Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. The final work is also called a painting. Painting is an important form in the visual arts, bringing in elements such as drawing, gesture as in gestural painting, composition, narration as in narrative art, or abstraction as in abstract art. Paintings can be naturalistic and representational as in a still life or landscape painting, photographic, abstract, narrative, symbolistic as in Symbolist art, emotive as in Expressionism, or political in nature as in Artivism. A portion of the history of painting in both Eastern and Western art is dominated by religious art. Examples of this kind of painting range from artwork depicting mythological figures on pottery, to Biblical scenes Sistine Chapel ceiling, to scenes from the life of Buddha or other images of Eastern religious origin. In art, the term painting describes both the act and the result of the action. The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials including sand, clay, paper, plaster, gold leaf, as well as objects.
Soviet art is the visual art that was produced after October Socialist Revolution of 1917 in the Soviet Russia and Soviet Union.
In the visual arts, composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject. It can also be thought of as the organization of the elements of art according to the principles of art. The composition of a picture is different from its subject, what is depicted, whether a moment from a story, a person or a place. Many subjects, for example Saint George and the Dragon, are often portrayed in art, but using a great range of compositions even though the two figures are typically the only ones shown. The term composition means putting together and can apply to any work of art, from music to writing to photography, that is arranged using conscious thought. In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context. In graphic design for press and desktop publishing, composition is commonly referred to as page layout.
Punk visual art is artwork associated with the punk subculture. It often graces punk rock album covers, flyers for punk concerts, punk zines and punk websites. It is also sometimes showcased in art galleries and exhibition spaces. The main aesthetic of punk visual art seems to be either to cause shock, to create a sense of empathy or revulsion in viewers, or to make a grand point with acidic or sarcastic wit. One characteristic associated with punk art is the usage of letters cut out from newspapers and magazines, a device previously associated with kidnap and ransom notes. A prominent example of that style is the cover of the Sex Pistols Never Mind the Bollocks album designed by Jamie Reid. Images and figures are also sometimes cut and pasted from magazines and newspapers to create a collage. Los Angeles artist Mark Vallen has said: Punk had a unique and complex aesthetic. It was steeped in shock value and revered what was considered ugly. The whole look of punk was designed to disturb and disrupt the happy complacency of the wider society. Outside of punks torn and safety pinned anti-fashion statements, this impulse to outrage was never more apparent than on punk album covers. In New York City in the mid-1970s, there was much overlap between the punk music and art scenes. In 1978, many of the visual artists who were regulars at CBGB and other punk-related music venues participated in a large punk art exhibition in Washington, DC. Among those featured were John Holmstrom and Legs McNeil of the fanzine Punk,; Alan Vega a.k.a. Alan Suicide, whose electronic junk sculpture predated his role in the band Suicide; photographers Marcia Resnick and Jimmy De Sana; tattoo artist Ruth Marten; filmmaker Amos Poe; and artists Tom Otterness and Beth and Scott B, who were associated with X Magazine. Also in 1978 in New York City, a related, one-night punk art show featuring films, performances and slide shows included works by Robert Mapplethorpe and Diego Cortez. Other early punk art exhibits included the "Times Square Show" 1980 and "New York New Wave" at PS 1 1981. Punk art found an ongoing home on the New Yorks lower east side with the establishment of ABC No Rio Gallery in 1980. The punk aesthetic was a dominant strand from 1982 to 1986 in the art galleries of the citys East Village.
The Indonesian New Art Movement was an art movement of young artists from Bandung and Yogyakarta against the institutional concept of Indonesian fine art being limited to paintings and sculptures. The movement emerged in 1974, first organised in a protest against the judging of the Second Jakarta Painting Bienalle which awarded prizes to decorative style of paintings and sculptures. The protesters published the Black December Statement criticising the lack of social and political consciousness in Indonesian decorative art practices. The "new art" championed installations, ready-mades, photographs, found-objects and photo-realist paintings, which translate to the experimentation of different mediums and mixed media in Indonesian contemporary art. In 1987, a manifesto was written by key figures of the New Art Movement titled "Fine Art of Emancipation, Emancipation of Fine Art." The New Art Movement ended in 1989 and is considered the beginning of Indonesian contemporary art.
