Is It False if the Three Components of a Work of Art Are Subject Composition and Content

Types of Content

Content in art takes the form of portraits, landscapes, notwithstanding-lifes, genre art, and narrative art.

Learning Objectives

Describe dissimilar categories of figurative or abstract art.

Central Takeaways

Cardinal Points

• Content in a work of fine art refers to what is being depicted and might be helpful in deriving a basic meaning. It appears in the visual arts in several forms , all of which may be figurative (realistic) or abstract (distorted). Amidst them are portraits, landscapes, notwithstanding-lifes, genre art, and narrative art.
• Portraits represents the likeness of a person and tin include a report of the sitter's mood or personality.
• Landscapes  draw natural scenery such as mountains, valleys, trees, rivers, and forests, especially where the primary subject is a wide view.
• A still-life is a work of art depicting generally inanimate subject matter, typically commonplace objects that may be either natural or homo-made.
• Genre fine art involves the pictorial representation in any of diverse media of scenes or events from everyday life, whereas narrative art tells a story that may be real or imagined.

Content in a piece of work of fine art refers to what is existence depicted and might be helpful in deriving a basic meaning. Sometimes content is straightforward; in other cases, however, it is less obvious and requires additional information. Content appears in the visual arts in several forms, all of which may be figurative (realistic) or abstract (distorted). Amidst them are portraits, landscapes, still-lifes, genre art, and narrative fine art.

Portraits

A portrait is a painting, photo, sculpture, or other artistic representation of a person, in which the face and its expression are predominant. The intent is to brandish the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, just a composed image of a person in a still position. A portrait oft shows a person looking directly at the painter or photographer in lodge to most successfully engage the subject with the viewer .

Philip Burne–Jones Property a True cat : George Grantham Bain Collection, Library of Congress, Washington, DC.

Landscapes

Landscape painting, as well known as landscape art, is the delineation in fine art of landscapes—natural scenery such as mountains, valleys, trees, rivers, and forests, especially where the main subject is a wide view—with its elements arranged into a coherent composition . In other works, landscape backgrounds for figures tin still course an important part of the work. Sky is almost ever included in the view, and weather is often an element of the composition. Detailed landscapes as a singled-out subject are non plant in all artistic traditions and develop when there is already a sophisticated tradition of representing other subjects.

Henri Matisse. Landscape at Collioure (1905): Oil on canvass. 38.eight x 46.6cm. Museum of Mod Fine art, New York. Matisse was a fellow member of the Fauves (French for "wild beasts"), who used bold colors to convey emotions.

Still Lifes

A however life (plural even so lifes) is a work of fine art depicting mostly inanimate subject field matter, typically commonplace objects that may be either natural (nutrient, flowers, dead animals, plants, rocks, or shells) or man-made (drinking spectacles, books, vases, jewelry, coins, pipes, and and so on). Early yet-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some mod all the same lifes break the two-dimensional barrier and employ three-dimensional mixed media, and use found objects, photography, estimator graphics, every bit well as video and audio.

Maria van Oosterwijk. Vanitas Still-Life (1668): Oil on canvas. 73 x 88.5cm. Kunsthistorisches Musuem, Vienna.

Genre Art

Genre art is the pictorial representation in whatsoever of various media of scenes or events from everyday life, such equally markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations (besides called genre works, genre scenes , or genre views) may be realistic, imagined, or romanticized by the artist.

Nicolaes Maes. The Idle Servant (1655): Oil on canvas. National Gallery, London. Dutch Baroque genre scenes ofttimes have important moral lessons as their subtexts.

Narrative Art

Narrative art is art that tells a story, either equally a moment in an ongoing story or equally a sequence of events unfolding over time. Some of the earliest evidence of human art suggests that people told stories with pictures. However, without some knowledge of the story being told, it is very hard to read aboriginal pictures considering they are not organized in a systematic way similar words on a page, just rather can unfold in many different directions at once.

