Perception and reception is a branch of a psychoanalytic theory. With perception and reception in art the focus shifted from the artist to the viewer. Also brought into attention is that the idea of reception in art history is not entirely new and that this concept, which is based on the viewer, was the norm during the 15th century in which art was seen from the viewer point of viewer not the artist. In the early 20th we had the reception align with psychoanalytic theory.
Rudolph Arnheim was an author and art historian was trained as a psychologist who primary focus was on the sensory perception. His intention was to challenged the predominantly idea in culture in which the verbally thought idea is superior and that somehow the artistic thoughts that are based on the eye of perception is not. Vision and thinking are the same process. Is important to acknowledge that perceiving should be as important as reception (thinking) because intelligentsia is not enough is there is not vision. In Visual Thinking Arheim wrote, “the symmetrical location of the two functions in the halves of the brain has come to symbolize the fact that these functions are equal dignity and therefore should receive equal dignity and therefore should receive equal consideration, especially in education. He position both perception and thinking as equal where neither holds any superiority against the other by adding, “Everything we are learning about the mental functioning of scientists and artists strengthens the conviction that the intimate interaction between intuitive and intellectual functioning accounts for the best results in the both fields.” Another aspect that we need to take into consideration is the effect of both perception and reception thr...
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...torian Norman Bryson he present us how the way we perceive art could be affected by is environment. In his article titled The Viewer Speaks he said, “Talking to Pictures” showed that, the alleged birth of the viewer notwithstanding, it is still museum that has the last word in deciding the ways ordinary viewers are expected voluntary to repress what may be their truest and deepest responses to art.” A museum could hinder the relationship between the viewer and the image.
In conclusion perception and reception are two functions of equal of importance in our experience of viewing the image, but also the focus is no longer in the artist instead is in the viewer. Art is a record of perception shape by our previous representation. And the power of the art is expected to be between the viewer and the image, but such experience can still altered and manipulated.
...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.
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
One of the most common American proverbs is the expression to “never judge a book by its cover”. This saying, used for more than just books, is commonly used to express that what is on the appearance of something might not always show that things true nature or content. Even so people will often forget this fact and rely on their own perception. So what does this say about perception? To Victor Hugo author of the novel Les Misérables this would probable show that human perception is flawed and that people trust it more than they should. In Victor Hugo’s novel Les Misérables he suggests that by following only our perception will not always lead to the truth, with the characters of Thénardier, Jean Valjean, and Inspecter Javert.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
For majority of people, cruising through a fine arts museum or gallery is nothing short of browsing through a textbook and failing to grasping knowledge of the content. A casual activity and check off ones list of to-dos, sometimes done just for the appearance it offers. Of that majority, one might look at a painting for a long while before connecting the uncommunicated dots from gallery label. But for the small remaining others, a trip to an art exhibition is a journey through emotions and feelings rendered by the artists of the particular works of art. Leo Tolstoy deems this to be the appropriate response to “true art” in his What is Art?, published in 1897. Tolstoy responds to the
Mr. Berger states in his essay, “The reciprocal nature of vision is more fundamental than that of a spoken dialogue. And often dialogue is an attempt to verbalize this- an attempt to explain how, either metaphorically or literally, “you see things” (120). This statement is a use of the rhetorical strategy, ethos, which is what Mr. Berger uses to gain influence and trust with the academic audience that he is intending to instill new knowledge in. This is a strong use of ethos that leads into how art is viewed so
Art has been around for as long as humanity has existed, and it is much more than just drawings or paintings. Art is what every a person makes of it. Art can be drawings, paintings, writings, or even dancing, but never is it contained to just one of those things. As we explore just two aspect of art it is important to realize that there is no right or wrong way to look at the art. Art comes in many different forms, in which they are all interpreted a little differently by different people. For me, when I read a poem I do not instantly know what the poet is trying to say and I don’t find it as interesting, but when I look at a painting so many more thoughts comes and I can’t help by imagine what that artist was thinking while he was painting.
Through what we have studied of the artist, we know that he sees various things in his
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.
Modern art serves to immerse us more thoroughly in a scene by touching on more than just our sight. Artists such as Grosz, and Duchamp try to get us to feel instead of just see. It seems that this concept has come about largely as a way to regain identity after shedding the concepts of the Enlightenment. “Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness...” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
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...
There are many different Visual Perception principles in perception. The main principles are Gestalt. Gestalt is a German word meaning 'form' or 'shape'. Gestalt psychologists formulated a series of principles that describe how t...
It can create a bias in the evaluation of art, but can also add meaning. In the first instance, a picture drawn by a child of her family, scribbled with crayons on construction paper, would not be called fine art objectively. However, the child’s mother knows the intention of the girl, is aware of the home environment, and can gain enjoyment, if not from the art then from the mindset of the girl who produced the art. Personal background with art relates to John Dewey’s explanation of how art ought to be understood. In his discussion of Art as Experience, Dewey maintains that “to grasp the sources of esthetic experience it is . . . necessary to have recourse to animal life” (10). At a physical level, it is important to understand the environment, surroundings, and motivations in order to fully understand the meaning of a work. Even though the physical art is not a masterpiece, the affection and visualization of family which motivates the creation is understood by the parent, and imbues the work with meaning. It is personal understanding that guides an understanding of what is art on a personal level. Whether one knows the story behind the work or attempt to infer the meaning, the story behind the work is a large part of how an individual designates art that is pleasing. Aristotle understood the potential for art to be cathartic, which is another facet of a