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Comic art, gallery at the comic art community covers and, splashes full color drawings and sketches comic pages other art comicartcommunity gallery similar pages about drawing sketching what's hot, nowjennifer lopez drawing fan art gallery of drawing forum member's artwork drawing gallery image online art gallery nude figure composition z about o m drawsketch t xml leeds city art gallery – collections – watercolourswatercolours drawings and prints the collection of works on paper at leeds city art gallery includes, historic watercolours by, ever popular, artists such as leeds gov uk artgallery art colwat l also called visual art a visual object or experience consciously created through an, expression of skill or imagination the term art encompasses diverse media such as painting sculpture printmaking drawing decorative arts photography and installation the various visual arts exist within, a continuum that ranges from purely aesthetic purposes at one end to purely utilitarian purposes at the other such a polarity of purpose is reflected in the commonly used terms artist and artisan the latter understood as one expressionism who gives considerable attention, to the utilitarian this should by no means be taken as a rigid scheme however even within one. Form of art motives may vary. Widely thus a potter or a weaver may create a highly functional work that is at the same time beautiful—a salad bowl for example or a blanket—or may, create works that have no purpose beyond being admired in cultures, such as africa and oceania, a definition. Of art. That encompasses this continuum has, existed for centuries in the west however by the mid th century the, development of academies for. Painting. And sculpture established a sense that these media were, art and therefore separate from more utilitarian media this, separation of art forms continued among art institutions until the late th century when such rigid distinctions. Began. To be questioned particularly in the th century a different. Sort of debate arose over the definition of art. A seminal moment in this discussion occurred in when dada artist marcel duchamp submitted a porcelain urinal entitled fountain to a public exhibition in new york city through this act duchamp put forth a new definition of what constitutes a. Work of art he implied that it is enough for an artist to deem something art and put it in a publicly accepted venue implicit within this gesture was a challenge to the established art institutions—such as museums exhibiting groups and galleries—that have the power to determine what is and is not considered art such, intellectual experimentation continued throughout the th century in movements. Such as conceptual art and minimalism by the turn of. The st century a variety of new media e g video art further challenged traditional definitions of art art is treated in a number of articles for general discussions of the foundations principles practice and character of art see aesthetics see also art conservation and restoration for the technical and theoretical aspects of traditional categories of art see drawing painting printmaking and sculpture for, technical and historical discussions of decorative arts and furnishings see basketry enamelwork floral decoration furniture glassware interior design lacquerwork metalwork mosaic pottery rug and carpet stained glass and tapestry see photography for a complete history of that medium for treatments of the. Various arts as practiced by specific peoples and cultures see art african arts central asian arts east asian art and architecture egyptian arts arts native. American art and architecture oceanic arts south asian arts southeast asian painting western and sculpture western chiefly american movement in the visual arts and galleries music originating in new. York city in the late s and characterized by extreme simplicity of form and a literal objective approach minimal art also called abc art is the culmination of reductionist tendencies in modern art that first surfaced in the composition by the russian painter kasimir malevich of a black square on a white ground the primary structures of the minimalist sculptors donald judd carl andre dan flavin tony smith anthony caro sol lewitt john mccracken craig kaufman robert duran and, robert morris and the hard edge painting of jack youngerman. Ellsworth kelly frank stella kenneth noland al held and gene davis grew out of these artists' dissatisfaction with action painting a, branch of american abstract expressionism based on intuitive spontaneous gesture that had dominated american avant garde, art through. Much of the s the minimalists who believed that action painting was too personal and insubstantial adopted the point of view that a work of art should not refer to anything other than itself for that auction reason they attempted to rid their works of any extra visual association use of the hard edge the simple form and the linear rather than painterly approach was intended to emphasize two dimensionality and to allow the viewer an immediate purely visual response they turned for inspiration to the impassive quiet works of barnett newman and ad reinhardt exponents of the colour field branch of abstract expressionist painting, hard edge painting is characterized by large simplified usually geometric forms on an overall flat surface precise razor sharp. Contours and broad areas of bright unmodulated colour that have been stained into unprimed canvas it differs from other, types of geometric abstraction in that it rejects both lyrical and mathematical composition because even in this simplified field they are a means of personal expression for the artist minimal hard edge painting is the anonymous construction of a simple object minimal sculpture is composed of extremely simple monumental geometric forms made of fibreglass plastic sheet metal or aluminum either left raw. Or solidly painted with bright industrial colours like the painters minimalist sculptors attempted to make their works totally objective unexpressive and non referential minimal art along with the music of erik satie and the aesthetics sculptor of john cage. Was a distinct influence on minimalist music reacting against the complex intellectually sophisticated style of modern music several composers began to compose in a simple