Exoticism in the Decorative Arts

Exoticism in the Decorative Arts

 

[ Source Info:  http://www.metmuseum.org  ]

 

 

European interest in non-Western art was first stimulated by trade with the East in the sixteenth and seventeenth centuries (17.190.2045). By the nineteenth century, with the advent of the railroad and steamship, lands that were little known to Westerners became easier to access. As more Europeans traveled beyond the established routes of the Grand Tour, their experiences abroad began to influence their tastes at home. Other influences were a result of England’s massive imperial control over lands in China, India, Africa, and the Pacific. By mid-century, many non-Western forms and ornamental motifs had found their way into the vocabulary of European decorative arts.

“Like Orientalist subjects in nineteenth-century painting, exoticism in the decorative arts and interior decoration was associated with fantasies of opulence and “barbaric splendour,”

 

Read more from the original article here:

http://www.metmuseum.org/toah/hd/exot/hd_exot.htm

 

[for the article Full Rights Reserved ©The Metropolitan Museum of Art]

 

Relationship Between Art And Society: Mimesis

Relationship Between Art And Society: Mimesis

 

 

[Source Info:

http://www.123helpme.com/view.asp?id=63895  ]

 

 

 

 

The relationship between art and society: Mimesis as discussed in the works of Aristotle, Plato, Horace and Longinus The relationship between art and society in the works of Plato are based upon his idea of the world of eternal Forms. He believed that there is a world of eternal, absolute and immutable Forms (the world of the Ideal) and thought that this is proven by when man is faced with the appearance of anything in the material world, his mind is moved to a remembrance of the Idea or an absolute and immutable version of the thing he sees. It is this moment of recollection that he wonders about the contrast between the world of shadows and the world of the Ideal. It is in this moment of wondering that man struggles to reach the world of Forms through the use of reason. Anything then that does not serve reason is the enemy of man. Given this, it is only but logical that poetry should be eradicated from society. Poetry shifts man’s focus away from reason by presenting man with imitations of objects from theconcrete world. Poetry, with its focus on mimesis or imitation, has no moral value. While Plato sees reality as a shadow of a realm of pure Ideas (which in turn is copied by art), Aristotle sees reality as a process of partially realized forms moving towards their ideal realizations. Given this idea by Aristotle, the mimetic quality of art is redefined as the duplication of the living process of nature and its need to reach its potential form. Art then for Aristotle does not become the enemy of society if the artist is loyal in the representation of the process of becoming in nature. Horace, like Aristotle and Plato, also brings to view a theory of poetry as mimesis. He believes that a poet should imitate real life and real manners in a similarly real language of the times. This is because of his belief of the importance of the audience’s response to art. Horace focuses on the conventions that an artist must fulfill so that the expectations of the audience may be met. The audience of that time was composed of both the equites , who expected amusement from art, and the senatores , who expected beneficial lessons from art, and so the artist must know his craft and the conventions of his craft so that art may fulfill its ultimate role in society which is both to create pleasure and to instruct. Longinus believed that great art relied on the innate greatness of the artist soul. He believed that a writer taps into to his natural ability when creating great art. This quality is what is called sublimity. This idea of sublimity proposes that naturally gifted writers have the ability to create moving thoughts and emotions that impacts on his reader. But the writer, though he has innate genius, is still dependent on society, for great writing is a honing of the great soul through the knowledge and imitation (mimesis) of previous tradition (previous tradition of writers).

 

Bibliography

David Richter, Critical Tradition.

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About Crafts

About Crafts

[ Source Info: http://www.123helpme.com/view.asp?id=36295   ]

 

 

Craft

 

Art (ärt)n. · Human effort to imitate, supplement, alter, or counteract the work of nature.· The conscious production or arrangement of sounds, colors, forms, movements, or other elements in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium.

 

Craft (kr ft)n.

 

· Skill in doing or making something, as in the arts; proficiency.

 

· To make by hand.

 

· To make or construct (something) in a manner suggesting great care or ingenuity.

 

Craft, the word has been with man for ages. There are unique mysteries in life that are usually provoking the true nature of reality, as us humans become aware of it. The genealogy of a man is equal to the idea that the term “craft” has evolved so beyond the understanding of the human mind. A skill in the form of an advanced, detailed, or progressive (movement) in the ability to perform with great skill in one view of behavioral science cannot be determined by meaning alone. It is a difficult word to be defined.

