Art Must Be Life ââ” It Must Belong to Everybody

Art Fundamentals: Theory and Exercise
Ocvirk, Stinson, Wigg, Os, Cayton
Twelfth Edition

Chapter i
Introduction
pp. 10-13

The Three Components of Art

Subject, form, and content have always been the three bones components of a work of art, and they are wed in a way that is inseparable. In general, subject field may be thought of as the "what" (the topic, focus, or image); form, as the "how" (the development of the work, composition, or the substantiation); and content, as the "why" (the artist'due south intention, advice, or significant backside the work). Field of study The field of study of visual fine art tin exist a person, an object, a theme, or an idea. Though there are many and varied means of presenting the subject matter, it is but important to the degree that the creative person is motivated by information technology.

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

Dennis Wojtkiewicz, Kiwi Series #1, 2005.
Oil on canvas, 36 x 66 in. Marilyn Levine, Anne'southward Jacket, 1999.
Ceramic, 36 10 xx i/two x 7 ane/4 in.

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

Artists who explore the procedure of abstraction (simplification and rearrangement) create images that wait less like the object on which they are based, although they may nonetheless exist recognizable. Barbara Chase-Riboud, Bathers, 1973. Flooring relief, bandage aluminum and silk in sixteen pieces, 400 10 400 10 12 cm.

Piet Mondrian, The Grayness Tree, 1911.
Oil on canvass, thirty i/2 x 42 7/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 1/ii x 47 1/ii in.

DeLoss McGraw'due south "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on canvas, 58 x 35 in. Harold Due east. Edgerton, Baseball game hit-fly brawl, 1950s-1970s. Gelatin silverish print In the well-nigh extreme blazon of abstraction, the subject does non refer to any physical object, and this nonrepresentational paradigm is thus considered non-objective. Here, the subject field may be difficult for the observer to identify, since it is based solely on the elements of art rather than existent-life people or objects. This type of discipline often refers to the artist's idea about energy and movement, which guides the utilise of raw materials, and it communicates with those who can read the language of course. Piet Mondrian, Limerick, 1916. Oil on canvas and wood strip, 47 1/4 x 29 1/two in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless there are lyrics, it is oftentimes hard to identify a specific subject in a piece of music. Sometimes, the subject field is recognizable - the thunderstorms and birdsongs in Beethoven'due south Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, notwithstanding, the discipline is more abstract, and it is an emotion or idea that comes beyond strongly in the music. Aaron Copland'due south Fanfare for the Common Man is a practiced example of this: he does non try to describe the discipline literally only creates a nobel, accessible, and uplifting musical theme that honors the plight of the common human. In a similar manner, nonobjective fine art seeks to present a more full general theme or idea as the subject.
Mark Rothko, Number x, 1950.
Oil on sheet, 7 ft. half-dozen 3/8 in. x 4 ft. 9 one/8 in. Regardless of the type of art, the most important consideration is what is done with the bailiwick. After you lot recognize the subject in a work (whether it is obvious or not), enquire yourself whether the creative person has given it expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on canvas, viii ft. 9 in. x 17 ft. three in. Charles Sheeler, Golden Gate, 1955.
Oil on sail, 25 1/viii in. x 34 7/8 in.

Form

As a component of art, the word grade refers to the total overall arrangement or organization of an artwork. It results from using the elements of fine art, giving them order and meaning through the principles of organization. When studying a work's course, we are analyzing how the piece was created. More specifically, we are examing why the creative person fabricated certain choices and how those choices collaborate to form the artwork's terminal appearance. In this sense, the word form may actually exist thought of equally a verb rather than a substantive.

The elements of art, which include line, texture, color, shape, and value, are the most basic, indispensable, and immediate building blocks for expression. Their characteristics, determined past the artist's choice 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 adjust the elements in any mode that builds the desired graphic symbol into the slice. However, the elements are given order and meaningful structure when bundled according to the principles of organization, which help integrate and organize the elements. These principles include harmony, variety, balance, proportion, authorization, motion, and economy. They help create spatial relationships and finer convey the artist'due south intent. The principles of arrangement are flexible, not dogmatic, and can be combined and applied in numerous ways. Some artist arrange intuitively, and others are more than calculating, merely with experience, all of them develop an instinctive feeling for organizing their piece of work. So important are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual bulletin 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 most difficult to identify, because the audience, without direct communication with the creative person, must decipher the creative person'southward thoughts past observing the work's field of study and form. For case, in Immature Girl in the Lap of Expiry, the hit emphasis of the left-to-right diagonals, the abrupt contrasts of light and night values, and the ambitious and powerful cartoon strokes give us some insight into Kathe Kollwitz's business for life, though we may not empathize the depth of her passion.

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

Ideally, the viewer's interpretation is synchronized with the artist's intentions. However, the viewer's diversity of experiences tin bear on the communication betwixt artist and viewer. For many people, content is determined by their familiarity with the subject; they are confined to feelings aroused by objects or ideas they know. A much broader and ultimately more meaningful content is non utterly reliant on the prototype just is reinforced by the form. This is especially so in more than abstruse works, in which the viewer may not recognize the image as a known object and must, thefore, interpret pregnant from shapes and other elements. Images that are hardly recognizable, if representational at all, tin can still evangelize content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to make certain choices of image or form. For them, the content of the slice may be hidden instead of deliberate. For instance, an artist who has had a violent confrontation with a neighbor might subconciously need to limited anger (content) and is thus compelled to work wit precipitous jagged shapes, bitter acrid reds, slashing agitated marks (form), and exploding images (subject).

Sometimes the meaning of nonobjective shapes becomes clear in the artist's mind simply after they evolve and mutate on the canvas.

Although it is non a requirement for enjoying artwork, a little enquiry about the artist's life, fourth dimension flow, or civilisation can help expand viewpoints and lead to a fuller estimation of content. For example, a deeeper comprehension of Vincent van Gogh's specific and personal use of colour may be gained by reading Van Gogh'southward letters to his brother Theo. His letters expressed an evolving conventionalities that color conveyed specific feelings and attitudes and was more that a mere optical experience. He felt that his employ of color could emit ability like Wagner'south music. The messages also revealed a developing personal color iconography, in which ruby-red and dark-green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of heaven, and yellowish symbolized love. For Van Gogh, color was not strictly a tool for visual imitation just an instrument to transmit his personal emotions. Colour symbolism may not have been used in all his paintings, merely an understanding of his intent helps explain some of his choices and the power in his 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/~melacy/pages/2D_Design/Components_of_Art/Components_of_Art.html

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