Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Brief history of aesthetics
The history of art essay
Aesthetics in art
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Brief history of aesthetics
Humanity has faced the challenge of placing a definition on the ever so abstract concept of art since the beginning of the Renaissance. The ongoing dispute between art critics and aesthetic philosophers has generated the creation of numerous textual and pictorial compositions in regards to varying views on the idea of art. To translate a scene of a room and a bed onto a large canvas should not be considered true art. Early art philosophers struggled between perceiving art as an inspiration or a true knowledge. Andrew Wyeth’s watercolor, Master Bedroom, seems to just be an imitation of a real master bedroom instead of a true work of art. The piece deserves the least amount of appreciation because of its lack of originality, creativity, and …show more content…
Maybe his sole purpose of the painting relied on the use of colors that were not so lurid. The sepia tone of the overall painting renders the same old feeling of walking into an old vintage room. Coming in contact with feelings and emotions is a checkpoint when experiencing art and this general experience is what art critic, Clive Bell, addressed and deemed an aesthetic experience in his book, Art. The absence of being able to feel a new or “peculiar emotion” when observing the painting, makes it just any old painting with little to no significance (Bell 187). Experiencing the aesthetic experience in which Bell speaks of means that the audience actually is actually provoked into interacting with the work of art because of its significance and a certain quality in which Bell calls “significant form” (Bell 8). In observing the piece, one can relate to the forms in the painting, but those forms are not expressive of any type of message. Wyeth may have had a specific experience with the scene, but the audience’s interpretation of the piece does not connect, disqualifying the piece from being a work of art, according to philosopher, Leo Tolstoy. He argues that art is only art when “the spectators or auditors are infected by the feelings which the author has felt” (Tolstoy 179) in his book, What is Art?. There is no sense of “unity” between “the artist and the audience” where the audience “feels as if the work were his own and not someone else's—as if what it expresses were just what he had long been wishing to express” (Tolstoy 180). John Berger also addresses the issue of audience and art interaction in his book, Ways of Seeing. Within the text, he explains the relationship between the audience’s beliefs and how it affects their reception of a certain piece of art. He says that the audience’s “knowledge” and “explanation” of a scene “never quite fits the sight”
Art is always a highly debated topic. What is art? What is artistic? Which is better poem or song? Music and poetry are both great ways to express artistic passion, and each have something a little different to from the other. Two greatly artistic pieces is the song “Chicken Fried” by Zac Brown Band, and the poem “Living Room” by david Yezzi. In this case, though it is a great piece, the song “Chicken Fried” by Zac Brown Band is not as artistic as the poem “Living Room” by David Yezzi. The use of similes, rhyme scheme, diction, symbolism, and just overall theme, truly makes “Living Room” the more artistic piece. Each have their pro’s and con’s, and each have powerful poetic devices, some more than others. Though both pieces have artistic grounds,
... find the authors’ of my articles arguments very convincing. By weaving both visual and literature evidence together the authors support their arguments almost scientifically. The articles go into more depth than the Gardner text book. Gardner does not provide as much contextual evidence to support his arguments. In this manner the articles I read are a more progressive form of art history. Also, Gardner’s text discusses Witz’s intense focus on realism, but does not discuss his important departures from realism. In actuality, Witz’s departures from realism represent the most significant aspects of the painting. Although we have learned to not read into a work too much, Witz’s hyper deliberate nature requires attention to every detail and is well suited to more than surface level analysis. My analysis of the painting reflects, and supports the author’s conclusions.
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
2 is otherworldly. Because the subject matter, emotion, is an entity that cannot be observed, its depiction results an equally confusing and incomprehensibility. Seen under the same light used to see the world, the image cannot be more ambiguous: it resembles nothing. But there is an artistic purpose to this madness. While Kandinsky seeks to capture music, Pollock aims to capture his changing emotional states. The incomprehensibility, however, adds another dimension to the painting. Faced with nothing familiar, the viewer is forced to question not the painting but the painter’s mind itself, leading to a deeper understanding of the depicted emotions. What could he have possibly been
Thousands of artists emerge from their mindless slumber to paint rosy cheeks and draw cat inspired winged eyes. These artists sketch over-plucked eyebrows and draw arches to a create strange self-described works of art, that they believe to be aesthetically pleasing. If these artists see a glimpse of imperfection, their masterpiece is ruined and their canvas has to be wiped clean. The artist is seeking the approval and acceptance from their well-known art critics, so this masterpiece has to be their finest work of art.
many other emotions that the artist is trying to display in his painting. Although we can try and
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Paul Cezanne’s The Large Bathers, Henri Matisse’s Bonheur de Vivre, and Pablo Picasso’s Les Demoiselles d’Avignon are three early 20th century examples of how modern art changes in depicting the nude and it reveals not just a shift in formal techniques in art, but a new vision, philosophy, and ideal in the way we view art. By comparing these paintings, we can see how Cezanne’s work was an
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
Artists often use color schemes and brush strokes to design their concealed emotions and throw them onto a canvas for many to interpret. However, artists such as Rene Magritte want nothing more than to make people question what is behind a layer of painting and question each individual design for what it is and seek what cannot be seen. Painter’s typically use colors to not only detail a painting, but express emotions through the gentle strokes of color. For example, bold colors often highlight what portions of the painting are meant to be the most significant to the viewer. In The Lovers I and The Lovers II each background is filled with light hues of blue, green, and red.
Throughout history art has presented itself in many different forms. Two forms of art are poetry and paintings. William C. Carlos’ poem “The Dance” paints a picture while Pieter Brueghel’s painting “Peasants’ Dance” tell a story. The odd thing is that both the poem and the painting have many similarities as well as many notable differences. Tone, image, and imagination show the many similarities and differences between William C. Williams’ poem “The Dance” and Pieter Brueghel’s painting “Peasants’ Dance.”
A couple of times throughout my life I heard that art will speak to you even though it doesn’t talk. Not having a real knowledgeable understanding of art or being a big appreciator of it, Berthold Woltze’s ‘The Irritating Gentleman’ (1874) is an oil painting that depicts realism that really draws me into everything in the painting because of the attention to detail he put into it. This particular work is the first time that anything in the art category has made me feel a special way about it and it truly does speak to me.
artist: “The object of the artist is the creation of the beautiful. What the beautiful is is another question” (Joyce 185). ‘What the beautiful is’ does not refer to what objects are considered be beautiful, but to the elements that are involved in calling s...