The reason, as described by Devereaux, should be centered on the idea that artists are “geniuses” with talents of imagination which are part of them from conception, allowing artists to experience things in a different way from the people around, gifting them with “a natural capacity for originality (Devereaux, 1993). With this idea, Devereaux states her belief that, in order to argue for the “special protection” (Devereaux, 1993) of art against censorship, the argument merely needs to be made that these genius artists possess skills – as a result of natural talent combined with instruction and practice – which gives those without these gifts perspectives and views of that which those not possessing the talents are not able to see with the same amount of clarity as afforded to the artists (Devereaux, 1993). This type of genius is more relatable and paints artists in a more “modest” and “familiar” light (Devereaux, 1993). According to Devereaux, even if there are others who are able to do what these artists can, the recognition and acceptance of their talents and abilities will cement the idea that artists have special purposes within our society (Devereaux,
There is no better illustration of the roots of Lowbrow Art than Robert Williams’s Graphic Influences (Fig. 25). In this image, Williams lists a number of artistic inspirations for his style of Lowbrow Art. In Williams's paintings, one observes a tension between two conflicting extremes of high art and low art. He practiced the meticulous techniques of old master painters, but, at the same time, he betrayed these abiding techniques by using them to render strippers, geeks, monsters, and other salacious characters who have never defaced the canvas of an academic artist.
One of the most famous veristic artist was Salvador Dali, who drew such beautiful scenes of fantastical creatures, melting clocks and some other elements. It is called veristic, meaning realistic, but this style is a type of drawing that is creative, the view into the fantasy world that has no connection to the reality. This type of surrealism can bring the viewer, then artist’s fantasy world, which is quite detailed because the artist tries to not filter parts that are unconscious. With a detailed painting, the viewer can have a cleaner view to the artist’s dream world, which then can interpret his/her wishes. Both types of surrealism techniques are used with an unconscious mind, as you can see it is quite
Would you classify Guernica as Expressionism, Cubism, Dada, or Surrealism? A style of painting where artists express their inward feelings instead of dwelling in external reality is known as expressionism (Tate, n.d.), while Cubism is a style of painting where perspective with one viewpoint was rejected in favor of simple geometric shapes and planes (The Art Story, n.d.). Furthermore, Dada style of art combines diversity and was in absolute mockery of materialism and nationalism that led to the world war1 (The Art Story, n.d.), and finally, Surrealism is an art style that forces the unconscious mind to be creative; it expresses the imaginations that are reveal or seen in dreams (The Art Story, n.d.). With these combined definitions of various
Abstract art doesn't jump out and declare "This is what I'm all about." Instead, abstract art requires one to have an open, inquiring mind; one must enter the painting and see where it takes you. Abstract art gives them the freedom to explore the artwork and assign their own meaning to the piece. This intensely personal process enriches the viewer and artist’s experience of an artwork. Greenberg on the other hand defines abstraction; not simply to avoid representation, but to avoid the impurity and inauthenticity of representing three dimensional space on a two-dimensional surface.
While contextualism views that the artwork should be apprehended in its context or setting at all times, that it is much richer if the artwork is approached with that knowledge.Contextualists believe that all of the arts should be apprehended in this way. Difficulties that arise when trying to interpret a work of art, such as having confliction interpretations of the artwork. How can one resolve this difficulty? Art critics describe this temptation as “intentional fallacy” The fallacy of believing that what the artist of the work intention is the definition of what it really is. That a work of art should not need help from the artist to stand on its own.”If he has not sufficiently realized his intentions within the work, forcing the recipient to go outside for help, this is held to be an artistic defect.” Once the art is completed by the artist and is put out into the world, then it no longer only belongs to the artists and is open to interpretation from the public.The artist doesn’t hold the final say of the interpretation of the work of art, new critics can
REVIEW OF LITERATURE Shaun McNiff (2002) wrote that art therapy is a way of conveying a message that cannot be put into conventional language. And this is true; art isn 't that only of beauty but also of what lies behind the paint of a canvas or behind the layer of lead on a page. Background: How is art part of our society? When considering the history of art, it is a long series of revolutions and adaption 's. From Ancient art to pop art, but how does all of this fit into our society?
Charles Harrison argues that the arrival of Expressionism announced new standards in the creation and judgment of art and that Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition (Harrison 2007:127). Expressionist artists often employed swirling, swaying, and exaggeratedly executed brushstrokes in the depiction of their subjects. These techniques were meant to convey the turgid emotional state of the artist reacting to the anxieties of the modern world (Harrison 2007:127). Expressionism emerged simultaneously in various cities across Germany as a response to a widespread anxiety about humanity's increasingly discordant relationship with the world and accompanying lost feelings of authenticity and spirituality (The Art Story: online). The late modern period was marked by extraordinary creativity in thought and the arts.
In fact, the main drive of realism in international relations theory is to highlight the anarchic nature of international politics. Classical realists who are also known as traditional realists, held the view that international politics is an amoral exercise which is blighted by war and conflict because of human nature. Thomas Hobbes (1985) put forth the view that man operated in a state of nature where no law existed above him to prevent him from acting immorally or according to a specified set of rules. This state of nature shaped human nature which according to Hobbes was characterized by “competition, diffidence and glory” amongst humans. (Hobbes, 1985, p.185) For classical realists, the characteristics of human nature were put into practice in international politics where every state is functions to garner safety and as there is no power to keep states moral, they indulge in competition which often results in “war of all against all”.