In Reference to Art What Does Intent of Content Mean

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

Chapter i
Introduction
pp. x-13

The 3 Components of Art

Bailiwick, form, and content have e'er been the three basic components of a work of fine art, and they are wed in a style that is inseparable. In full general, discipline may exist thought of as the "what" (the topic, focus, or image); form, as the "how" (the evolution of the work, composition, or the substantiation); and content, as the "why" (the artist's intention, advice, or meaning behind the work). Subject The subject area of visual fine art can be a person, an object, a theme, or an idea. Though in that location are many and varied means of presenting the subject matter, it is only important to the degree that the creative person is motivated past it.

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

Dennis Wojtkiewicz, Kiwi Serial #one, 2005.
Oil on canvas, 36 x 66 in. Marilyn Levine, Anne'due south Jacket, 1999.
Ceramic, 36 x twenty 1/2 x seven 1/4 in.

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

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

Piet Mondrian, The Grayness Tree, 1911.
Oil on sheet, xxx ane/2 x 42 vii/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on sheet, 39 1/2 x 47 1/2 in.

DeLoss McGraw'south "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on canvass, 58 x 35 in. Harold E. Edgerton, Baseball hit-fly ball, 1950s-1970s. Gelatin silver impress In the nigh extreme blazon of brainchild, the subject does not refer to whatsoever physical object, and this nonrepresentational epitome is thus considered non-objective. Hither, the subject may be 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 field ofttimes refers to the artist'southward idea about energy and movement, which guides the use of raw materials, and information technology communicates with those who can read the language of form. Piet Mondrian, Composition, 1916. Oil on canvas and woods strip, 47 1/four x 29 i/two in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless in that location are lyrics, it is often hard to identify a specific subject in a piece of music. Sometimes, the subject is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, still, the subject area is more abstract, and it is an emotion or idea that comes beyond strongly in the music. Aaron Copland's Fanfare for the Common Man is a good case of this: he does not try to describe the subject literally simply creates a nobel, accessible, and uplifting musical theme that honors the plight of the common man. In a similar way, nonobjective art seeks to nowadays a more general theme or idea as the subject.
Mark Rothko, Number 10, 1950.
Oil on sheet, 7 ft. 6 3/eight in. x 4 ft. 9 ane/8 in. Regardless of the type of fine art, the virtually important consideration is what is washed with the subject. Afterward yous recognize the subject in a work (whether it is obvious or non), ask yourself whether the artist has given it expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on sheet, 8 ft. ix in. x 17 ft. three in. Charles Sheeler, Golden Gate, 1955.
Oil on canvass, 25 1/viii in. x 34 vii/8 in.

Form

As a component of art, the give-and-take form refers to the total overall organisation or organization of an artwork. Information technology results from using the elements of art, giving them gild and meaning through the principles of arrangement. When studying a work'due south course, we are analyzing how the slice was created. More specifically, we are examing why the artist made certain choices and how those choices interact to form the artwork'southward concluding appearance. In this sense, the word course may really exist thought of as a verb rather than a substantive.

The elements of art, which include line, texture, color, shape, and value, are the most basic, indispensable, and immediate edifice blocks for expression. Their characteristics, determined by the artist'south choice of media and techniques, tin 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 artful success or failure of a work.

Based on the intended expression, each artist can arrange the elements in any manner that builds the desired character into the slice. Nonetheless, the elements are given order and meaningful structure when bundled according to the principles of organisation, which help integrate and organize the elements. These principles include harmony, multifariousness, balance, proportion, dominance, motility, and economy. They help create spatial relationships and finer convey the artist's intent. The principles of arrangement are flexible, not dogmatic, and can be combined and applied in numerous ways. Some creative person arrange intuitively, and others are more calculating, simply with experience, all of them develop an instinctive feeling for organizing their work. So of import are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual bulletin of a work of art is its content - a argument, expression, or mood developed by the artist and interpreted by the observer. Of the three components of art, content may be the well-nigh difficult to identify, because the audience, without direct communication with the creative person, must decipher the artist's thoughts by observing the work's subject and course. For instance, in Immature Girl in the Lap of Decease, the striking accent of the left-to-correct diagonals, the abrupt contrasts of lite and dark values, and the aggressive and powerful drawing strokes give us some insight into Kathe Kollwitz's business concern for life, though nosotros may not sympathise the depth of her passion.

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

Ideally, the viewer's estimation is synchronized with the creative person's intentions. However, the viewer's multifariousness of experiences can affect the communication between artist and viewer. For many people, content is determined by their familiarity with the subject field; they are confined 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 past the class. This is specially so in more than abstract works, in which the viewer may not recognize the paradigm every bit a known object and must, thefore, interpret pregnant from shapes and other elements. Images that are hardly recognizable, if representational at all, can still evangelize content if the observer knows how to interpert form.

Occasionally, artists may exist unaware of what motivates them to brand certain choices of image or grade. For them, the content of the piece may exist hidden instead of deliberate. For case, an artist who has had a fierce confrontation with a neighbor might subconciously demand to limited anger (content) and is thus compelled to work wit sharp jagged shapes, bitter acrid reds, slashing agitated marks (grade), and exploding images (subject).

Sometimes the meaning of nonobjective shapes becomes articulate in the creative person'south mind just after they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a little research almost the artist's life, time catamenia, or culture can help expand viewpoints and atomic number 82 to a fuller estimation of content. For example, a deeeper comprehension of Vincent van Gogh's specific and personal employ of color may exist gained by reading Van Gogh's letters to his brother Theo. His letters expressed an evolving conventionalities that colour conveyed specific feelings and attitudes and was more that a mere optical feel. He felt that his use of color could emit power similar Wagner's music. The messages too revealed a developing personal color iconography, in which blood-red and light-green symbolized the terrible sinful passions of humanity; blackness contour lines provided a sense of anguish; cobalt bluish signified the vault of heaven, and yellowish symbolized love. For Van Gogh, color was non strictly a tool for visual simulated but an instrument to transmit his personal emotions. Colour symbolism may non have been used in all his paintings, but an understanding of his intent helps explain some of his choices and the ability in his work.

Vincent van Gogh, The Night Cafe, 1888. Oil on canvas, 27 i/2 x 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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