Hagesandros, Athenedoros, and Polydoros. Laocoön and His Sons (First century BCE): Marble. Vatican Museum, Rome. This marble sculpture depicts a scene from Virgil's ballsy The Aeneid, in which the Trojan seer Laocoön foresees the Trojan Horse and the devastation of Troy by the Greeks. Earlier he can warn his fellow townspeople, the bounding main god Neptune (an ally of the Greeks) sends his serpents to kill Laocoön and his sons.

Figurative and Abstruse Art

Art exists along a continuum from realistic representational work to fully non-representational work.

Learning Objectives

Distinguish between figurative and abstract art

Key Takeaways

Key Points

• Representational art, or figurative art, references objects or events in the existent world.
• Romanticism , Impressionism , and Expressionism contributed to the emergence of abstruse art in the nineteenth century.
• Even representational piece of work is abstracted to some caste; entirely realistic fine art is elusive.

Fundamental Terms

• verisimilitude:The property of seeming true, of resembling reality; resemblance to reality, realism.

Painting and sculpture tin be divided into the categories of figurative (or representational) and abstruse (or non-representational). Figurative art describes artwork – particularly paintings and sculptures – which are clearly derived from real object sources, and therefore are, past definition, representational. Since the arrival of abstract art in the early twentieth century, the term "figurative" has been used to refer to any class of modernistic fine art that retains potent references to the real world.

Johann Anton Eismann, Ein Meerhafen, 1600s: This figurative work from the 17th century depicts easily recognizable objects—ships, people, and buildings.

Creative independence was advanced during the nineteenth century, resulting in the emergence of abstract art. Three movements which contributed heavily to the development of these styles were Romanticism, Impressionism, and Expressionism.

Abstraction indicates a departure from reality in its depiction of imagery . Abstraction exists along a continuum; it can formally refer to compositions that are derived (or abstracted) from figurative or other natural sources, or information technology can refer to non-representational fine art and not-objective art that has no derivation from figures or objects.

Even art that aims for verisimilitude of the highest degree tin exist said to exist abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering, for example, color and grade in ways that are conspicuous, can be said to exist partially abstract.

Robert Delaunay, Le Premier Disque, 1912–1913: Delaunay'due south work is an example of early abstract fine art.

Not-representational art refers to total brainchild, bearing no trace of any reference to anything recognizable. In geometric abstraction, for instance, ane is unlikely to find references to naturalistic entities. Figurative fine art and total abstraction are nearly mutually exclusive, but figurative or representational art often contains at least one chemical element of abstraction.

Meaning in Nonrepresentational Fine art

Significant in nonrepresentational art is highly subjective and tin be difficult to define.

Learning Objectives

Relate the meaning of nonrepresentational fine art, its goals, and its specific expressions

Key Takeaways

Fundamental Points

• Nonrepresentational artwork refers to art that does not attempt to correspond or reference reality.
• In the tardily 19th century, artists began to move toward increasing abstraction as a means of communicating subjective experience more personally and creatively.
• Artists such as Kandinsky and Mondrian viewed art every bit an expression of spirituality.

Key Terms

• expressionism:A movement in the arts in which the artist does not depict objective reality, only rather the subjective expression of inner feel.
• nonrepresentational:Not intended to stand for a physical object in reality.

Nonrepresentational fine art refers to compositions which do not rely on representation or mimesis to any extent. Abstract fine art , nonfigurative fine art, nonobjective art, and nonrepresentational art are related terms that bespeak a departure from reality in the depiction of imagery in art. Meaning in nonrepresentational art is highly subjective and can be difficult to define. We can focus on the elements of the artwork (grade, shape, line , color, infinite , and texture) in terms of the artful value of the work, but the significant volition always be personal to the viewer unless the artist has fabricated a statement nearly his or her intentions.

By and large, we can look at nonrepresentational art as the personal expression of an artist's subjective experience. Certain movements accept described their intentions as an aim to evoke moods or emotions in the viewer. A expert example are the expressionists of the early 20th century, who aimed to present the world solely from a subjective perspective , distorting information technology radically for emotional outcome.

