Many qualities that we now associate with art—originality, individual expression, something to contemplate rather than use—began to take shape only about 1500 and flourished in the 1700s. Before that time objects of great beauty and symbolic significance generally served purposes other than artistic self-expression. Art was more closely woven into the fabric of society, and artists were workers, although people admired them for a skill that at times seemed almost magical.

1. Antiquity: Skill or Technique

In ancient Greece, the word techne is the closest equivalent to art. Techne, which means work or technical skill, can be applied to the fashioning of any sort of object. But the Greeks had a special appreciation of mimesis (the imitation of reality) in painting and of especially pleasing proportions in sculpture and architecture.

The ancient Romans used the word ars, but ars still referred to a technique or a method of working, not to the expressive, creative activities that we now associate with art. Roman writer Pliny the Elder provides most of our knowledge about artists from the classical (ancient Greek and Roman) period. He wrote about the arts of painting and sculpture in the section on metallurgy in his Natural History. Although Pliny praises the skills of particular painters and sculptors, he does not single out painting or sculpture as being better than pottery, metalwork, or other crafts.

2.The Middle Ages: Craftsmanship

During the Middle Ages (about 350 to 1450), Christianity dominated Western culture. Thus the main purpose of the visual arts was to teach people, many of whom could not read, about religion. Art taught by means of delight, drawing people’s attention and helping them understand the spiritual through fascinating forms (whether delicately refined saints or monstrous devils), ornately carved and painted decoration, precious materials (including gold, ivory, and gems), and colored light pouring forth from stained glass.

No particular form of art was considered superior during the Middle Ages. High value was placed on small-scale luxury objects such as illuminated manuscripts, jewelry, and metal objects used in church services. The great medieval cathedrals—buildings that required the skills of hundreds of craftsmen—became the pride of entire cities. Wealthy people decorated their homes with huge tapestries that told stories from mythology. Even clothing could be elaborately decorated and express a person’s status and moral views.

Craftsmen, carefully trained in specialized medieval workshops, made the objects we now call art. Our word masterpiece comes from this medieval workshop tradition. The term refers to an object made by a craftsman at the end of his training to show he had acquired the skills to be called a master. During the Middle Ages a masterpiece could be a statue, a stained glass window, or a pair of shoes.

3. The Renaissance: Genius and Design

The importance of skill and craftsmanship continued well into the Renaissance, a period of artistic and literary revival that began in the 1400s. During the Renaissance, the visual arts were often associated with other trades based upon the type of material they used. For example, in the guilds (trade associations) of 15th-century Italy painters were grouped with doctors because both used chemicals, and sculptors who worked in bronze were grouped with makers of armor. However, the position of artists began to change in the 15th century. Painters and sculptors associated informally with poets, who occupied a higher social status because poetry had long been considered a higher art. Books were written to explain the theory of art and architecture, and artists claimed that they were inspired geniuses and not merely workers.

During the 16th century, Italian theorists began to group architecture, painting, and sculpture as the arts of disegno (“design”)—that is, as creative activities that required an artist to visualize an idea and to transfer this idea to a drawing. (The Italian word disegno means both design and drawing.) Italian Renaissance writers also regarded narrative painting as more valuable than other kinds of painting, such as portraiture or landscape. Narrative painting told a story—mythological, historical, or religious—and thus could teach morals just as literature could. This type of painting, called istoria in Italian or history painting in English, was considered the highest form of painting until the late 19th century.

4. The 17th to 19th Century: The Fine Arts

By the 17th century, artists across Europe were seeking more creative freedom. They viewed the workshops of the Middle Ages and Renaissance as restrictive. Some artists gained freedom by working at the courts of monarchs and the nobility, while others made art to sell directly to individual collectors. Such freedom could mean a loss of artistic quality, however. As a result, art academies became increasingly important as a way to enter into the profession without conforming to guild regulations.

Academies emphasized ideas, particularly ideas that connected the visual arts to the sciences or to literature, fields that enjoyed much higher status than the visual arts. At the same time, the academies wanted to separate themselves from the workshops, where sign painting and figure painting were seen as two variations on the same craft. The Académie des Beaux-Arts (Academy of Fine Arts), founded in 1648 in Paris, France, especially emphasized this distinction; it gave the arts of painting, sculpture, and architecture the name beaux-arts, meaning “fine arts.”