In art, a study is a drawing, sketch or painting done in preparation for a finished piece, or as visual notes. Studies are often used to understand the problems involved in rendering subjects and to plan the elements to be used in finished works, such as light, color, form, perspective and composition. Studies can have more impact than more-elaborately planned work, due to the fresh insights the artist gains while exploring the subject. The excitement of discovery can give a study vitality. When layers of the work show changes the artist made as more was understood, the viewer shares more of the artists sense of discovery. Written notes alongside visual images add to the import of the piece as they allow the viewer to share the artists process of getting to know the subject. Studies inspired some of the first 20th century conceptual art, where the creative process itself becomes the subject of the piece. Since the process is what is all-important in studies and conceptual art, the viewer may be left with no material object of art. Studies can be traced back even as long ago as the Italian Renaissance, from which art historians have maintained some of Michelangelos studies. One in particular, his study for the Libyan Sibyl on the ceiling of the Sistine Chapel, is based on a male model, though the finished painting is of a woman. Such details help to reveal the thought processes and techniques of many artists. Studies
The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art, textile arts also involve aspects of visual arts as well as arts of other types. Also included within the visual arts are the applied arts such as industrial design, graphic design, fashion design, interior design and decorative art.
Current usage of the term "visual arts" includes fine art as well as the applied or decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term artist had for some centuries often been restricted to a person working in the fine arts and not the decorative arts, craft, or applied Visual arts media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms. Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts.
The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions painting has been seen as relying to the highest degree on the imagination of the artist, and the furthest removed from manual labour – in Chinese painting the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes.
1. Education and training
Training in the visual arts has generally been through variations of the apprentice and workshop systems. In Europe the Renaissance movement to increase the prestige of the artist led to the academy system for training artists, and today most of the people who are pursuing a career in arts train in art schools at tertiary levels. Visual arts have now become an elective subject in most education systems.
Drawing is a means of making an image, illustration or graphic using any of a wide variety of tools and techniques available online and offline. It generally involves making marks on a surface by applying pressure from a tool, or moving a tool across a surface using dry media such as graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, pastels, and markers. Digital tools, including pens, stylus, Apple pencil that simulate the effects of these are also used. The main techniques used in drawing are: line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman.
Drawing goes back at least 16.000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture. Drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC.
With paper becoming common in Europe by the 15th century, drawing was adopted by masters such as Sandro Botticelli, Raphael, Michelangelo, and Leonardo da Vinci who sometimes treated drawing as an art in its own right rather than a preparatory stage for painting or sculpture.
Painting taken literally is the practice of applying pigment suspended in a carrier or medium and a binding agent a glue to a surface support such as paper, canvas or a wall. However, when used in an artistic sense it means the use of this activity in combination with drawing, composition, or other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner. Painting is also used to express spiritual motifs and ideas; sites of this kind of painting range from artwork depicting mythological figures on pottery to The Sistine Chapel to the human body itself.
3.1. Painting Origins and early history
Like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32.000 years old, are in the Chauvet and Lascaux caves in southern France. In shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer.
Paintings of human figures can be found in the tombs of ancient Egypt. In the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost. One of the best remaining representations are the Hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, which was probably based on a Greek painting. Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting.
3.2. Painting The Renaissance
Apart from the illuminated manuscripts produced by monks during the Middle Ages, the next significant contribution to European art was from Italys renaissance painters. From Giotto in the 13th century to Leonardo da Vinci and Raphael at the beginning of the 16th century, this was the richest period in Italian art as the chiaroscuro techniques were used to create the illusion of 3-D space.
Painters in northern Europe too were influenced by the Italian school. Jan van Eyck from Belgium, Pieter Bruegel the Elder from the Netherlands and Hans Holbein the Younger from Germany are among the most successful painters of the times. They used the glazing technique with oils to achieve depth and luminosity.
3.3. Painting Dutch masters
The 17th century witnessed the emergence of the great Dutch masters such as the versatile Rembrandt who was especially remembered for his portraits and Bible scenes, and Vermeer who specialized in interior scenes of Dutch life.
3.4. Painting Baroque
The Baroque started after the Renaissance, from the late 16th century to the late 17th century. Main artists of the Baroque included Caravaggio, who made heavy use of tenebrism. Peter Paul Rubens was a flemish painter who studied in Italy, worked for local churches in Antwerp and also painted a series for Marie de Medici. Annibale Carracci took influences from the Sistine Chapel and created the genre of illusionistic ceiling painting. Much of the development that happened in the Baroque was because of the Protestant Reformation and the resulting Counter Reformation. Much of what defines the Baroque is dramatic lighting and overall visuals.
3.5. Painting Impressionism
Impressionism began in France in the 19th century with a loose association of artists including Claude Monet, Pierre-Auguste Renoir and Paul Cezanne who brought a new freely brushed style to painting, often choosing to paint realistic scenes of modern life outside rather than in the studio. This was achieved through a new expression of aesthetic features demonstrated by brush strokes and the impression of reality. They achieved intense colour vibration by using pure, unmixed colours and short brush strokes. The movement influenced art as a dynamic, moving through time and adjusting to new found techniques and perception of art. Attention to detail became less of a priority in achieving, whilst exploring a biased view of landscapes and nature to the artists eye.
