of a shared strength: the always delicate, sometimes precarious balance that each artist maintained between raw materials and aesthetic impulses, between improvisational process and final statement.
The Whitney's "Cold September Rain" (1957), a very free, almost abstract Marinesque landscape in lyrical colors, barely touched by slanting lines of rain, makes another case for nature's aesthetic impulses.
Star, a murdered girl from Isabelle's high school past who employed movie-of-the-week clichés, is a heroic ghost haunting the novel, a kid who once turned America's worst aesthetic impulses into the best human ones.
Although the cast of "The Blue Flower" is first rate — Teal Wicks, as Maria, sings with an expressiveness and richness of tone that enchants — we never fully enter into the experience of the characters: not the aesthetic impulses that drive them, not the sexual and emotional attractions that bind them together, not the brutal circumstances that drive them apart.
When the Mongol ruler Kublai Khan established the Yuan dynasty (1279-1368), pungent aesthetic impulses flowed in from all over Central and Western Asia, soaking into Chinese traditions, creating a hybrid art that became, and would remain, a new norm to be embraced or resisted.
Consequently, the aesthetic impulse must have some important biological functions.
Rinpa refers to an aesthetic impulse shared by artists working in various media from the mid-17th through 19th centuries.
Jamie sees and feels things with a brutal purity, and by the end of the trilogy his aesthetic impulse has given his life its own direction.
"Not out of any philosophical or aesthetic impulse, but just because there was no name for it". Hellermann has watched his fledgling genre evolve and flourish.
But practical necessity is always the lever of creation; the line between practical necessity and aesthetic impulse is not merely fine but nonexistent.
