What Do You Call Art That Conveys a Theme

Art Fundamentals: Theory and Practice
Ocvirk, Stinson, Wigg, Bone, Cayton
12th Edition

Chapter 1
Introduction
pp. 10-13

The Three Components of Fine art

Field of study, class, and content accept always been the three basic components of a work of art, and they are wed in a way that is inseparable. In general, subject may be idea of as the "what" (the topic, focus, or prototype); course, as the "how" (the evolution of the work, limerick, or the substantiation); and content, as the "why" (the creative person's intention, communication, or meaning backside the work). Subject field The field of study of visual art can be a person, an object, a theme, or an idea. Though there are many and varied ways of presenting the subject matter, information technology is but important to the caste that the artist is motivated by information technology.

Objective images, which represent people or objects, look as close as possible to their real-globe counterparts and can exist clearly identified. These types of images are also called representational.

Dennis Wojtkiewicz, Kiwi Series #1, 2005.
Oil on canvas, 36 x 66 in. Marilyn Levine, Anne'south Jacket, 1999.
Ceramic, 36 x 20 1/2 10 seven 1/iv in.

Gus Heinze, Expresso Cafe, 2003. Acrylic on gessoed panel, 32 x 35 i/2 in.

Artists who explore the process of abstraction (simplification and rearrangement) create images that expect less like the object on which they are based, although they may yet be recognizable. Barbara Chase-Riboud, Bathers, 1973. Floor relief, cast aluminum and silk in sixteen pieces, 400 x 400 x 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on sail, 30 1/2 x 42 seven/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on sail, 39 1/2 x 47 1/ii in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on canvas, 58 ten 35 in. Harold E. Edgerton, Baseball hit-fly ball, 1950s-1970s. Gelatin silvery print In the about extreme type of abstraction, the subject field does not refer to any physical object, and this nonrepresentational prototype is thus considered non-objective. Here, the subject area may exist difficult for the observer to place, since it is based solely on the elements of art rather than existent-life people or objects. This type of subject often refers to the creative person'south thought about free energy and motility, which guides the use of raw materials, and it communicates with those who tin read the language of grade. Piet Mondrian, Composition, 1916. Oil on sheet and wood strip, 47 1/4 x 29 1/two in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless at that place are lyrics, information technology is often hard to place a specific subject in a piece of music. Sometimes, the bailiwick is recognizable - the thunderstorms and birdsongs in Beethoven'south Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, however, the subject is more abstract, and it is an emotion or idea that comes across strongly in the music. Aaron Copland'south Fanfare for the Common Human is a good example of this: he does not effort to depict the subject literally simply creates a nobel, accessible, and uplifting musical theme that honors the plight of the common man. In a like way, nonobjective art seeks to nowadays a more full general theme or thought as the subject.
Mark Rothko, Number x, 1950.
Oil on sheet, vii ft. 6 3/8 in. ten 4 ft. 9 1/8 in. Regardless of the type of fine art, the most important consideration is what is done with the field of study. Afterwards you recognize the subject in a work (whether it is obvious or not), ask yourself whether the artist has given it expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on canvas, 8 ft. 9 in. x 17 ft. three in. Charles Sheeler, Golden Gate, 1955.
Oil on canvas, 25 one/viii in. x 34 7/8 in.

Form

As a component of art, the word grade refers to the total overall arrangement or organization of an artwork. It results from using the elements of art, giving them order and significant through the principles of organization. When studying a piece of work'due south form, we are analyzing how the slice was created. More specifically, we are examing why the artist made sure choices and how those choices interact to form the artwork's final advent. In this sense, the word form may actually be thought of as a verb rather than a substantive.

The elements of art, which include line, texture, color, shape, and value, are the almost basic, indispensable, and firsthand building blocks for expression. Their characteristics, adamant by the artist's option of media and techniques, can communicate a wide range of complex feelings. All artists must deal with the elements singularly or in combination, and their organization contributes to the aesthetic success or failure of a piece of work.

Based on the intended expression, each artist can arrange the elements in any fashion that builds the desired graphic symbol into the slice. However, the elements are given order and meaningful structure when arranged according to the principles of arrangement, which help integrate and organize the elements. These principles include harmony, diverseness, balance, proportion, potency, motion, and economy. They aid create spatial relationships and effectively convey the creative person's intent. The principles of organization are flexible, not dogmatic, and tin can be combined and applied in numerous ways. Some artist suit intuitively, and others are more computing, simply with feel, all of them develop an instinctive feeling for organizing their work. And so of import are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of fine art is its content - a argument, expression, or mood developed by the artist and interpreted by the observer. Of the three components of fine art, content may be the nearly difficult to identify, because the audition, without direct communication with the artist, must decipher the artist's thoughts by observing the work'southward subject and grade. For example, in Immature Girl in the Lap of Expiry, the hitting accent of the left-to-right diagonals, the sharp contrasts of calorie-free and night values, and the aggressive and powerful cartoon strokes give united states some insight into Kathe Kollwitz'southward concern for life, though we may not understand the depth of her passion.

Kathe Kollwitz, Young Girl in the Lap of Decease, 1934.
Crayon lithograph, 42 ten 38 cm.

Ideally, the viewer'due south interpretation is synchronized with the artist'southward intentions. However, the viewer's diversity of experiences can affect the communication betwixt creative person and viewer. For many people, content is determined by their familiarity with the subject; they are bars to feelings aroused by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the image but is reinforced by the form. This is particularly so in more than abstract works, in which the viewer may not recognize the image as a known object and must, thefore, interpret significant from shapes and other elements. Images that are inappreciably recognizable, if representational at all, can nonetheless evangelize content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to brand certain choices of epitome or form. For them, the content of the slice may be hidden instead of deliberate. For case, an artist who has had a vehement confrontation with a neighbor might subconciously need to limited acrimony (content) and is thus compelled to piece of work wit precipitous jagged shapes, bitter acrid reds, slashing agitated marks (form), and exploding images (subject).

Sometimes the pregnant of nonobjective shapes becomes articulate in the artist'south listen only afterwards they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a little research about the creative person'due south life, fourth dimension menses, or culture can help expand viewpoints and lead to a fuller interpretation of content. For example, a deeeper comprehension of Vincent van Gogh's specific and personal use of color may exist gained by reading Van Gogh'due south messages to his blood brother Theo. His messages expressed an evolving belief that colour conveyed specific feelings and attitudes and was more than that a mere optical experience. He felt that his use of color could emit power similar Wagner'due south music. The messages also revealed a developing personal colour iconography, in which red and green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of ache; cobalt blueish signified the vault of sky, and yellow symbolized honey. For Van Gogh, colour was not strictly a tool for visual imitation only an instrument to transmit his personal emotions. Color symbolism may not take been used in all his paintings, but an agreement of his intent helps explain some of his choices and the power in his work.

Vincent van Gogh, The Night Buffet, 1888. Oil on canvas, 27 1/2 ten 35 in.

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Source: https://personal.utdallas.edu/~melacy/pages/2D_Design/Components_of_Art/Components_of_Art.html

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