3.6. Painting Post-impressionism
Towards the end of the 19th century, several young painters took impressionism a stage further, using geometric forms and unnatural colour to depict emotions while striving for deeper symbolism. Of particular note are Paul Gauguin, who was strongly influenced by Asian, African and Japanese art, Vincent van Gogh, a Dutchman who moved to France where he drew on the strong sunlight of the south, and Toulouse-Lautrec, remembered for his vivid paintings of night life in the Paris district of Montmartre.
3.7. Painting Symbolism, expressionism and cubism
Edvard Munch, a Norwegian artist, developed his symbolistic approach at the end of the 19th century, inspired by the French impressionist Manet. The Scream 1893, his most famous work, is widely interpreted as representing the universal anxiety of modern man. Partly as a result of Munchs influence, the German expressionist movement originated in Germany at the beginning of the 20th century as artists such as Ernst Kirschner and Erich Heckel began to distort reality for an emotional effect. In parallel, the style known as cubism developed in France as artists focused on the volume and space of sharp structures within a composition. Pablo Picasso and Georges Braque were the leading proponents of the movement. Objects are broken up, analyzed, and re-assembled in an abstracted form. By the 1920s, the style had developed into surrealism with Dali and Magritte.
Printmaking is creating, for artistic purposes, an image on a matrix that is then transferred to a two-dimensional flat surface by means of ink or another form of pigmentation. Except in the case of a monotype, the same matrix can be used to produce many examples of the print.
Historically, the major techniques also called media involved are woodcut, line engraving, etching, lithography, and screenprinting serigraphy, silkscreening but there are many others, including modern digital techniques. Normally, the print is printed on paper, but other mediums range from cloth and vellum to more modern materials. Major printmaking traditions include that of Japan ukiyo-e.
4.1. Printmaking European history
Prints in the Western tradition produced before about 1830 are known as old master prints. In Europe, from around 1400 AD woodcut, was used for master prints on paper by using printing techniques developed in the Byzantine and Islamic worlds. Michael Wolgemut improved German woodcut from about 1475, and Erhard Reuwich, a Dutchman, was the first to use cross-hatching. At the end of the century Albrecht Durer brought the Western woodcut to a stage that has never been surpassed, increasing the status of the single-leaf woodcut.
4.2. Printmaking Chinese origin and practice
In China, the art of printmaking developed some 1.100 years ago as illustrations alongside text cut in woodblocks for printing on paper. Initially images were mainly religious but in the Song Dynasty, artists began to cut landscapes. During the Ming 1368–1644 and Qing 1616–1911 dynasties, the technique was perfected for both religious and artistic engravings.
4.3. Printmaking Development In Japan 1603–1867
Woodblock printing in Japan Japanese: 木版画, moku hanga is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only widely adopted in Japan surprisingly late, during the Edo period 1603–1867. Although similar to woodcut in western printmaking in some regards, moku hanga differs greatly in that water-based inks are used as opposed to western woodcut, which uses oil-based inks, allowing for a wide range of vivid color, glazes and color transparency.
Photography is the process of making pictures by means of the action of light. The light patterns reflected or emitted from objects are recorded onto a sensitive medium or storage chip through a timed exposure. The process is done through mechanical shutters or electronically timed exposure of photons into chemical processing or digitizing devices known as cameras.
The word comes from the Greek words φως phos "light", and γραφις graphis "stylus", "paintbrush" or γραφη graphê, together meaning "drawing with light" or "representation by means of lines" or "drawing." Traditionally, the product of photography has been called a photograph. The term photo is an abbreviation; many people also call them pictures. In digital photography, the term image has begun to replace photograph. The term image is traditional in geometric optics.
Architecture is the process and the product of planning, designing, and constructing buildings or any other structures. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.
The earliest surviving written work on the subject of architecture is De architectura, by the Roman architect Vitruvius in the early 1st century AD. According to Vitruvius, a good building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity and delight. An equivalent in modern English would be:
- Utility – it should be suitable for the purposes for which it is used.
- Beauty – it should be aesthetically pleasing.
- Durability – a building should stand up robustly and remain in good condition.
Building first evolved out of the dynamics between needs and means available building materials and attendant skills. As human cultures developed and knowledge began to be formalized through oral traditions and practices, building became a craft, and "architecture" is the name given to the most highly formalized and respected versions of that craft.
