This emphasis illuminates how weighty perspective is when determining perceived masterpieces across cultures. She does so by tactfully offering Cameron’s comparison of the Lega’s material distinctions with European (p. 24). Hypothetically, a nation located in a place devoid of rocks may find a lump of coal to be the most artistically valued piece in the community while foreign appraisers may overlook, or even overestimate, its importance. Had history been different, so would
In Arthur Danto’s essay, “The Artworld”, he explains the integration of materials such as masks and weapons into the artworld and having to shift the criteria by which people judge things as works of art as opposed to merely everyday objects (204). Danto creates an imaginary character named Testadura in order to help demonstrate the points that he makes. This character, Testadura, described by Danto as a “plain speaker and noted philistine” appraises pieces of art in a way that garners criticism from both us as readers, and Danto as the writer (205). Testadura sees everything that he can physically see, all that we can physically see. However, he cannot understand it as a work of art because of his lack of artistic identification that constitutes something as a work of art (208). Without the skill of artistic identification, Testadura will always be suspended in the purgatory of being literally correct by observing the physical aspects of art but being eternally unable to fully correctly appraise a work for the innate significance it holds representatively beyond the material.
Art, by definition, is works created by artists: paintings, sculptures, etc., that are created to be beautiful or to express important ideas or feelings (Merriam-Webster).
In a world that has become immune to accepting all types of art, Marya Mannes believes we have lost our standards and ability to identify something as “good” or “bad”. In her essay, “How Do You Know It’s Good”, she discusses society’s tendency to accept everything out of fear of wrongly labelling something as being good or bad. She touches on various criteria to judge art, such as the artist’s purpose, skill and craftsmanship, originality, timelessness, as well as unity within a piece rather than chaos. She says that an individual must decide if something is good “on the basis of instinct, experience, and association” (Mannes). I believe that by using standards and the process of association, we will be able to judge what makes an art piece good in comparison to others. However, Mannes forces me to consider the difference between what may be appealing versus what is actually good, and when deciding which art we should accept, which is truly more important. I believe that “good” and “bad” are two ends of a large, subjective spectrum of grey area. It is possible for a piece of art to be good in some areas and bad in others, and if something does not live up to all of our standards, it does not necessarily mean it should be dismissed. Thus, I believe my personal standards for judging art are based on which my standards are largely based on the personal reaction evoked from a piece of art. Though I agree with Mannes’ standards to an extent, I believe that certain standards, such as evoking a personal response, can be more telling of if a piece of art is good as opposed to its timelessness, or the level of experience of an artist in his/her craft.
It is said that a picture is worth a thousand words, but maybe they are worth far more than that. Pictures, although seemingly simple in nature, are extremely complex. Far too often, people overlook what a picture truly is. When a person looks at an image, they most likely see only the image, nothing else. Many people do not look deep enough into an image to fully comprehend the true meaning of it. However, when an individual begins to truly study an image in an attempt to understand the true complexity of it, they will be surprised at what they overlooked before. As stated by French Realist Painter, Gustave Courbet, “Fine art is knowledge made visible.”
This paper examined in detail the reasoning, evidence from a claim that Robert Florczak arguing Why is modern art so bad? Robert florczak is an American artists and illustrator with many years of experience in field of art. The motive of the speech is to convince the art community of the ineffectiveness of modern art. The speaker uses a compare and contrast method during his speech between western and modern art. To show differences between the two, he illustrates his ability to back up his argument with evidence. He uses rhetorical analysis techniques such as, ethos, pathos, and logos to build on various point of views to strength his point. The speaker could achieve the overall purpose of the speech in convincing the art community of the
Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.
Towards the close of 1951, the artists working in Cheyne Row were asked to vacate their studios, the owners, in wanting to utilise all the buildings on the site. Harry Parr conceded that at the age of seventy, it was time to retire from modelling and sculptural work in general. When the time came for Parr to clear his studio during the last week of January 1952, Malcolm Parr, at home on leave from the Cameroons was there to lend a hand, recalling, It was one of those awful grey days, when my younger sister Bridget, and I helped Pa to smash all the plaster piece-moulds, he’d zealously kept over the years to make his beautiful earthenware figures. When we begged without much hope, that he should save some of them, he defended his act
Understanding art is often thought of as being an unreachable goal, but art should not be considered arbitrary because it influences the cultures and societies around us. The purpose of this paper is to define and also establish my opinions on Pensacola Christian College’s (PCC) definition of art, the bibliosophy of art, and Dr. Francis Schaeffer’s criteria for art. These topics are useful for artists as well as anyone else critiquing art, and can also serve as guidelines and standards for an artist when they create art.
The city of Florence, Italy lays claim to the world’s largest dome that stands atop the Cattedrale di Santa Maria del Fiore or the “Cathedral of Saint Mary of the Flowers”.1 The main cathedral was built in 1296 but the dome was not started until 1420. It was designed by Filippo Brunelleschi, a master goldsmith, who had been preparing for the honor of constructing this dome all his life. As a young apprentice, he sketched and painted, carved in wood and worked with stone, metals and enamels. Using wheels, pulleys, weights and gears, he built clocks and learned about motion. But it was his observations in linear perspective that would give him the knowledge to build the world’s largest brick
Art history: a useless pondering over sketches that have little significance to life, at least this is the notion held by many. Delving into art history is a slippery slope that requires more than any one person knows. James F. Cooper and Alan Wallach explore the considerations art historians go through to decipher the relevancy of artworks. However, James F. Cooper’s arguments retro and one-track minded, while Alan Wallach’s arguments on which artworks to pick apart, the methods to attack them, and the reasons people spend so long analyzing a piece of paper are far more relevant to today’s emerging standards.
When trying to define art, humankind runs in to many difficulties. Traditional concepts of art include painting, sculpture, drawing, and photography. Art can also be one
Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”
“Modern painting, breaking through old conversation, has released countless suggestions which are still waiting to be used by the practical world.”(Gropius) The birth of modernism and modern art goes back to the Industrial Revolution, a period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing, transportation, and technology profoundly affected the social, economic, and cultural conditions of life in Western Europe, North America, and eventually the world. Before the 19th century, artists created art pieces for wealthy people and institution places like the church where they can create art works about storytelling of religious or mythological scenes . These arts were there to instruct the viewers.However, this changed when during the 19th century many artists began to create works that were about people, places, or ideas that interested them, and of which they had direct experience. With the popularization of the idea of a subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as avenues for the depiction of their subjective experiences.Challenging the notion that art must realistically depict the world, some artists experimented with the expressive use of color, non-traditional materials, and new techniques and mediums.
Art overall is created and adored by numerous amount of people for many reasons, such as amplifying shared common visual language. The word art often branches into many different movements and components. Modern art or Contemporary art is one those components; this specific genre began mainly in the 1860’s to the 1970’s. During, this time period artists began throwing aside their own beliefs in a spirit of experimentation and the bringing of new ideas. The purpose of Modern art is to beautify one’s surroundings with intrigue, its often very diverse and cannot be easily defined through a list of visual characteristics, artistic themes or cultural concern. Moreover, Modern art is often hard to understand by people because, unlike Egyptian tomb paintings or Greek sculptures, it speaks to the dramatic social, political and technological changes of the last 50-60 years, and questions many of society’s values and assumptions. Also, Modern artists known for incorporating a great deal of abstraction into their works and representational forms to convey their ideas more elaborately; Rene Magritte is one of those artists.