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Importance of drawing in art
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I personally do not believe that painting has died as an art form, people say that painting is dead because painting as a tradition is a fallacy for whatever other form of art they are promoting instead. In actuality, people will keep painting in addition to, for instance, taking photographs, creating conceptual art, digital art, etc. Art forms only die if people stop doing them.
Though I can offer likely reasons some may be saying this. First though, this has been said before. When photography was being developed, it was thought to be the end of the painter.
It took many decades for photography to evolve, and it is still in process. In the early stages of photography, it was only black and white. Painters and illustrators were still needed. Later, color photography still had a different feel from painting so the latter survived.
Even in the advanced stage in which this art
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Now, a more recent threat to traditional painting has arisen. Digital painting with Photoshop and other digital image editors are blurring the lines between computer imaging and traditional painting and illustration.
For the first few years of such programs, it was pretty easy to tell which images were digital and which were traditional painting. Now it is getting more and more difficult.
I have to ask, if we cannot tell whether an image is a digital "painting" or a traditional one, why should we care? If it is an interesting image, the only difference is the device the artist is using. Who cares how they did it?, What many fail to understand is, the computer is merely a tool, it cannot make "instant artists" out of those otherwise unable to draw or paint. So the only difference is the medium. Those wielding these different tools are still artists, and still must have many of the same skills artists have always
are depicted with the same degree of variation. To understand such a diverse set of paintings –
...g digital museums already exists, because it would allow more people to discover works of art that are much in demand, without having to queue and be surrounded by people. The progresses in digital imagery are going to get even more faultless, but one should remember that it remains a copy, and that nothing is worth being transported by the emotion and the magic of contemplating the work of art itself.
“I don 't paint things. I only paint the difference between things.” – Henri Matisse
If it wasn’t for the internet and people spreading art all over it, I personally wouldn’t know of any art at all. I’m not one to go out to an art museum for fun, don’t get me wrong I enjoy art just not that much. I wouldn’t go out of my way to go see a piece of art, that’s where the internet and social media come in. While cruising the interne...
The idea of this theory now seems blatant, but before the era of Modern art it was not produced to demand attention to itself, but to commemorate figurative forms and precisely portray things that had some source in reality. Modernism shows us how paint is paint, how that medium is the reality of the painting and unlike the Renaissance, where they solely portrayed religious scenes and stories to entertain their viewers. The Modernists are using that as a platform to revert their style which stops us from viewing their paintings as a narrative and instead has us see the physicality of the painting by using our initiative to contemplate what the image is telling us, whereas the Renaissance paintings told us what we were seeing and the medium was nothing more than a single factor in their paintings as well is the medium being something that they would have had to fund. Not as much thought would have gone into the Renaissance paintings in comparison to the Modernists, the reasons for this is that the Renaissance artist would have had stories, literature and previous artist’s artworks. The main influence for them was purely biblical events whereas the Modernists had to have thought deeply about their approach to their work; the way they were to paint,
To begin, ‘linear’ refers to the development of line as a path of vision and a guide for the viewer’s eyes and ‘painterly’ refers to the gradual depreciation of lines or the grouping of values while losing the edges of objects, but still maintaining the overall forms in a painting. In linear works of art, paint is held within boundaries, and in painterly works of art, movement is stressed on the canvas by losing boundaries through deemphasized edges. Next, ‘plane’ and ‘recession’ are easier to recognize compared to the concepts of linear and painterly; ‘plane’ or ‘planar’ refers to the parallel surface exposed in a painting, verses ‘recession,’ in which works of art contain a defined, diagonal depth. Then, composition defines whether a painting has an open or closed form. ‘Open form’ in a painting suggests that the scene being depicted extends past the edges of the work of art; to the contrast, ‘closed form’ suggests that the scene being depicted doe...
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.
In Rachel Handel’s article, “Picture Imperfect” she states how digital manipulation of photography has become so common in today’s society, that it is a “routine practice” (Handel) for today’s early and late photographers. If the routine practice keeps happening and growing at the rate it is now, who is to say that photographs without editing will just one day disappear? It is wrong and needs to stop before more damage is done. There are even jobs out there that employ people to lie about the practice of photography. The jobs employ the workers to “touch-up photographs”
Moreover, the effect achieved by the current painting technique is often that of a human face behind glass or of a reflection rippling in the water surface: for instance, Shirley (2007), Susan (2011), Self-Portrait (1997) and others. Although these gridded paintings look fragmented from the small distance, they form an easily recognizable and identifiable figurative whole. The tendency towards application of pixelization in painting might be perceived as a skillful allusion to the legacy of Gustav Klimt, for Klimt, an Austrian Secessionist of the early 20th century, often ‘infused’ geometric elements similar to Close’ marks into his paintings. In other words, Close seems to have revived use of geometry in figurative depiction as he entered the third stylistic phase and endowed his photorealistic vision with more complex optical
Of all new advancements, the digital space arguably has the most outstanding effect on illustration, encroaching on our reality and the meaning of physical space within the field. As the digital space expands and further accommodates more aspects of the global illustrator’s life, we may come to a point (or are already at the point) where there is novelty in the restricted physical space; in a physical artwork, studio or gallery. It has changed the playing field and the rules of the game- knowledge and new innovations are developing rapidly, with a possibility of overtaking tradition through convenience. Not only has digital technology affected how illustration is received and displayed, but also how it is created- in the proliferation of digital
While the tools and types of canvas has changed many since the development of those initial ideas, I argue that aesthetics is the judgment of human characteristics in art. This would include what has inspired, motivated, or revealed to them. The resulting product, either a painting or a digital print, will show the audience the conscious or subconscious message the artist seeks to tell Some may argue that the human aspect of digital are is little to none, with the majority of the creation being done by the hands of a machine. To this I would have to disagree with. While tools such as software and programming made it seem like creating art to be an effortless process, it still requires human control to produce anything, requiring things such as thought and creativity during the work to create the piece.
...tal art? Can a computer interpret an artist's desire and emotional connection to the work? With high quality full color printing, digital art can become a physical tangible piece that looks exactly as the artist intended it to look and it can be just as impressive as an actual painted canvas.
“Visualization is enabled and mediated through technology” (pg.179). With different apps you can download on your mobile phone to share pictures or contexts, it is easier for media to spread around to people of all ages. Reproduction of original images is also easier to do now because with the click of your side buttons on your phone you can own it. Like what Walter Benjamin said in his essay The Work of Art in the Age of Mechanical Reproduction, no image is truly unique. There are plenty of side by sides of films or photographs that show that there is no unique idea or placement inside them but it is merely a copy of something else and the pattern continues forward with time. In his essay, Benjamin said “An original artwork’s meaning changes
Therefore, the more unfamiliar a painting or modern work of art looked, the more it solidified the nature of photography. Paintings no longer needed to look representational since the camera was now available to make such images.
In the 1950's, the idea of creating artworks and motion graphics through the use of computers seemed a little strange. Computers then were new and could only do what they had been programmed to do. The evolution of computer generated imagery has accordingly progressed with the evolution of the computer. A computer generated image or C.G.I. can be an already existing image which can be scanned into a computer or it can be an image or animation completely made within a computer by specially designed software. Once an image is scanned or uploaded into a computer, the image can be altered or moulded to suit a desired effect. The manipulated image can then be “combined with live-action footage and rescanned back onto film.”(Abbot, 2006)