Filmmaking is the process of making a motion-picture, from an initial conception and research, through scriptwriting, shooting and recording, animation or other special effects, editing, sound and music work and finally distribution to an audience; it refers broadly to the creation of all types of films, embracing documentary, strains of theatre and literature in film, and poetic or experimental practices, and is often used to refer to video-based processes as well
8. Computer art
Visual artists are no longer limited to traditional Visual arts media. Computers have been used as an ever more common tool in the visual arts since the 1960s. Uses include the capturing or creating of images and forms, the editing of those images and forms including exploring multiple compositions and the final rendering or printing including 3D printing. Computer art is any in which computers played a role in production or display. Such art can be an image, sound, animation, video, CD-ROM, DVD, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers have been blurred. For instance, an artist may combine traditional painting with algorithmic art and other digital techniques. As a result, defining computer art by its end product can be difficult. Nevertheless, this type of art is beginning to appear in art museum exhibits, though it has yet to prove its legitimacy as a form unto itself and this technology is widely seen in contemporary art more as a tool rather than a form as with painting. On the other hand, there are computer-based artworks which belong to a new conceptual and postdigital strand, assuming the same technologies, and their social impact, as an object of inquiry.
Computer usage has blurred the distinctions between illustrators, photographers, photo editors, 3-D modelers, and handicraft artists. Sophisticated rendering and editing software has led to multi-skilled image developers. Photographers may become digital artists. Illustrators may become animators. Handicraft may be computer-aided or use computer-generated imagery as a template. Computer clip art usage has also made the clear distinction between visual arts and page layout less obvious due to the easy access and editing of clip art in the process of paginating a document, especially to the unskilled observer.
9. Plastic arts
Plastic arts is a term for art forms that involve physical manipulation of a plastic medium by moulding or modeling such as sculpture or ceramics. The term has also been applied to all the visual non-literary, non-musical arts.
Materials that can be carved or shaped, such as stone or wood, concrete or steel, have also been included in the narrower definition, since, with appropriate tools, such materials are also capable of modulation. This use of the term "plastic" in the arts should not be confused with Piet Mondrians use, nor with the movement he termed, in French and English, "Neoplasticism."
9.1. Plastic arts Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard or plastic material, sound, or text and or light, commonly stone either rock or marble, clay, metal, glass, or wood. Some sculptures are created directly by finding or carving; others are assembled, built together and fired, welded, molded, or cast. Sculptures are often painted. A person who creates sculptures is called a sculptor.
Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. Many sculptures together in a garden setting may be referred to as a sculpture garden. Sculptors do not always make sculptures by hand. With increasing technology in the 20th century and the popularity of conceptual art over technical mastery, more sculptors turned to art fabricators to produce their artworks. With fabrication, the artist creates a design and pays a fabricator to produce it. This allows sculptors to create larger and more complex sculptures out of material like cement, metal and plastic, that they would not be able to create by hand. Sculptures can also be made with 3-d printing technology.
10. Copyright definition of visual art US
In the United States, the law protecting the copyright over a piece of visual art gives a more restrictive definition of "visual art".
A" work of visual art” is - 1 a painting, drawing, print or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author; or 2 a still photographic image produced for exhibition purposes only, existing in a single copy that is signed by the author, or in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author. A work of visual art does not include - Ai any poster, map, globe, chart, technical drawing, diagram, model, applied art, motion picture or other audiovisual work, book, magazine, newspaper, periodical, data base, electronic information service, electronic publication, or similar publication; ii any merchandising item or advertising, promotional, descriptive, covering, or packaging material or container; iii any portion or part of any item described in clause i or ii; B any work made for hire; or C any work not subject to copyright protection under this title.
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- University of Pennsylvania. 1969. Plastics and new art. Philadelphia: The Falcon Pr.
- Bukumirovic, D. 1998. Maga Magazinovic. Biblioteka Fatalne srpkinje knj. br. 4. Beograd: Narodna knj.
- Geron, C. 2000. Enciclopedia de las artes plasticas dominicanas: 1844–2000. 4th ed. Dominican Republic s.n.
- Barnes, A. C., The Art in Painting, 3rd ed., 1937, Harcourt, Brace & World, Inc., NY.
- Fazenda, M. J. 1997. Between the pictorial and the expression of ideas: the plastic arts and literature in the dance of Paula Massano. n.p.
- Restany, P. 1974. Plastics in arts. Paris, New York: n.p.
- La Farge, O. 1930. Plastic prayers: dances of the Southwestern Indians. n.p.
- Oliver Grau Ed.: MediaArtHistories. MIT-Press, Cambridge 2007. with Rudolf Arnheim, Barbara Stafford, Sean Cubitt, W. J. T. Mitchell, Lev Manovich, Christiane Paul, Peter Weibel a.o. Rezensionen
Composition (visual arts)
Punk visual art
Indonesian New Art Movement
Mathematics and art
Fine Art of Leningrad
Visual art of the United States
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