Encyclopaedia Of World Art And Architecture (eBook, ePUB)
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Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, colour, texture, and composition. This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create his or her art. The way these individual elements are employed results in representational or non-representational art. is the artist imitating an object or image found in nature? lf so, it is representational. The closer the aft hews to perfect imitation, the more the art is realistic. is the artist not imi...
Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, colour, texture, and composition. This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create his or her art. The way these individual elements are employed results in representational or non-representational art. is the artist imitating an object or image found in nature? lf so, it is representational. The closer the aft hews to perfect imitation, the more the art is realistic. is the artist not imitating, but instead relying on symbolism, or in an important way striving to capture nature's essence, rather than copy it directly? lf so the art is non-representational-also called abstract. Realism and abstraction exist on a continuum. impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. lf the work is not representational and is an expression of the artist's feelings, longings and aspirations, or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism. An iconographical analysis is one which focuses on particular design elements of an object. Through a close reading of such elements, it is possible to trace their lineage, and with it draw conclusions regarding the origins and trajectory of these motifs. in turn, it is possible to make any number of observations regarding the social, cultural, economic, and aesthetic values of those responsible for producing the object. Many art historians use critical theory to frame their inquiries into objects. This book fulfills the long felt necessity of a text dealing with concepts of this subject. it can also prove to be a worthy companion and guide for the students, users and researchers.
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