5. The 19th Century: Self-Expression

The French Academy of Fine Arts enjoyed special favors from the French government, and because of this connection it became part of the establishment (dominant institutions). During the 19th century artists in France fought against these institutions. In the early 19th century artists of the romantic movement (Romanticism), such as Eugène Delacroix, emphasized passionate expression. They often chose subjects that criticized the government, although their method of painting generally followed academic principles of composition and technique.

At mid-century Gustave Courbet and other French artists promoted their individuality: They not only chose subjects that the government might see as offensive, but also used techniques and compositions that went against academic teaching. Starting in the 1860s Édouard Manet and the painters who became known as impressionists (see Impressionism) broke away from the Academy and established alternatives to government-sponsored exhibitions and competitions. These alternatives eventually evolved into the modern commercial gallery system in which artists provide works to dealers who exhibit and sell the works to any buyer who can afford them.

6.The 2oth and 21st Century: New Media, New Art Forms

In the 20th and 21st centuries many trends have developed, including some that seek to destroy our definitions of art. Artists of the dada movement, which flourished in the early 20th century, created works and sponsored events that pointed out the absurdity of all definitions. One of the most famous dada works was exhibited in 1917 by French-born artist Marcel Duchamp: a urinal turned on its back, titled “Fountain,” and signed with a fictitious name (R. Mutt) that plays on the urinal manufacturer’s name (J. R. Mott) rather than Duchamp’s own name. Pop artists revived the dada spirit during the 1960s, with Jasper Johns’s painted flags and Andy Warhol’s painted soup can labels.

Contemporary artists, aware of earlier traditions, can choose to work in traditional media (including painting, sculpture, printmaking, and now photography), combine media (collage and assemblage), or avoid the traditional categories entirely. For example, some artists create so-called environments that we can walk around or through. Others, such as Bulgarian-born Christo and American Robert Smithson, have rearranged the natural landscape in ways that cannot really be called architecture, landscape architecture, or sculpture. Art critics have coined the terms land art and earthworks for such endeavors. Still other artists have focused attention on the monetary value we give to what we call art, by creating works that cannot be sold, as some conceptual artists did in the last decades of the 20th century (see Conceptual Art). Artists today can ignore the line that the academies drew to separate fine art from craft, or they can affirm essential differences between one art form and another according to their beliefs.

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1. Composition

Of the formal elements in art, composition is probably the term most commonly used and most confusing. Composition is the arrangement of elements in a work of art. All works of art have an order of some sort determined by the artist: They may be balanced and symmetrical, swirling and dynamic, or even chaotic and seemingly random. We can describe some compositions by referring to a geometric figure—for example, figures may be grouped to form a triangle—but not all works are designed this way. It sometimes helps to squint at a work or step back from it to see its composition. Look for general patterns of organization, no matter what shape they may take.

2. Illusionism

With painting, drawing, and printmaking, people often speak of illusionism—that is, the illusion of three-dimensional space on a two-dimensional surface. The techniques of illusionism range from overlapping shapes, to using light-to-dark shading that models or rounds out a shape, to using full linear perspective. Perspective creates the illusion of three-dimensionality through lines that seem to extend back in space and meet at a single point known as the vanishing point. The history of Western art is more often than not a history of the quest to create perfect illusionism. At times, however, artists have turned their backs on this pursuit.

3. Realism, Naturalism, and Idealism

The terms realism and naturalism are used to describe how closely objects seen in a work of art resemble those we experience in everyday life. The terms are closely related but not quite interchangeable. Realism suggests a precise copying of the actual appearance of objects, warts and all. Naturalism is a way of depicting objects as they might exist—in other words, it implies a certain amount of improvement of the actual appearance.

Idealism refers to a perfected, or idealized, view of nature. Sometimes this idealized image comes from an idea in the mind, rather than anything actually observed in nature. Idealized works also may be naturalistic in that they are based upon nature, but at the same time they ignore imperfections. Idealized portraits, for example, show the subjects in flattering ways, whereas realistic portraits show them with more flaws, but also with more individuality.

4. Abstraction

Abstract and nonobjective are terms most often used in reference to modern art, although abstraction also commonly occurs in ancient art and in the art of many world cultures. Abstract art usually begins with a recognizable object, that the artist then simplifies to show some purer underlying form. Nonobjective, or nonrepresentational, art goes a step further and removes any references to recognizable objects. From a Western perspective, the elimination of a recognizable subject from painting or sculpture seems a radical development of the 20th century, but in other traditions people have long placed higher value on abstraction. In Islamic art, for example, elaborate patterns and calligraphic lines enrich the surfaces of book pages and places of worship.