Nonrepresentational art has often been explored by artists as a means to spiritual expression. Wassily Kandinsky, a Russian painter, printmaker, and art theorist, is one of the most famous 20th century artists and is more often than not considered the commencement important painter of modern abstruse fine art. As an early modernist in search of new modes of visual expression and spiritual expression, he theorized (equally did contemporary occultists and theosophists) that pure visual abstraction had corollary vibrations with sound and music. He posited that pure abstraction could limited pure spirituality.

Wassily Kandinsky, Composition Seven, 1913: Kandinsky is recognized as the father of modernistic abstruse art in the 20th century.

Piet Mondrian's art was also related to his spiritual and philosophical studies. In 1908 he became interested in the theosophical movement launched past Helena Petrovna Blavatsky, who believed that it was possible to attain a knowledge of nature more profound than that provided by empirical means, and much of Mondrian's work for the residual of his life was inspired by his search for that spiritual cognition.

Iconography

Iconography is the scholarly study of the content of images, including identification, description, and interpretation.

Learning Objectives

Define iconography and translate or perform an iconographical assay of an epitome

Fundamental Takeaways

Key Points

• Academic studies of iconography in painting emerged in the 19th century in French republic and Germany.
• Iconographical scholarship became particularly prominent in fine art history afterwards 1940.
• In the 20th century, studies of iconography accept go of interest to a broad public across the scholarly customs.

Key Terms

• iconography:The co-operative of art history which studies the identification, description, and interpretation of the content of images.

Iconography is the branch of art history which studies the identification, description, and interpretation of the content of images such as the subjects that are depicted, particulars of limerick , and other elements that are distinct from artistic fashion .

Iconography as an bookish art historical discipline developed in the nineteenth century in the works of scholars such as Adolphe Napoleon Didron (1806–1867), Anton Heinrich Springer (1825–1891), and Émile Mâle (1862–1954). Christian religious fine art was the master focus of study throughout this period, and French scholars were peculiarly prominent. They looked back to earlier attempts to allocate and organize subjects encyclopedically, as guides to understanding works of art, both religious and profane, in a more scientific manner than the popular aesthetic approach of the time. These early contributions paved the way for encyclopedias, manuals, and other publications useful in identifying the content of art.

In early twentieth-century Frg, Aby Warburg (1866–1929) and his followers Fritz Saxl (1890–1948) and Erwin Panofsky (1892–1968) elaborated the practice of identification and classification of motifs in images to using iconography as a means of understanding meaning. Panofsky codified an influential approach to iconography in his 1939 Studies in Iconology, where he defined it every bit "the branch of the history of art which concerns itself with the subject area matter or meaning of works of fine art, as opposed to form". The distinction he and other scholars drew between item definitions of "iconography" (put just, the identification of visual content) and "iconology" (the analysis of the pregnant of that content) has not been generally accepted, though it is still used by some writers.

While most iconographical scholarship remains highly dense and specialized, some analyses began to attract a much wider audience; for example, Panofsky's theory (now generally out of favor with specialists) is that the writing on the rear wall in The Arnolfini Portrait by Jan van Eyck turned the painting into the record of a wedlock contract. Holbein'due south The Ambassadors has been the subject of books for a general market with new theories as to its iconography; also as being a double portrait, the painting contains a still life of several meticulously rendered objects, the meaning of which is the cause of much argue. The most notable and famous of Holbein'due south symbols in the work is the distorted skull which is placed in the bottom center of the composition. The skull, rendered in anamorphic perspective , another invention of the Early Renaissance , is speculated to have been a reminder of death and mortality.

January van Eyck, The Arnolfini Portrait, 1434: The iconography in this work has historically been the subject of argue due to its many signifiers. Some scholars have theorized that the painting was actually a marriage contract due to the writing on the wall in the background.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/content/

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