 

The term craft I would mainly determine to be defined as the assemblage of objects that has some sort of interconnection to art, but it depends on the complexity of what is being built. After doing the many projects in class I have many different views on how craft is defined. A good example that would sort of involves both, primitive art and art deco in a small sense. Some of the African statues that are carved would have some geometric designs, (which relates to the way in which the style of art deco slightly falls in) is that would sometimes mean something in its own way. A person who could be making it for any kind of reason would usually make these sculptures by hand. Using his or her tools to be cutting into the material so that they can successfully make something with such craftsmanship, worth looking at. That is craft. Something like a fireplace with a few different color tiles that make a minor design, I deeply hesitate to call art or craft because of the fact that it seems to be so simple and isn’t really hand crafted completely. That is just one example of art deco. When you look at the way some of the different buildings interior is made, in terms of the sculptures, paintings and furniture you may have a completely different view in what you think in your mind. Whatever technique they use to build the items with the different combination of colors etc. makes the final product look alluring to the eye. But with a mind creative enough it can done by anyone. Which makes me conclude my own opinion that art deco is not a craft that requires much skill.

 

Whether it is a plaster plate, a personal icon made of a cardboard tube, beading, or maybe even a mosaic pot. Art is to me the end result of an individual or a groups crafting. There are some numerous different ways of making crafts, and what we have covered in class is not a fraction of a percent of the contrasting types that is out there. Some people can have a tendency to take it more to heart then others, as well as get inspired from various kinds of things. Although some of the contrasting styles are old and ancient, the different styles are used across the world everywhere by the diverse artists that have a great competence in those areas. To people who have not yet fully explored the fundamentals of craft would not see most of the complexity that has to do with it. So they are not able to express their feelings and emotions through their work in what ever they may be making.

 

 

[for the article Full Rights Reserved ©123HelpMe.com ]

MLA Citation:
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How Art Can Be Good

How Art Can Be Good

 

 

I discovered an article over internet which I find it very interesting. I couldn’t find an email address to ask the permission from author, but I believe that if I quote few paragraphs and leave a link out for continuing reading the article, will be enough and honorable from me. The article is full rights reserved under the signature of ©Paul Graham

 

 

“I grew up believing that taste is just a matter of personal preference. Each person has things they like, but no one’s preferences are any better than anyone else’s. There is no such thing as good taste.

 

Like a lot of things I grew up believing, this turns out to be false, and I’m going to try to explain why.

 

One problem with saying there’s no such thing as good taste is that it also means there’s no such thing as good art. If there were good art, then people who liked it would have better taste than people who didn’t. So if you discard taste, you also have to discard the idea of art being good, and artists being good at making it.

 

It was pulling on that thread that unravelled my childhood faith in relativism. When you’re trying to make things, taste becomes a practical matter. You have to decide what to do next. Would it make the painting better if I changed that part? If there’s no such thing as better, it doesn’t matter what you do. In fact, it doesn’t matter if you paint at all. You could just go out and buy a ready-made blank canvas. If there’s no such thing as good, that would be just as great an achievement as the ceiling of the Sistine Chapel. Less laborious, certainly, but if you can achieve the same level of performance with less effort, surely that’s more impressive, not less.”

 

“Humans have a lot more in common than this, of course. My goal is not to compile a complete list, just to show that there’s some solid ground here. People’s preferences aren’t random. So an artist working on a painting and trying to decide whether to change some part of it doesn’t have to think “Why bother? I might as well flip a coin.” Instead he can ask “What would make the painting more interesting to people?” And the reason you can’t equal Michelangelo by going out and buying a blank canvas is that the ceiling of the Sistine Chapel is more interesting to people.

 

A lot of philosophers have had a hard time believing it was possible for there to be objective standards for art. It seemed obvious that beauty, for example, was something that happened in the head of the observer, not something that was a property of objects. It was thus “subjective” rather than “objective.” But in fact if you narrow the definition of beauty to something that works a certain way on humans, and you observe how much humans have in common, it turns out to be a property of objects after all. You don’t have to choose between something being a property of the subject or the object if subjects all react similarly. Being good art is thus a property of objects as much as, say, being toxic to humans is: it’s good art if it consistently affects humans in a certain way.”

 

Those above were quoted from the original article. Please continue reading the full article here:

 

[Source Info:

http://www.paulgraham.com/goodart.html ]

 

Genurile artelor plastice

Genurile artelor plastice

 

 

 

Ţin să mulţumesc realizatorilor unui alt site ce vizează domeniul artistic, de asemenea persoanei care se ocupă cu administrarea sa pentru acordarea permisiunii de a posta unele articole care vor contribui permanent la educarea noastră şi promovarea spiritului artistic. Invit de asemenea pe cei care vor citi acest articol spre navigarea pe site-ul http://www.moldovenii.md , deoarece vor găsi acolo o resursă bogată în privinţa domeniului nostru îndrăgit: Arta.