5. Expression

No matter how realistic or abstract a work is, it can also be expressive. Clashing colors or rough brushstrokes often convey violent emotions, such as anguish or anger. Gentle curves and subdued colors can elicit quieter emotions, such as maternal love. It is easy to assume that artists express the emotions they are feeling when creating a work, but more often the artist chooses an expressive style appropriate for the subject matter, genre, or setting of the piece.

6. Style

The works produced by an individual artist usually have in common distinctive and identifiable visual qualities. These qualities form what is called the artist’s personal style. Because artists from a particular time or place share ways of working, it is also possible to talk about the style of a period—for example, a Renaissance style—or regional styles—Polynesian style, for instance.

7. Subject Matter

All of the formal elements of art and the more general idea of style are separate from subject matter. Artists working in 16th-century Italy and 19th-century France may paint the same mythological subject, but their styles will be quite different. Literary sources, such as classical writings or the Bible, can help us understand the subjects of many works of art. Even when we recognize a work’s subject matter, further interpretation by experts often reveals additional messages about the work or the artist’s time.

Homer Winslow - The Reaper

Winslow Homer (February 24, 1836 – September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art.

Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.

Early Life
Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders. His mother was a gifted amateur watercolorist and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talent. Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was an average student, but his art talent was on display early.

Homer’s father was a volatile, restless businessman who was always looking to “make a killing”. When Homer was thirteen, Charles gave up the hardware store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other get-rich-quick schemes that didn’t materialize.

After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. Homer’s apprenticeship to a Boston commercial lithographer at the age of 19, was a formative but “treadmill experience”. He worked repetitively on sheet music covers and other commercial work for two years. By 1857, his freelance career was underway after he turned down an offer to join the staff of Harper’s Weekly. “From the time I took my nose off that lithographic stone”, Homer later stated, “I have had no master, and never shall have any.”

Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou’s Pictorial and Harper’s Weekly, at a time when the market for illustrations was growing rapidly, and when fads and fashions were changing quickly. His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.

Les Demoiselles d'Avignon

Les Demoiselles d’Avignon (The Young Ladies of Avignon) is a large oil painting by Pablo Picasso (1881–1973) which portrays five nude prostitutes in a brothel on Avinyó street in Barcelona. Of the figures depicted none are physically conventionally feminine, all are slightly menacing, and each is rendered with angular and disjointed body shapes. Two of the women are rendered with African mask-like faces, giving them a savage and mysterious aura. In his adaption of Primitivism and abandonment of perspective in favor of a flat, two-dimensional plane, Picasso makes a radical departure from traditional European painting. The work is one of Picasso’s most famous, and is widely considered to be a seminal work in the early development of both Cubism and Modern art. It is in the collection of the Museum of Modern Art in New York City, having been acquired by the museum in 1939.

Picasso created hundreds of sketches and studies in preparation for the work. It was painted in Paris and completed during the summer of 1907. It was controversial from its inception, creating anger and disagreement amongst Picasso’s closest associates and friends. At the time of its first exhibition in 1916, the painting was deemed immoral. The art critic André Salmon (1881–1969), gave it its current name; Picasso had always called it Le Bordel (”The Brothel”). It has been argued that the painting was a reaction to Henri Matisse’s paintings Le bonheur de vivre and Blue Nude. It was long thought to have been influenced by African tribal masks and the art of Oceania, although Picasso denied that connection. Its resemblance to Cézanne’s Les Grandes Baigneuses and El Greco’s Opening of the Fifth Seal was discussed by later commentators.

Pablo Picasso came into his own as an important artist in Paris during the first decade of the 20th century. Picasso first arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. Although he left most of his friends, relatives and contacts in Spain, he continued to paint and to live in Spain while making frequent trips back to France. For several years he alternated between living and working in Barcelona, Madrid and his trips to Paris.

Art Club

Through most of its history, art has served a variety of purposes: to honor the dead, to recall the appearance of rulers or relatives, to give visual form to gods, to create sacred places, to display wealth, to teach, and to give pleasure. Many people today think of the visual arts at best as isolated objects to contemplate in museums or, at worst, as mere frills, unnecessary in education or life. Historians trace such attitudes to 18th-century philosophers who hoped to find an intellectual basis for our perception of beauty and thus separated it from other activities. Their view became known as “art for art’s sake.”

