What Type of Art Is Based on the Importcae of the Artists Idea and Not the Final Work of Art

Art Fundamentals: Theory and Practice
Ocvirk, Stinson, Wigg, Bone, Cayton
Twelfth Edition

Chapter 1
Introduction
pp. ten-thirteen

The Three Components of Art

Subject, form, and content take always been the iii basic components of a work of art, and they are midweek in a way that is inseparable. In general, field of study may be thought of as the "what" (the topic, focus, or paradigm); form, as the "how" (the evolution of the work, composition, or the substantiation); and content, as the "why" (the artist'south intention, communication, or meaning behind the piece of work). Subject The subject of visual fine art tin be a person, an object, a theme, or an idea. Though at that place are many and varied ways of presenting the subject matter, it is simply important to the caste that the creative person is motivated by it.

Objective images, which represent people or objects, look as close as possible to their real-world counterparts and can be clearly identified. These types of images are too called representational.

Dennis Wojtkiewicz, Kiwi Serial #1, 2005.
Oil on canvass, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999.
Ceramic, 36 10 20 ane/2 ten 7 1/iv in.

Gus Heinze, Expresso Buffet, 2003. Acrylic on gessoed panel, 32 x 35 one/2 in.

Artists who explore the process of abstraction (simplification and rearrangement) create images that look less like the object on which they are based, although they may still be recognizable. Barbara Hunt-Riboud, Bathers, 1973. Floor relief, bandage aluminum and silk in 16 pieces, 400 x 400 x 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on canvas, thirty 1/2 x 42 7/eight in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 ane/2 10 47 1/ii in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. ii, 1912
Oil on canvas, 58 x 35 in. Harold E. Edgerton, Baseball striking-fly ball, 1950s-1970s. Gelatin silver print In the most extreme type of abstraction, the discipline does non refer to any physical object, and this nonrepresentational image is thus considered not-objective. Hither, the subject area may be difficult for the observer to place, since it is based solely on the elements of art rather than real-life people or objects. This type of subject often refers to the artist'due south idea well-nigh energy and move, which guides the use of raw materials, and it communicates with those who tin read the linguistic communication of course. Piet Mondrian, Composition, 1916. Oil on canvas and forest strip, 47 one/4 x 29 ane/two in. Music, like visual fine art, deals with subjects and provides an interesting comparison. Unless at that place are lyrics, information technology is often hard to place a specific discipline in a piece of music. Sometimes, the subject is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin'southward An American in Paris. Other times, however, the subject is more abstract, and it is an emotion or thought that comes across strongly in the music. Aaron Copland's Fanfare for the Common Human is a practiced example of this: he does not effort to describe the subject field literally but creates a nobel, accessible, and uplifting musical theme that honors the plight of the mutual man. In a similar way, nonobjective fine art seeks to nowadays a more general theme or thought as the subject.
Marking Rothko, Number 10, 1950.
Oil on canvas, seven ft. half dozen three/8 in. x 4 ft. 9 1/8 in. Regardless of the blazon of art, the virtually of import consideration is what is done with the subject. After you recognize the subject area in a work (whether it is obvious or not), ask yourself whether the creative person has given it expression. Jackson Pollock, Fall Rhythm (Number 30), 1950.
Oil on canvas, 8 ft. 9 in. 10 17 ft. 3 in. Charles Sheeler, Gilt Gate, 1955.
Oil on canvas, 25 one/8 in. x 34 7/viii in.

Form

Every bit a component of art, the word form refers to the total overall arrangement or organization of an artwork. It results from using the elements of art, giving them guild and significant through the principles of system. When studying a work's form, we are analyzing how the piece was created. More specifically, we are examing why the artist made certain choices and how those choices interact to form the artwork'due south final appearance. In this sense, the word course may actually be thought of every bit a verb rather than a noun.

The elements of fine art, which include line, texture, color, shape, and value, are the virtually bones, indispensable, and firsthand building blocks for expression. Their characteristics, determined by the artist'south option of media and techniques, can communicate a wide range of complex feelings. All artists must deal with the elements singularly or in combination, and their organisation contributes to the aesthetic success or failure of a work.

Based on the intended expression, each artist can arrange the elements in whatever style that builds the desired character into the slice. Withal, the elements are given order and meaningful structure when arranged according to the principles of arrangement, which assist integrate and organize the elements. These principles include harmony, variety, balance, proportion, dominance, motility, and economy. They help create spatial relationships and effectively convey the artist'due south intent. The principles of arrangement are flexible, not dogmatic, and can exist combined and applied in numerous ways. Some artist arrange intuitively, and others are more than calculating, but with experience, all of them develop an instinctive feeling for organizing their work. So of import are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of fine art is its content - a statement, expression, or mood developed by the artist and interpreted past the observer. Of the three components of art, content may be the almost difficult to identify, because the audience, without straight communication with the artist, must decipher the artist's thoughts by observing the work'south subject and form. For instance, in Immature Girl in the Lap of Decease, the striking emphasis of the left-to-right diagonals, the abrupt contrasts of light and dark values, and the aggressive and powerful drawing strokes give u.s. some insight into Kathe Kollwitz's business for life, though we may not understand the depth of her passion.

Kathe Kollwitz, Young Girl in the Lap of Death, 1934.
Crayon lithograph, 42 ten 38 cm.

Ideally, the viewer'south interpretation is synchronized with the artist's intentions. However, the viewer's diverseness of experiences can bear on the communication between artist and viewer. For many people, content is determined by their familiarity with the subject; they are bars to feelings angry by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the prototype simply is reinforced by the form. This is specially then in more abstruse works, in which the viewer may not recognize the epitome equally a known object and must, thefore, translate meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, tin still deliver content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to make certain choices of paradigm or form. For them, the content of the piece may exist hidden instead of deliberate. For example, an artist who has had a trigger-happy confrontation with a neighbor might subconciously need to express anger (content) and is thus compelled to work wit sharp jagged shapes, biting acrid reds, slashing agitated marks (form), and exploding images (subject).

Sometimes the significant of nonobjective shapes becomes clear in the artist's mind only afterward they evolve and mutate on the canvass.

Although it is not a requirement for enjoying artwork, a niggling enquiry about the artist's life, fourth dimension period, or culture can assistance expand viewpoints and lead to a fuller interpretation of content. For instance, a deeeper comprehension of Vincent van Gogh's specific and personal use of color may be gained by reading Van Gogh's messages to his brother Theo. His letters expressed an evolving belief that colour conveyed specific feelings and attitudes and was more that a mere optical experience. He felt that his use of color could emit power like Wagner'southward music. The letters also revealed a developing personal color iconography, in which red and green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of sky, and yellow symbolized love. For Van Gogh, color was non strictly a tool for visual imitation but an instrument to transmit his personal emotions. Color symbolism may not accept been used in all his paintings, simply an understanding of his intent helps explicate some of his choices and the power in his piece of work.

Vincent van Gogh, The Dark Cafe, 1888. Oil on sail, 27 1/ii ten 35 in.

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Source: https://personal.utdallas.edu/~mel024000/pages/2D_Design/Components_of_Art/Components_of_Art.html

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