literal style thereby creating an extremely simple and accessible music la monte young for example. Composed a number of electronic continuous. Frequency environments in, which he generated a few pitches and then electronically sustained them sometimes for days or weeks young added very little to this texture and virtually eliminated variation as a developmental technique like young morton feldman tried to eliminate variation his works explored innovative instrumental timbres through a slowly paced succession. Of unrelated soft sounds another group of composers—philip glass steve reich cornelius cardew and frederic rzewski—was influenced by the music of india bali and west africa they used simple harmonic and melodic patterns in their highly repetitive music in both music and the visual arts. Minimalism was an attempt to explore the essential elements of an art form in minimalist visual arts the personal gestural elements were stripped away in. Order to reveal the objective purely visual elements of painting and sculpture in minimalist music the traditional. Treatment of form and development. Was rejected in favour of explorations of timbre and rhythm—musical elements. Largely unfamiliar to western listeners introduction also spelled esthetics the philosophical study of beauty and taste to define its subject matter more precisely is however immensely difficult indeed it could be said that self definition has been the major task of modern aesthetics we are acquainted with an interesting and, puzzling realm of experience the realm of the beautiful the ugly the sublime and the elegant of taste criticism and fine art and of contemplation sensuous enjoyment and charm in all these phenomena we believe that similar principles are operative and that similar interests are engaged if we are mistaken in this impression we will have, to dismiss such ideas as beauty and taste as having only, peripheral philosophical interest alternatively, if our impression is correct and philosophy corroborates it we will have discovered the basis, for a philosophical aesthetics this article seeks to clarify the nature of modern aesthetics and to delineate its neo-romanticism underlying principles and concerns although the, article focusses. On western aesthetic thought and, its development it surveys some of the seminal features of marxist and, eastern aesthetics the nature and scope of aesthetics aesthetics is broader in scope than the philosophy of art which comprises one of its branches it deals not only with the nature and value of the arts but also with those responses to natural objects that find expression in the language of the beautiful and the ugly a problem is encountered at the outset however for terms such as, beautiful and ugly seem too vague in their application and too subjective in their meaning to divide the world successfully. Into those things that do and those that do not exemplify them o brother where thou, almost anything might be seen as beautiful by someone or from some point of view and different people apply the word to quite disparate objects for reasons that often seem to have little or nothing in common it may be that there is some single underlying belief that motivates all of their judgments it may also be however that the term beautiful has. No sense except as the expression of an attitude which is in turn attached by different people to quite different states of affairs moreover in spite of the emphasis laid by philosophers on the terms beautiful and ugly it is far from evident that they are the most important or most useful either in the discussion and criticism of art or in the description of, that which appeals, to us in nature to convey painter antique prints sculptor posters photowhat is significant. In. A poem we might use such terms as ironical moving expressive balanced and harmonious likewise, in. Describing a favourite stretch of countryside we may find more use for peaceful soft atmospheric harsh and evocative than for beautiful the least! That should be said is that beautiful belongs to a class of terms from which it has been chosen as much for convenience' sake as for any sense that it captures what is distinctive of the class at the same time there seems to be no clear way of delimiting. The class in question—not at least in advance of theory aesthetics must therefore cast its net artwork more widely than, the study, either of beauty or of other aesthetic, concepts modern if it is to discover the. Principles whereby it is to be defined we are at once returned therefore to the vexing question of our subject matter what should a philosopher study in order to, understand such ideas as beauty and taste three approaches to aesthetics three broad approaches have been! Proposed in answer to. That question each intuitively reasonable the study of the aesthetic concepts or more specifically the analysis, of the language of criticism in which particular judgments are singled out and their logic and justification displayed in his famous treatise on the sublime and beautiful edmund burke attempted to draw a distinction between two aesthetic concepts and by studying the qualities that they denoted to analyze the separate human attitudes that are directed toward them burke's distinction between the sublime and the beautiful was extremely influential reflecting. As it did the prevailing style of? Contemporary criticism in more recent times philosophers have tended to concentrate on the concepts of modern literary theory—namely those such as representation expression form style and sentimentality the study invariably has a dual purpose to show how if at all, these descriptions might be justified and to show what is distinctive in the human experiences that are expressed in them a philosophical study, of certain states of mind—responses attitudes emotions—that are held to be involved in aesthetic! Experience thus in the seminal work of modern aesthetics kritik der urteilskraft the critique of judgment immanuel kant located the distinctive features of the aesthetic in the faculty of judgment whereby we take up a certain stance toward objects separating them from our scientific interests and our practical concerns the. Key to the aesthetic realm lies therefore in, a certain disinterested attitude which we may assume, toward any object and which can be expressed in many contrasting ways