Even if we think of art as isolated from the rest of life, we still must turn to architects to design buildings with important functions, whether churches or banks. We still value design in furniture and other useful everyday objects, and want monuments to honor our heroes. Visual effects in movies astound us, well-designed Web pages appeal to us, and gorgeous images in advertising persuade us. The methods and materials have changed dramatically, but art is still very much a part of our lives.

1. Recording Appearance

An artist’s ability to reproduce the appearance of things in our world lies behind some of the earliest uses of art. Prehistoric people may have made carvings and cave paintings of animals to ensure the fertility of the flock or for use in rituals aimed at guaranteeing a good hunt. Female figures in prehistoric sculpture typically have exaggerated breasts and genitals and were probably used in fertility rites. Other sculptures found at burial sites show the appearance of the person buried there. Although no written records exist from this period, it seems clear that prehistoric people made images for use in rituals related to the most important events in their lives: birth, death, and hunting—the means of the group’s survival.

2. Making Visible the Invinsible

Art can also make visible things we normally cannot see. The extraordinary special effects in movies have their origins in the ability of human beings to imagine and transform these imaginings into substantial form. Dreams and visions are dominant themes in some styles of art—symbolism (symbolist movement) and surrealism, for example. Throughout history, people have made images of gods, angels, and demons; of events from the distant past or the far-off future; and of what they wished the present would be but is not. Imagination is at work in more practical forms of art as well. Any act of planning involves imagining a result, and the artist or architect uses drawings or models to show patrons—the people who request the work—what the completed project will look like. The drawings, as well as the finished projects, are valued as works of art.

3. COMMUNICATING

Art in all its forms can display wealth, power, and prestige. Because of the high value of art, it may seem affordable to only an elite class of patrons and collectors. Some works of art, however, were created specifically to appeal to the general populace. For example, art that adorned churches communicated religious beliefs to worshipers. Portraits of leaders or images of historic events sometimes carried a political point of view. Before newspapers became widely available art also conveyed news of general interest. Easily reproducible art forms, such as photographs or prints, are the perfect media for art that teaches or persuades.

4. DELIGHTING

An important purpose of art is to delight. Some works of art are beautiful or charming in themselves. Others delight us through their visual intricacy, by reminding us of patterns in nature, and in many other ways. Some art works even delight by frightening us with terrifying sights, which are not really terrifying because we know they exist only in the work of art.

by: Aldrin Mirambel

We categorize art for the sake of understanding and interpretation: It is easiest to compare and make connections between works that are similar in fundamental ways. Painting, sculpture, and architecture are the arts most commonly discussed in textbooks as “the fine arts,” and they are sometimes grouped together with music and poetry. The wording fine arts, however, suggests that these art forms in some way rank higher than other art forms generally categorized as decorative arts or crafts. There are various justifications for this distinction: The fine arts use the human figure as their subject (although this is a difficult rationale when applied to architecture); they can convey ideas or moral values; they are interpreted or discussed in theoretical writings; and they can be appreciated for their own sake, without regard to their usefulness. The idea of fine arts traces back to the French Academy of Fine Arts of the 17th century, however, and since then artists have on many occasions actively worked to tear down this division.

We might instead think of painting, sculpture, and architecture as corresponding roughly to two-dimensional art, three-dimensional art, and arts that enclose or define space. Some of the newer art forms that add motion—for example, film and video art—are sometimes referred to as time-based media. Decorative arts, such as jewelry and textiles, and crafts, such as woodworking and basketry, are defined primarily by their practical use: for example, in fashion, furniture, or household items.

1. PAINTING and TWO DIMENSIONAL ART

Painting involves applying a pigment (coloring substance, often a mineral) on a surface. The pigment is suspended in a medium such as oil, water, or egg yolk, which helps the pigment adhere to the surface or gives it other qualities such as transparency or sheen. Among the most common types of painting are fresco painting, in which a water-soluble paint is applied to wet plaster; oil painting, in which pigment is suspended in slow-drying oil; tempera painting, in which pigment is suspended in egg yolk; and watercolor, in which pigment is suspended in water. The surface on which the paint is applied is called the ground; some commonly used grounds include wood panels, plaster, canvas, and paper.

2. SCULPTURE

Sculpture, a broad category, comprises three-dimensional objects, whether freestanding (without other structures for support) or attached to a background and called relief sculpture. Sculptors can make their objects by modeling a soft material such as clay or wax; by carving hard materials, such as stone or wood; or by assembling different sorts of materials. Works modeled in a soft material are often cast in a more durable material such as plaster or bronze. Traditionally, we have thought of sculpture as objects without movement that are isolated from the viewer on a pedestal. Since the mid-20th century, however, sculptors have created objects that move, that share space with the viewer, or that create whole environments in which people can move.

