Art in Which There Is No Reference to Object Is Call Abstract

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

Chapter i
Introduction
pp. 10-13

The Three Components of Fine art

Subject, form, and content have e'er been the three basic components of a work of art, and they are wed in a fashion 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, every bit the "why" (the creative person's intention, advice, or meaning backside the work). Discipline The subject of visual art tin exist a person, an object, a theme, or an idea. Though in that location are many and varied ways of presenting the subject matter, it is only of import to the caste that the creative person is motivated by it.

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

Dennis Wojtkiewicz, Kiwi Serial #one, 2005.
Oil on sheet, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999.
Ceramic, 36 x xx i/ii ten seven ane/four in.

Gus Heinze, Expresso Cafe, 2003. Acrylic on gessoed panel, 32 x 35 1/two in.

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

Piet Mondrian, The Greyness Tree, 1911.
Oil on canvass, 30 ane/ii x 42 vii/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on sheet, 39 1/two x 47 1/2 in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on canvas, 58 ten 35 in. Harold E. Edgerton, Baseball game hit-fly ball, 1950s-1970s. Gelatin silver print In the most extreme type of abstraction, the subject area does not refer to any concrete object, and this nonrepresentational image is thus considered not-objective. Here, the subject area may be difficult for the observer to identify, since information technology is based solely on the elements of art rather than existent-life people or objects. This type of subject field often refers to the artist's idea most free energy and move, which guides the employ of raw materials, and it communicates with those who tin read the language of grade. Piet Mondrian, Composition, 1916. Oil on canvas and wood strip, 47 1/four ten 29 1/2 in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless there are lyrics, information technology is frequently hard to identify 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's An American in Paris. Other times, yet, the subject is more abstract, and it is an emotion or idea that comes across strongly in the music. Aaron Copland's Fanfare for the Common Man is a good example of this: he does not try to describe the subject literally only creates a nobel, attainable, and uplifting musical theme that honors the plight of the common man. In a like manner, nonobjective art seeks to present a more general theme or thought as the bailiwick.
Marking Rothko, Number 10, 1950.
Oil on canvas, seven ft. 6 3/8 in. ten 4 ft. 9 1/viii in. Regardless of the type of art, the most important consideration is what is done with the subject. After you lot recognize the subject in a work (whether information technology is obvious or not), enquire 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 canvas, 25 1/8 in. x 34 7/eight in.

Form

As a component of art, the word form refers to the total overall arrangement or organization of an artwork. Information technology results from using the elements of art, giving them club and meaning through the principles of organization. When studying a work's form, we are analyzing how the piece was created. More specifically, we are examing why the artist fabricated certain choices and how those choices interact to form the artwork'due south final appearance. In this sense, the word form may actually exist thought of as a verb rather than a substantive.

The elements of art, which include line, texture, color, shape, and value, are the virtually basic, indispensable, and firsthand building blocks for expression. Their characteristics, determined past the artist's choice of media and techniques, tin can communicate a wide range of complex 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 creative person can arrange the elements in any manner that builds the desired character into the piece. All the same, the elements are given order and meaningful construction when arranged co-ordinate to the principles of organization, which help integrate and organize the elements. These principles include harmony, variety, residuum, proportion, say-so, movement, and economic system. They help create spatial relationships and effectively convey the creative person's intent. The principles of organization are flexible, not dogmatic, and can exist combined and practical in numerous means. Some creative person arrange intuitively, and others are more calculating, simply with feel, 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 statement, expression, or mood adult past the artist and interpreted by the observer. Of the iii components of art, content may be the about difficult to identify, because the audition, without directly communication with the artist, must decipher the artist's thoughts by observing the work'southward subject and course. For example, in Young Girl in the Lap of Death, the striking emphasis of the left-to-right diagonals, the sharp contrasts of light and night values, and the aggressive and powerful drawing strokes give united states some insight into Kathe Kollwitz'due south concern for life, though nosotros may not empathise the depth of her passion.

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

Ideally, the viewer's estimation is synchronized with the creative person'south intentions. Nevertheless, the viewer's diversity of experiences tin can bear on the advice between artist and viewer. For many people, content is determined by their familiarity with the bailiwick; they are bars to feelings aroused past 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 class. This is especially and then in more than abstract works, in which the viewer may not recognize the image every bit a known object and must, thefore, interpret meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, tin yet deliver 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 piece may exist subconscious instead of deliberate. For example, an creative person 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 significant of nonobjective shapes becomes articulate in the artist's listen only after they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a trivial research about the artist's life, time period, or culture tin can aid expand viewpoints and lead to a fuller interpretation of content. For case, a deeeper comprehension of Vincent van Gogh's specific and personal utilize of color may be gained by reading Van Gogh's letters to his 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 similar Wagner's music. The letters also 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 blue signified the vault of sky, and yellow symbolized love. For Van Gogh, colour was not strictly a tool for visual imitation but an musical instrument to transmit his personal emotions. Color symbolism may non have been used in all his paintings, just an agreement of his intent helps explicate some of his choices and the power in his work.

Vincent van Gogh, The Night Buffet, 1888. Oil on canvass, 27 one/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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