În continuare, redau un prim articol, cu referinţă asupra artelor plastice:

[Sursa Informativă:

http://www.moldovenii.md/section/90  ]

 

“Arta plastică, următoarele genuri, cunoscute ca arte majore (pictura, sculptura, grafica) şi minore, care se asociază cu artele decorative. La rîndul lor, fiecare gen are mai multe subdiviziuni, care vizează specificul tehnicii, materialul de bază utilizat şi subiectul reprezentat.

 

Pictura, de exemplu, se realizează în encaustică, temperă, ulei, acril, pe suport de lemn, pînză sau carton, în calitate de subiecte fiind selectate cele mai diverse  teme – biblice, mitologice, istorice, cotidiene, care pot fi reprezentate ca tablou de gen, peisaj, portret, natură statică, cu sau fără prezenţă umană, redate tridimensional, creînd iluzia spaţială a imaginilor prin intermediul volumului, formei, clarobscurului, facturii, luminii şi umbrei etc.

 

Grafica, la rîndul său, apelează la motive similare, avînd  însă alte materiale, forme şi tehnici, de la care, uneori provine şi denumirea subdiviziunilor – miniatură, acuarelă, pastel, gravură (desen, laviu, xilogravură, acvaforte, mezzotinto, linogravură), spre exemplu: gravura de carte sau cea de şevalet (stampa).

 

Sculptura este genul de artă care poate fi contemplată  de jur-împrejur şi poate fi realizată prin cioplire (dăltuire) (granitul, marmura) sau turnare (bronzul,diferite aliaje metalice), constituind sculptura în rond-bosse (rotundă), relief şi altorelief, apelînd, de obicei, la un limbaj plastic specific – alegoric, simbolic sau comemorativ.

 

Artele decorative (ceramica, giuvaergeria, sticla artistică, tapiseria, batic-ul) au avut la începuturi doar funcţii utilitare (pentru păstrarea, transportarea şi utilizarea alimentelor, pentru protecţie) fiind decorate cu imagini sau ornamente decorative, devenind, cu timpul, obiecte estetice de lux, care înfrumuseţează ambianţa locuinţelor. Sunt cunoscute renumitele vase de ceramică greacă pictate cu figuri roşii şi negre, porţelanul şi batic-ul chinez, majolica italiană, tapiseria franceză şi cea germană.

 

Pictura şi sculptura mai au şi o altă formă de artă – arta monumentală, care este o simbioză a supradimensionării formei şi volumelor. Din această categorie face parte sculptura (statuile, statuile ecvestre, monumentele comemorative) şi pictura cu diverse tehnici în frescă, pictură murală, mozaic, vitraliu), realizate în proporţii şi forme considerabile.

 

În diverse perioade ale existenţei artelor plastice, operele, sunt atribuite, convenţional, unor stiluri şi tendinţe diverse, delimitate pe anumite intervale de timp şi regiuni (manierism, baroc, clasicism, academism, realism, romantism, impresionism, postimpresionism, abstracţionism, etc.), manifestîndu-se în cadrul tuturor genurilor de artă.

 

Operele de artă plastică sunt principalele obiective ale muzeelor şi colecţiilor de artă din toată lumea.  “

 

[pentru articol, Drepturi Depline Rezervate © Moldovenii.md ]

 

 

Common Misconceptions Artists Have About Galleries

Common Misconceptions Artists Have About Galleries

 

 

I recently discovered a great article in which are explained some aspects of our beloved domain, ART. For the article, full rights reserved to ©Alan Bamberger .

In few lines, according with the permission to post a fragment from the article, I  quote:

 

“In an ongoing effort to separate art world facts from fantasy, I contacted a number of gallery owners and asked whether they could relate some beliefs artists have about galleries and gallery owners that simply aren’t true. Successful artist/gallery relationships are built on trust, knowledge, cooperation and understanding, and the better and more informed artists are about how art galleries really work, the greater the chances that their gallery relationships will succeed and prosper. So are you ready to exorcise those erroneous notions?”

Please continue reading the article, discovering the common misconceptions and reality, here:

 

[Source Info:

http://www.artbusiness.com/misconceptions-artists-have-about-galleries.html  ]