3. ARCHITECTURE

Architecture is the art of creating structures in which we can live, work, worship, and play. Architects, more than painters and sculptors, are concerned with the function of their buildings as well as with the visual appearance, structural solidity, and way in which a building fits into the landscape. Landscape architecture and garden design use plants and the land itself as materials to create outdoor spaces and interesting visual effects. Urban planners use architecture and landscape design at a larger scale, to shape the communities in which we live. A designer—someone who imagines and works with the ideas—is common to all of these fields. Although many people with specialized skills work to make the projects a reality, the person considered the artist is the one who creates the design.

4. PHOTOGRAPHY and MEDIA

Photography, video art, film, and digital art all use sophisticated technology to create images, which then can usually be reproduced in multiple copies. Photography may most closely resemble painting and the graphic arts because most photographs are stable, two-dimensional objects. The photographer’s role, however, is different from the painter’s. Photographers select their subject matter, but light, rather than the artist’s hand, makes the image. Photographers make many creative decisions about film development, printing, or digital adjustments, and they can even add drawing or color by hand. However, the primary process is mechanical and chemical.

Video artists and filmmakers also use photography to record images, and they often combine visual effects with dramatic action, narrative, and music. Some video artists, such as Korean-born Nam June Paik, incorporate their work into sculptures or environments, blurring the line between new and traditional media. Digital art, another new artistic medium, uses the computer to create works of art. Digital art can use video, photography, or traditional methods of drawing. The works may be printed out and displayed like other drawings or photographs, or they may exist only in virtual form, to be viewed on computer screens.

5. DECORATIVE ARTS

Decorative arts furnish or embellish the spaces in which we live, or adorn our bodies. Among the decorative arts are textile and furniture design, metalwork, glass, ceramics (see pottery), and fashion design. The categories of decorative arts and crafts overlap a great deal, although we generally think of crafts as handmade objects of simple materials, such as clay ceramics or woven cloth. Generally decorative arts and crafts are useful and lack narrative or symbolic content. But the separation between the decorative and fine arts is not always clear. Painters can make works that avoid subject matter entirely, and architects often design the furnishings for their buildings. In many non-Western cultures, household items, such as painted Chinese screens and African carved doors, can have highly symbolic subject matter.

by: Aldrin Mirambel

Monalisa also known as "La Gioconda"

Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature. The meaning of art is explored in a branch of philosophy known as Aesthetics.

The definition and evaluation of art has become especially problematic since the early 20th century. Richard Wollheim distinguishes three approaches: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans. An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced.

Traditionally, the term art was used to refer to any skill or mastery. This conception changed during the Romantic period, when art came to be seen as “a special faculty of the human mind to be classified with religion and science”. Generally, art is made with the intention of stimulating thoughts and emotions.

The nature of art has been described by Richard Wollheim as “one of the most elusive of the traditional problems of human culture”.It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R.G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.

DEFINITION of ART

The most common usage of the word “art,” which rose to prominence after 1750, is understood to denote skill used to produce an aesthetic result. Britannica Online defines it as “the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others.”[8] By any of these definitions of the word, artistic works have existed for almost as long as humankind: from early pre-historic art to contemporary art; however, some theories restrict the concept to modern Western societies. Much has been written about the concept of “art”. Where Adorno said in 1970 “It is now taken for granted that nothing which concerns art can be taken for granted any more”. The first and broadest sense of art is the one that has remained closest to the older Latin meaning, which roughly translates to “skill” or “craft,” and also from an Indo-European root meaning “arrangement” or “to arrange”. In this sense, art is whatever is described as having undergone a deliberate process of arrangement by an agent. A few examples where this meaning proves very broad include artifact, artificial, artifice, artillery, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

by: Aldrin A. Mirambel

Julie Cantrel said the birds, the squirrels and other forms of nature at Hagerstown’s City Park give her ideas for her art. “It’s like a daily source of inspiration,” she said.

More than 60 all-around state champion gymnasts from across Pennsylvania recreated the famous “Rocky” run up the steps of the Philadelphia Museum of Art Sunday afternoon as the City kicked off its weeklong celebration of the U.S. Olympic Team Trials – Gymnastics.

Artists competing in this year’s NZ Body Art Awards at the North Shore Events Centre drew inspiration from all manner of places to create a show bursting with fantastical creatures and creative whimsy.