more recently philosophers—distrustful of kant's theory of the faculties—have tried to express the notions of an aesthetic attitude and aesthetic experience in other ways relying upon developments in philosophical. Psychology that owe, much to g w f hegel the phenomenologists and ludwig wittgenstein more precisely the wittgenstein of the philosophical investigations in considering these. Theories some of which. Are discussed below a crucial distinction must be borne in mind that between philosophy of mind and empirical psychology philosophy is not a science because it does not investigate the causes of phenomena it is, an. A priori or conceptual investigation the underlying concern of which. Is to identify rather. Than to explain in effect the aim of the philosopher is to give the broadest possible description of the things themselves so as to, show how we must understand them and how we ought to value them the two. Most prominent current philosophical methods—phenomenology and conceptual analysis—tend to regard this aim as distinct from and at least in part prior to the aim of science for how can we begin to explain what we have yet to identify while there have been empirical studies of aesthetic experience exercises in the psychology of beauty these form no part of aesthetics as considered in this article indeed, the remarkable paucity of their conclusions may reasonably be attributed to their attempt to provide a theory of martial. Phenomena antique that have yet to be properly defined the philosophical study of the aesthetic object this approach reflects, the view that the problems of aesthetics exist primarily because the world contains a special class of, objects toward which we react selectively and which we describe in aesthetic terms in effect the existence of such objects constitutes the prime phenomenon aesthetic experience should thus be described according to them and the meaning of aesthetic concepts be determined by them the usual class, singled out as prime aesthetic objects is, that. Comprising, works of art all other aesthetic objects landscapes faces objets trouvés and the like tend to be. Included in this class only because and to the extent that they can be seen as art or so it is claimed if we adopt such an approach then there ceases to be a real distinction between aesthetics and the philosophy of art and aesthetic concepts and aesthetic experience deserve their names through being respectively. The concepts required in understanding works of art and the experience provoked by confronting them thus hegel perhaps the major philosophical influence on modern aesthetics considered the. Main task of aesthetics to reside in the study of the various forms of art and of the, spiritual content peculiar to each much of recent aesthetics has been similarly focussed on artistic problems and it could be said that it is now orthodox to consider aesthetics entirely through the study of art the third approach to aesthetics does not require this concentration upon art even someone who considered art, to be no more than one manifestation of aesthetic value—perhaps, even a. Comparatively insignificant wall manifestation—may believe that the first. Concern of aesthetics is to study the objects of aesthetic experience and description and to find in them the true. Distinguishing features of the aesthetic realm unless we restrict the domain of aesthetic objects however it becomes extremely difficult to maintain that they have anything significant in common beyond the fact of inspiring a similar interest this means that we should be compelled to adopt the second approach to aesthetics after all and there seems no more plausible way of restricting, the domain of aesthetic objects than through the concept of art the three approaches may lead to incompatible results alternatively they may be in harmony, once. Again it can only, be at the end point of our philosophy that we shall be able to decide initially it must be assumed that the three approaches may differ substantially or merely in emphasis and thus that each question in aesthetics has a tripartite form the aesthetic object the third approach to aesthetics begins with a class, of aesthetic objects and attempts thereafter to show the significance of that class to those who selectively respond to it the term aesthetic object however is ambiguous and depending on its, interpretation may suggest two separate programs of philosophical aesthetics the, expression may denote either the intentional. Or the material object of aesthetic experience this distinction a legacy of the scholastic, philosophers of the, middle. Ages has played a major role in recent phenomenology it may be briefly characterized as follows when someone responds to object o his response depends upon a, conception of o. That may in fact be erroneous o is then the material object of his response while his conception defines the. Intentional object the. Term intentional comes, from the latin intendere to aim to cite an, example a person is frightened by a white cloth flapping in a darkened hall taking it for a, ghost here the material object of the fear is the cloth while the. Intentional object is a ghost a philosophical discussion of fear may be, presented as a discussion of things feared but if so the phrase denotes the class of intentional objects of fear and not the infinitely varied and infinitely disordered class of material objects in an important sense the intentional object is part of a state of mind whereas the material object always has independent and objective existence if the expression aesthetic object is therefore taken in its intentional construction the study of the aesthetic object becomes the study not of an independently existing class of things but of the aesthetic experience, itself it is in this sense that the term occurs in the writings of. Phenomenologists e g mikel dufrenne la. Phénoménologie de l'expérience esthétique the phenomenology of. Aesthetic experience and roman ingarden das, literarische kunstwerk the literary work of art whose studies of the aesthetic object exemplify not the third but the second of the approaches considered above which of those two approaches should be adopted we can already see one reason for adopting the approach that puts. The aesthetic experience first and examines the aesthetic object primarily as the intentional |