Theo Van Doesburg

An artwork is often an artist’s subjective expression of their context. The ideology of artists, their perceptions of their contexts and the materials available to them play a significant role in the creation of their artworks. However, an artist’s intentions can be misinterpreted or disregarded by their audience, often sparking fervent discussion within the art world. Through the artists Ai Weiwei and Marcel Duchamp, we can clearly see how personal reactions to an environment shape the intent of artworks. Additionally, from their audiences’

Notwithstanding anyone specific expertise or knowledge of painting technique, each of us can quantify beauty as it relates to art in our own minds. We can see the growth of art and how it provokes emotion, understanding, and experimentation over time. Over the course of time, it appears that art, artist, and the lovers of the various periods of art seem to move beyond a name or basic aesthetics of style and venture into a deeper more comparative analysis of the work and its position in our culture.

Their ideas may have been the first of a radical new tradition, but they weren’t the most ostentatious. Later movements like Dada, Surrealism, and art post-World War II, would more clearly demonstrate the extreme separation the term “avant-garde” implies.

In the process we shall examine the importance of art and the role it plays in society, the factors that make something a work of art and who decides or should decide what a work of art means or signifies; is it the artist, the audience, the critic or perhaps even history itself?

As trained artists, Naive artist are contradistinguished by a great passion for art, and even if they are often considered hobbyists, the only difference between them and “standard” artists, is that they apply personal knowledge rather than a formal one.

felt that the frame of mind of the artist when he creates a work of

Vincent van Gogh, a standout amongst the most understood post-impressionist craftsmen, for whom shading was the central image of articulation, was conceived in Groot-Zundert, Holland on March 30, 1853.The child of a minister, raised in a religious and refined climate, Vincent was exceptionally enthusiastic, needed fearlessness and battled with his character and with course. He trusted that his actual calling was to lecture the gospel; notwithstanding, it took a long time for him to find his calling as a craftsman. In the vicinity of 1860 and 1880, when he at last chose to end up plainly a craftsman, van Gogh had officially experienced two inadmissible and troubled sentiments and had worked unsuccessfully as an assistant in a book shop, a workmanship sales representative, and an evangelist in the Borinage where he was rejected for enthusiasm.

Exploring the connection between art and emotion is an essential component to furthering my personal understanding of the meaning and value of art. As a beginning student in the philosophy of art, my preliminary musings paper primarily discussed how I came to develop interest in art. To me, art is healthy

Art is a process. One must move freely from idea, to research/exploration, to construct in order to become fully immersed in the act of making. Even in the construction of a piece the elements go through “a series of actions, changes and functions bringing about a result.”² This all develops over time. There are artists whose work directly comments on process and becomes part of the meaning. Sol LeWitt’s conceptual works by instruction and Chuck Close’s photogravure production exemplify process. Sol LeWitt’s drawings derive from a set of specific instructions, which are executed often by others than himself. The work changes each time it is explored depending upon the hand that is drawing. The parameters of the instructions guide the participant

To describe the feeling you get when looking at art, is difficult, and many theorists struggle with how something so purely emotional, so “unreal” is ever present in the world of art. How can something so fluid be grasped? In this essay we will explore the word aura, and how it relates to art. I will argue that the connections we get when looking at art is unreachable and cannot be related to either space or concept.

De Stijl was a Dutch movement that started in 1917 and was led by Theo van Doesburg and Piet Mondrian. Because both of them were popular, other artists started to use similar style in their paintings and this is how it spread around quickly. “De Stijl artists applied their style to a host of media in the fine and applied arts and beyond” (The Art Story. 2014. De Stijl.).

Mona Lisa and Marilyn Monroe, two eminent females appear in two very different masterpieces of Marcel Duchamp and Andy Warhol. Simply looking at the well-known example of Dada and pop art, it is hard to acknowledge the difference between them. However, the word ‘dada’ and ‘pop’ itself clarify themselves. The word ‘dada’, the colloquial French word for hobbyhorse (The Art Story, 2017), represents the nonsense of Dadaism, whereas the word ‘pop’ signifies the popularity. Considering such point, Dadaism and pop art have differences in the perspective of the attitude toward art and the method of rebel of traditional art.

Collingwood begins his discussion by exploring what a work of art is and how it comes into being. He states that others have come to the conclusion that art is not produced by accident, but that it is produced by some controlling force that resides in the unconscious of the artist (Collingwood). Collingwood summarizes some of the theories that exist on how art comes into being but concludes that theorizing is not best approach to answering the questions about art (Collingwood). He believes that theorists over look simple answers and jump to more complicated theories than are necessary (Collingwood).

Since the ancient world, the concept of art has been disputed. From claiming it was mere imitation, instruction or craft to defining it in terms of significant form and intrinsic characteristics, these formulated purposes force a cookie cutter mold on a creative process. While I do not believe that art can be defined, the search for an all encompassing concept is a debate crucial to art culture and must evolve alongside artistic trends.

Art as a realm possesses an untamed power to document, address and question. It is a liberating force that extends beyond the socio-political norms of its time. The unconscious aim of art is progress, through the means of deconstructing what is said to be normal. Arguably, art is a product of its culture; although, once it is created it becomes the means by which to shape it. A great work of art is reactionary, especially within a Western environment. This view became widely spread with the rise of Modernism. A progressive approach towards the arts and their impact, started to evolve by the middle of the 19th century. During the 1871 Paris Commune, ‘subversive art’ became a recreation of the revolutionary politics of the time, driven by a group of embattled artist (Levenson. 2011. p. 12). ‘The political desire to transform society met the aesthetic desire to represent and to circulate the signs of transformation’ (Ibid. p. 13); this reveals the relationship of art with politics. This is due to the ability of art to speak a language that is not confined by any geographical borders and is by nature a liberated form of expression. Therefore, it can address and influence all those who are willing to witness and interpret.