The Critic

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than

British art is respected across the world for it’s unique techniques and skills used for painting. A lot of artist from around the world visit Britain for it’s thick culture in the world of art and opportunities. Almost all ‘Minority art’ made in Britain falls into one of the two baskets, either it is created by an artist from an African- American/ Caribbean origin, or by the common people of the Indian-sub continental background. Despite of the attempts made to accumulate these two inconsequential

the symbolic relations to the art and culture of my age.” The late Victorian period saw a revolution in the spheres of art and literature. John Ruskin, Matthew Arnold, Walter Pater and Oscar Wilde were among the most influential art and literary critics of the mid and late Victorian period. They baffled the British opinion with their brand new stance on literature, paintings, and sculptures. They turned criticism into a brand new form of art. Their new theories were utterly modern and absolutely

entered our brain, a rare one to ponder is: how does one view art? One may say that art is subjective, that viewers take away what they want from it. However, another may say another completely different opinion; for instance, John Berger, a famous art critic, believed art could only be viewed in the context of its own history, otherwise the painting would become “mystified” (Berger 144). In a way, Berger expects everyone to mystify the art work they view unless they truly see in the specific way he believes

What does the painting do, if anything, better than the poem, asks Cheeke? "(P)oems about paintings are always partly discovering what that is." (1) This is in a similar vein to what art critic, painter and poet John Berger, speaks of in his text Understanding a Photograph, when the first words that come to mind for a poet begin to unfold across the page. What is happening to the writer when they observe this work of art? What story is being

When you look upon my walls, you are sure to find art. When you walk down the street, you are sure to find art. Everywhere you look and everywhere you go there is art, but art is more than pictures hanging upon a wall and is more than the paintings that painter John Berger references in his essay “Ways of Seeing”. Art is not one definable thing, but is of many origins and form. Paintings are art, poetry is art, music is art and so much more. There is simply no way to avoid it. Art has an impact on

artwork is dynamic, because we cannot visit the past and truly know what each artist is thinking and feeling as he paints his work, so it changes with one’s personal experience and the context in which one experiences them. He also speaks of how critics “mystify” artwork of the past, attempting to set in stone their personal meaning of the piece, closing the door of interpretation to anyone who reads their commentary on the piece. Who is to decide the meaning of advertisements? Or, do they hold no

Analysis & Evaluation The two collections articulate a discourse about national identity and how it is reflected in the art produced in the United States. Both museums employing traditional classification from the art history, arranging the collections by period, schools, style, movement, and artists. Both collections approach the paradigms that address the historiography of American Art has established: the Colony, the configuration of the Republic, The Civil War, the Centennial of Independence

Which Comes First: The Art or the Artist? A Historical Perspective The approach of the year 2000 seems a good time to think about the way the role of art and the artist has changed through history, and how modern art is interpreted by a modern audience. Writing about modern art gives me the creeps. In other types of art, clear facts can be asserted with security, public reactions are clearly documented, skills can be appreciated, and art is clearly recognized as such. Modern art defys all

As Gombrich describes, objectivity is the ability to represent something exactly as it is seen in nature without any influence. According to Gombrich, the objectivity of the representation in a work of art does not define how correct or real the art is. On the contrary, realism is defined by the information conveyed from the art. If the information is correct, the work is realistic. Gombrich believes this because there are multiple limits to representing objectively. One of the most prominent limits