The Classification of Works of Art That Is Also Referred to as Objective or Figurative Art Is

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

Chapter 1
Introduction
pp. 10-13

The Three Components of Fine art

Subject field, class, and content have e'er been the three basic components of a work of art, and they are wed in a way that is inseparable. In general, subject may be idea of as the "what" (the topic, focus, or epitome); form, as the "how" (the development 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 area The subject of visual art tin can be a person, an object, a theme, or an idea. Though there are many and varied ways of presenting the bailiwick matter, it is only important to the degree that the artist is motivated by it.

Objective images, which represent people or objects, look as shut as possible to their existent-world counterparts and can exist conspicuously identified. These types of images are besides called representational.

Dennis Wojtkiewicz, Kiwi Series #ane, 2005.
Oil on sail, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999.
Ceramic, 36 10 twenty 1/2 x 7 1/4 in.

Gus Heinze, Expresso Buffet, 2003. Acrylic on gessoed panel, 32 x 35 1/2 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 however be recognizable. Barbara Chase-Riboud, Bathers, 1973. Floor relief, cast aluminum and silk in sixteen pieces, 400 x 400 ten 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on canvas, 30 i/2 x 42 7/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 1/2 x 47 1/two in.

DeLoss McGraw'due south "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on sheet, 58 ten 35 in. Harold E. Edgerton, Baseball hitting-wing ball, 1950s-1970s. Gelatin argent print In the most farthermost blazon of abstraction, the subject area does not refer to any physical object, and this nonrepresentational image is thus considered not-objective. Here, the subject area may exist hard for the observer to identify, since information technology is based solely on the elements of art rather than real-life people or objects. This blazon of subject often refers to the artist'southward thought about free energy and motility, which guides the utilise of raw materials, and it communicates with those who tin read the linguistic communication of form. Piet Mondrian, Composition, 1916. Oil on sheet and wood strip, 47 1/4 x 29 i/2 in. Music, like visual fine art, deals with subjects and provides an interesting comparison. Unless in that location are lyrics, information technology is oft difficult to identify a specific subject in a piece of music. Sometimes, the subject is recognizable - the thunderstorms and birdsongs in Beethoven'due south Pastoral Symphony or the taxi horns in Gershwin'south An American in Paris. Other times, however, the bailiwick is more abstruse, and it is an emotion or idea that comes beyond strongly in the music. Aaron Copland's Fanfare for the Common Human is a good example of this: he does not try to describe the discipline literally but creates a nobel, accessible, and uplifting musical theme that honors the plight of the mutual human. In a similar mode, nonobjective art seeks to present a more general theme or idea equally the subject.
Mark Rothko, Number ten, 1950.
Oil on sail, 7 ft. half dozen 3/eight in. x 4 ft. 9 one/eight in. Regardless of the type of fine art, the near important consideration is what is done with the subject. Subsequently you recognize the subject in a work (whether information technology is obvious or not), ask yourself whether the creative person has given it expression. Jackson Pollock, Autumn Rhythm (Number thirty), 1950.
Oil on canvas, eight ft. 9 in. x 17 ft. 3 in. Charles Sheeler, Golden Gate, 1955.
Oil on canvass, 25 one/8 in. x 34 7/viii 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 art, giving them order and meaning through the principles of organization. When studying a work'southward form, nosotros are analyzing how the piece was created. More specifically, we are examing why the artist made sure choices and how those choices interact to form the artwork's concluding appearance. In this sense, the word class may actually be thought of as a verb rather than a noun.

The elements of art, which include line, texture, color, shape, and value, are the nigh bones, indispensable, and immediate building blocks for expression. Their characteristics, determined past the artist'south pick of media and techniques, can communicate a broad range of circuitous feelings. All artists must deal with the elements singularly or in combination, and their organization contributes to the aesthetic success or failure of a work.

Based on the intended expression, each artist can arrange the elements in any manner that builds the desired graphic symbol into the piece. However, the elements are given gild and meaningful structure when arranged according to the principles of organization, which help integrate and organize the elements. These principles include harmony, diversity, balance, proportion, say-so, movement, and economy. They help create spatial relationships and finer convey the artist's intent. The principles of organization are flexible, not dogmatic, and can be combined and applied in numerous ways. Some creative person conform intuitively, and others are more calculating, but with experience, all of them develop an instinctive feeling for organizing their work. Then important are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a piece of work of art is its content - a statement, expression, or mood adult by the creative person and interpreted by the observer. Of the three components of art, content may exist the almost difficult to identify, because the audience, without direct communication with the creative person, must decipher the artist's thoughts by observing the work'south subject and form. For example, in Young Girl in the Lap of Expiry, the striking emphasis of the left-to-right diagonals, the sharp contrasts of low-cal and nighttime values, and the ambitious and powerful drawing strokes requite us some insight into Kathe Kollwitz's concern for life, though we may not sympathise the depth of her passion.

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

Ideally, the viewer'southward interpretation is synchronized with the artist'southward intentions. Notwithstanding, the viewer's diversity of experiences can affect the communication between artist and viewer. For many people, content is determined past their familiarity with the subject area; they are confined to feelings angry past objects or ideas they know. A much broader and ultimately more meaningful content is non utterly reliant on the prototype but is reinforced by the course. This is especially so in more abstract works, in which the viewer may non recognize the image equally a known object and must, thefore, translate meaning from shapes and other elements. Images that are inappreciably recognizable, if representational at all, can still deliver content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to brand sure choices of image or form. For them, the content of the piece may be subconscious instead of deliberate. For example, an artist who has had a violent confrontation with a neighbour might subconciously need to express acrimony (content) and is thus compelled to work wit sharp jagged shapes, bitter acid reds, slashing agitated marks (form), and exploding images (subject).

Sometimes the pregnant of nonobjective shapes becomes clear in the artist's listen only after they evolve and mutate on the canvass.

Although it is non a requirement for enjoying artwork, a little inquiry about the artist's life, time catamenia, or civilization can help aggrandize viewpoints and pb to a fuller interpretation of content. For example, a deeeper comprehension of Vincent van Gogh's specific and personal utilize of color may be gained by reading Van Gogh'south messages to his brother Theo. His letters expressed an evolving belief that color conveyed specific feelings and attitudes and was more than that a mere optical experience. He felt that his use of colour could emit power like Wagner'southward music. The letters also revealed a developing personal color iconography, in which carmine and green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of heaven, and yellow symbolized love. For Van Gogh, color was not strictly a tool for visual false but an instrument to transmit his personal emotions. Colour symbolism may not take been used in all his paintings, merely an understanding of his intent helps explicate some of his choices and the power in his work.

Vincent van Gogh, The Night Cafe, 1888. Oil on sail, 27 1/two x 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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