The Value in Understanding Art Pablo Picasso once said “Every child is an artist. The problem is how to remain an artist once we grow up” (“10 famous Quotes”). Picasso was trying to express how too many people give up on art and often think it is one sided like a painting. One acceptable episode of rekindling art as an adult is in a moment Picasso, Maar and Oppenheim were at a cafe for lunch in Paris. Picasso was sitting at the table with his girlfriend and then noticed Oppenheim's fur covered bracelet then said “Almost anything can be covered in fur!”(“Meret Oppenheim, Object”). Oppenheim loved the idea so much she took Picasso seriously and, inspired by the tea cup she was drinking from, created a piece covered in fur called Le Déjeuner en fourrure. Art’s true nature is a difficult concept to grasp and Picasso understood that. Exploring art as controversial masterpieces that are related by the artist and defined by viewers, with a multitude of qualities is important to help define art’s true meaning found throughout history.
Mr Berger stated in his writing that, the modern society can no longer make sense out of the arts of the past which a privileged minority has created to improve the ruling class. He also wrote that, the reproduction of different copies of the same art has eradicate the uniqueness of the authentic image,
Furthermore, he considers secondary sources in interpreting and analyzing the different artists’ paintings. Baxandall examines the importance of contracts, where marketing negotiations are made between an artist and their client. This includes detailed aspects in the content of the painting, the quantity and quality of materials used in the painting and the cost for labor in making the piece. He argues that although a painting is convincing and strong, the painting could, however, be reduced to nothing more than a constructional argument between the buyer and the seller. This is done by explaining the mechanics through which the Renaissance artists went about to develop their talent. A painting in Italy during that period resulted in a social relationship between the painter, who produced the picture, and the client, who provided the funding and ultimately used the artwork. He clearly suggests that the great materials and effort placed into an art piece provide the groundwork for an
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.
With images, words, and sounds been almost endlessly reproduced and distributed, various critics of modern culture suggest that traditional ideas about art and authenticity are no longer applicable. The problem is said to have been noticed back in the 1930s in the popular essay The Work of Art in the Age of Mechanical Reproduction that was concerned about what would happen to the “aura” of unique works of art when photography and other techniques if anybody could make unlimited copies of images. With the rise of digital technology, copying ability became vast and complex and hence the idea of originality is thrown into
Re-made and re-carved works have been around for hundreds of years as artists take inspiration from whom the original was recreated. In Roman art history, certain artists would re-make Roman portraits to honor those before them. However, this was not always the case as individuals would destroy and damage art as a damnation of memory. What determined our understanding of the specific work depended on why the remade or re-carved work was created. These re-made and re-carved artworks revealed a deeper meaning about the individual, culture and the society for whom the original was recreated.
With the passage of time the value of the original will only escalate and the reproduction will get closer and closer to the original and cheaper. It is notable that we always look back at old times and get nostalgic about it, so I can only imagine how we think about objects of value that several hundred years. It is ironical that as reproductions of a certain work of art increase, the worth of the original goes up.
To some, Picasso’s WOMAN WITH FISH HAT painting may look like a beginner’s attempt, but to an expert it has “immensely inventive intensity” (Hans 154). To the untrained eye, Jackson Pollack’s art looks like haphazard splatters of paint. In the crime thriller CONTRABAND a seemingly tarp full of paint was discarded by thieves, later the canvas was revealed to be a Pollack original worth millions. Amateurs consider many famous artworks as junk but connoisseur valuable them as treasures. Who is right? If Pollack had painted his famous, No 5, on a city wall would it still be valued at $140 million or would it be considered worthless graffiti by youth vandals.
Heller begins her novel Why a Painting Is Like a Pizza by exploring the premise of defining art. Heller writes on the belief that "... anything anyone says is art should in fact be regarded as art(pg.10)." Arguably, she is employing the idea that the creator, as opposed to the beholder, determines what is considered art. This coincides with Pablo Picasso's 1923 Statement to Matius de Zayas in which he writes that the point of art is not to research but, rather find. He complains that many connect/associate "modern painting" with research as the means of creating a final piece of art. He emphasized his point by explaining that his objective when painting is strictly to show what he found within himself, express emotions "... without thinking of the past or of the future(Para.11)”. This correlates to points John Berger addresses in Chapter 7 of his book Ways Of Seeing. Berger discusses how publicity is used to evoke emotions of inadequacy and dissatisfaction of the audiences’ self image. He writes that publicity feeds off the “now” of the world and has a nearly constant presence in American
Professionally, it may become a less coveted talented now that anyone can put their artwork on the market. Previously commissioned artists may have short-lived careers. And artists have to create a niche in order to standout amongst a sea of painters.
Commercial art is cheap and overrated. This is a widely held and accepted belief among the public and the artist community, despite the majority of the public owning commercial art over classic or completely unique pieces of art. If art is reproduced over and over, then it is less valuable. But if more people enjoy it enough to buy the reproduced work, then it is more valuable because it is better received. This has been a conflict for decades, especially during the Victorian era, where photography was discovered as a technical skill rather than an artistic one; this is reflected in the literature of the time, specifically Romance of a Shop by Amy Levy. She uses this novel to argue that artists who produce commercial art still have artistic
Making art starts with an artist. Artist can either go to school or can be folk artist who are untrained artists that have learned their skills from other people. Then most artists pick a medium that they like and want to work with. An example of a famous artist is Leonardo Da Vinci, an example of his art from the book is Proportions of the Human Figure. That art work was first featured in an old anatomy book from the 14th century. There are many different uses for art including “to enrich lives, to be spiritually potent, to educate, to support or protest existing power structures, to entertain, and so on,” (Lazzari & Schlesier, 2008). Preserving art is very important in today’s society because we put a lot of value on beautiful things. Museums do many things to keep the art safe and
‘Appropriation in art and art history refers to the practice of artists using pre-existing objects or images in their art with little transformation of the original’ (Tate, no date). Artists have been appropriating for many centuries and tend to use the most iconic of masterpieces from the past and make
Executive Summary For “premium” chocolate maker Scharffen Berger (SB), quality is king. Their distinct process creates a “taste experience” second to none, an unparalleled quality that must be maintained despite apparent capacity issues. To satisfy the rising market’s demand for its product, it must address three primary issues related to capacity: bottlenecks, expansion, and economies of scale. The current bottleneck in the Conche (output=1,344 kg. /day) will be remedied with the installation of the ball mill, however other bottlenecks will be created starting at the Melangeur. A cost-benefit analysis has determined a need for a second melangeur as well as added Roasting time from 8 hours/day to 12-13 hours/day to keep up with the
Postmodernism sees art as a recycling of culture, authenticated by whatever audience that may be. Where Modern art is a separate dichotomy of contrasting themes (organic/nonorganic, realist/abstract), Postmodern art mixes all available ideas into a sensational pastiche. Finally Modernism clearly divided normity versus sexual difference and pornography. Postmodernism embraces whatever ideas have an audience, and mixes polymorphous sexuality and pornography with mainstream media. Postmodernist art and media reject the linear way of working, building upon a specific discourse and ideology. It embraces instead, an anything-goes attitude, expanding mediums and messages into multiple directions. As long as there's an audience somewhere, the work can be considered legitimate art. Modernist trends in the Postmodern Art-World It is important to note - since the work is still authenticated by its audience, art still