Art in Which People Interact With the Art Object and Each Other Is Called

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

Chapter 1
Introduction
pp. x-13

The Three Components of Art

Subject, form, and content have always been the three basic components of a work of art, and they are midweek in a way that is inseparable. In general, bailiwick may be idea of as the "what" (the topic, focus, or prototype); form, as the "how" (the development of the piece of work, composition, or the substantiation); and content, equally the "why" (the artist'south intention, communication, or pregnant backside the piece of work). Subject The field of study of visual art tin be a person, an object, a theme, or an idea. Though there are many and varied ways of presenting the subject matter, it is merely important to the degree that the artist is motivated by it.

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

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

Gus Heinze, Expresso Cafe, 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 similar the object on which they are based, although they may still exist recognizable. Barbara Chase-Riboud, Bathers, 1973. Floor relief, cast aluminum and silk in xvi pieces, 400 ten 400 x 12 cm.

Piet Mondrian, The Greyness Tree, 1911.
Oil on canvas, xxx ane/2 x 42 vii/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 ane/2 x 47 ane/2 in.

DeLoss McGraw'due south "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 hit-fly ball, 1950s-1970s. Gelatin silver impress In the most extreme type of abstraction, the subject does not refer to any physical object, and this nonrepresentational prototype is thus considered non-objective. Hither, the subject 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 blazon of subject frequently refers to the artist'southward idea about energy and movement, which guides the use of raw materials, and it communicates with those who tin can read the language of form. Piet Mondrian, Limerick, 1916. Oil on canvas and wood strip, 47 i/four x 29 1/ii in. Music, like visual fine art, deals with subjects and provides an interesting comparing. Unless there are lyrics, information technology is frequently hard to identify a specific discipline in a piece of music. Sometimes, the subject area is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, all the same, the subject is more abstract, and it is an emotion or idea that comes across strongly in the music. Aaron Copland'due south Fanfare for the Common Man is a skilful case of this: he does non endeavor to describe the field of study literally just creates a nobel, attainable, and uplifting musical theme that honors the plight of the mutual man. In a similar way, nonobjective art seeks to present a more general theme or idea as the subject.
Mark Rothko, Number 10, 1950.
Oil on canvas, vii ft. six 3/8 in. x iv ft. nine 1/8 in. Regardless of the type of art, the most of import consideration is what is done with the discipline. After you recognize the subject in a piece of work (whether it is obvious or non), ask yourself whether the artist has given information technology expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on canvas, 8 ft. 9 in. 10 17 ft. iii in. Charles Sheeler, Golden Gate, 1955.
Oil on canvas, 25 i/eight in. ten 34 vii/viii in.

Grade

As a component of art, the word form refers to the full overall organisation or organization of an artwork. Information technology results from using the elements of fine art, giving them order and meaning through the principles of system. When studying a work'southward form, we are analyzing how the piece was created. More specifically, we are examing why the creative person made sure choices and how those choices collaborate to course the artwork'south concluding advent. In this sense, the word form may actually be thought of equally a verb rather than a noun.

The elements of art, which include line, texture, colour, shape, and value, are the most basic, indispensable, and immediate building blocks for expression. Their characteristics, determined by the artist's option of media and techniques, can communicate a wide range of circuitous feelings. All artists must bargain with the elements singularly or in combination, and their organization contributes to the artful success or failure of a work.

Based on the intended expression, each artist can arrange the elements in whatever manner that builds the desired character into the piece. However, the elements are given order and meaningful construction when arranged co-ordinate to the principles of organization, which aid integrate and organize the elements. These principles include harmony, variety, balance, proportion, dominance, movement, and economic system. They aid create spatial relationships and effectively convey the artist's intent. The principles of organization are flexible, not dogmatic, and tin can be combined and applied in numerous ways. Some artist arrange intuitively, and others are more calculating, but with experience, all of them develop an instinctive feeling for organizing their work. So important are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of art is its content - a argument, 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 artist, must decipher the creative person's thoughts by observing the piece of work's bailiwick and form. For instance, in Young Girl in the Lap of Expiry, the hit emphasis of the left-to-right diagonals, the sharp contrasts of low-cal and night values, and the aggressive and powerful drawing strokes requite us some insight into Kathe Kollwitz'south business organization for life, though we may not empathise the depth of her passion.

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

Ideally, the viewer's interpretation is synchronized with the artist's intentions. However, the viewer'due south multifariousness of experiences tin touch on the advice between artist and viewer. For many people, content is determined by their familiarity with the discipline; they are confined to feelings aroused by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the epitome but is reinforced by the form. This is peculiarly so in more abstract works, in which the viewer may not recognize the image equally a known object and must, thefore, interpret meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, tin still evangelize content if the observer knows how to interpert class.

Occasionally, artists may be unaware of what motivates them to make certain choices of image or form. For them, the content of the piece may be subconscious instead of deliberate. For case, an artist who has had a violent confrontation with a neighbor 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 creative person'southward mind only subsequently they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a little research near the artist's life, time menstruum, or culture can help expand viewpoints and lead to a fuller interpretation of content. For instance, a deeeper comprehension of Vincent van Gogh's specific and personal utilize of color may be gained past reading Van Gogh's letters to his blood brother Theo. His messages 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's music. The letters besides revealed a developing personal color iconography, in which red and green symbolized the terrible sinful passions of humanity; blackness contour lines provided a sense of anguish; cobalt bluish signified the vault of heaven, and yellowish symbolized honey. For Van Gogh, color was not strictly a tool for visual imitation just an instrument to transmit his personal emotions. Color symbolism may not have been used in all his paintings, but an understanding of his intent helps explain some of his choices and the ability in his work.

Vincent van Gogh, The Dark Cafe, 1888. Oil on canvas, 27 1/2 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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