Marya Mannes 'How Do You Know It's Good'

Studies have been made to explain this portraits almost universal appeal, but what criteria’s can an art critic use to judge a painting? Critics are not like scientists. They cannot set up controlled experiment’s in which a number of stimulus are shot into subject’s and data collected on the subject’s reactions. No, an art critic relays on inner emotions and sensitivity when analyzing a painting. Analyses of a painting is very personal.

Leo Steinberg’s Other Criteria focuses on how America’s view on art differs from that of other Countries and many of the problems that ensue when artists create art in America. Also, how critics and viewers of art should perceive different pieces and how to cope with differing views. Steinberg later goes on to discuss the problems with how certain groups of people can perceive an art piece negatively, when it might not be a negative piece.

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

The idea of art being a unique interpretation of what an artist’s feels towards a particular thing has always been a given when talking about art. However, where is the line drawn on what art truly is and what it means to its audience? To do this, the idea of what art means must be applied to the idea of what art is. In Dorothy Allison’s This is Our World, the author touches on points of what art is and what it means to its viewers. These points and supporting stories point to the idea that art is subjective, personal, and provocative. This allows Allison to draw her conclusion that arts purpose is to depict the deeper meaning into situations and incidents that occur in our world. In Dorothy Allison’s journal, one can see how the author effectively conveys the ideas of art being personal and subjective, but fails at detailing how art can be subjective.

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.

Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking at the

Controversial pieces of art are nothing new; artists express their opinions and beliefs in their work, and those who see the artist’s views as problematic speak out against it. Art encourages debate, and debates can be angry and emotion-driven. But when a piece of art is created that is almost universality looked upon as having corrupt morals, the debate tends to switch “I disagree with what this art portrays” to, “this work of art should not be allowed in society, regardless of its quality.”

This bids fair to a maxim erroneously accredited to Friedrich Nietzsche — that aesthetics, in art or science, is no longer a question of "I do my thing, you do yours." Yet, in point of fact, integrating artistic verdict with truth, prettiness, and forthrightness is, in the times we now live in, more than utterly obligatory than ever before. Not only because the US, or our world, has woken up to actuality and vowed to exterminate Frankenstein monsters that it once created, or encouraged.

Criticizing artwork is very easy task to do by anyone, but understanding the meaning behind a piece of artwork can only be noticed by individuals with some knowledge of art. In certain occasions humans tend to ignore something that they don’t like, which might lead them to make negative conclusions about a subject. How an object is portrayed with the use of color, and shapes can affect the feelings of any audience. Art skills are developed throughout the life of a person, but only dedicated artists who are trained to receive criticism, or who are empowered by their artistic teachers tend to become more successful. Oscar Gutierrez is an artist who has four years of experience working as an art teacher assistant at his local high school,

How often do we see things in life that require a double-take, a second glance, a follow-up look, or even multiple subsequent studies? The answer is quite simple: everyday. The things we often look at a second time are often not intellectually worth the look, whether it be an irrational teenager attempting some outrageous skateboarding stunt, a monkey drinking its own urine, or even a two-headed cat, people have stopped spending their second or third glances on things that are meaningful and sensible. As a result people have lost the appreciation of evaluating and scrutinizing art and often don’t think of looking at it a second or third time to really “look” at it. Sure people go to museums and galleries, but nowadays, how many of them

Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).

what art “should be” and what can be called art. This disenchantment away from the stereotypical

The most important trait in defining art is its beauty. As complex as the term “art” can be, the term “beauty” is nearly just as complicated. In order to understand art more clearly it is important to understand beauty. “We label an object beautiful because it promotes an internal harmony or ‘free play’ of our mental faculties; we call something ‘beautiful’ when it elicits this pleasure.” (Freeland 8). As defined above, beauty is not a direct message. It is something that subconsciously allows man to feel good and pleasurable. There is “an internal harmony” when we observe something beautiful that allows us to take away a deeper understanding of a work of art regardless of it being “nice looking” or “ugly”.

For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and

I think that the end result is truthfulness. Every artist must be sincere and truthful if he wants to be a great and true artist over and over again art is predictable to request and bond with human being feelings. Art can awaken aesthetic or ethical feelings. The amount of skillfulness that the artist has will influence over the capability they have so they can to generate an emotional response and by this means make available new insights. Art tends to smooth the progress of spontaneous slightly than coherent thoughtfulness, and frequently it is knowingly shaped with this purpose. Art calculatedly serves no other function. As a result of this forward motion, works of art are hard to pin down, refractive to attempts at arrangement, for the reason that they can be respected in more than one way, and are often vulnerable to many dissimilar interpretations. Even art that to every appearance depicts a commonplace proceedings or items may encourage manifestation upon prominent themes. Conventionally, the uppermost achievements of art make obvious a high intensity of ability or fluency within a medium. This characteristic might be considered a point of contention, since many contemporary artists (particularly, theoretical artists) do not themselves produce the moving parts they envisage, or do not even produce the labor in a straight, affectionate wisdom. Art has a capacity of transforming: predominantly confers