Art Appreciation-Chapter13
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1) There are different approaches to evaluating art, including considering personal tastes, the perceived quality, and the intended purpose or meaning behind a work. 2) Art criticism refers to making reasoned judgments about art, and there are three main theories: formal theories focus on composition and stylistic influences; contextual theories examine the cultural and historical context of creation; and expressive theories analyze the artist's expression of personality or perspective. 3) Formal theories emphasize the visual elements and compositional influences of past works, while contextual theories study the environment and culture during creation. Expressive theories seek psychological insights into the individual artist.
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4) The type of society needed to support play and other human drives based on human nature.
How do you analyse an artwork
The document discusses the process of art criticism and analysis. It outlines Edmund Feldman's 4-step technique for analyzing art: description, analysis, interpretation, and judgment. It focuses on the analysis step, explaining that analysis involves asking "why" about various elements of the artwork based on internal evidence from the artwork itself and external evidence from context about the artist and time period. The document provides examples of analyzing Pablo Picasso's painting "Weeping Woman" using both internal and external evidence. It encourages analyzing art by carefully describing the artwork and asking questions.
Ged108 portfolio group 6
This document contains information about various topics related to art appreciation. It discusses why the study of humanities is important as it allows us to think critically and gain new insights. It also talks about how humanities research adds to our understanding of the world and cultures. The document then provides the vision and mission statements of Mapua University. It discusses the grading system and requirements for passing GED 108 course. It also includes summaries of weekly activities from group discussions and assignments. Finally, it defines the basic elements of art such as line, shape, color etc.
Evaluating Art Approaches
Art history and art criticism take different approaches to evaluating works of art. Art history relies on external cues like the time, place, and artist to provide context. It describes the work, analyzes artistic style, interprets influences, and judges importance. Art criticism relies on internal cues within the work. It describes subject and elements, analyzes design principles, interprets moods and ideas, and judges artistic merit. Both use description, analysis, interpretation and judgment but focus on different aspects of the work.
Where does the idea of judging art come from
The document discusses the history and development of art criticism. It outlines Edmund Feldman's 4-step technique for analyzing art from the 1970s, which includes description, analysis, interpretation, and judgment. The document then focuses on the concept of judgment in art criticism. It explores the philosophical roots of aesthetics and how philosophers like Hume and Kant debated the nature of taste and beauty. The document also discusses how criteria for evaluating art have changed over time as styles evolved. In the end, it questions whether modern rating systems can truly be considered art criticism.
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
11 Art and Ethics Peggy Blood and Pamela J. Sachant
11.1 LEARNING OUTCOMES
After completing this chapter, you should be able to:
• Understand why art and ethics are associated
• Identify works of art that were censored due to their failure to meet societal ethics
• Indicate why ethical values change over time by society
• Articulate why some societal groups may consider some works of art controversial
• Identify ethical considerations in the artist’s use of others’ art work in their own, the
materials used in making art, manipulation of an image to alter its meaning or intent,
and the artist’s moral obligations as an observer
• Identify roles that museums play in the preservation, interpretation, and display of
culturally significant objects
11.2 INTRODUCTION
This chapter is concerned with the perception, susceptibility, and ethics of art. It will explore
and analyze the moral responsibility of artists and their rights to represent and create without
censorship.
Morality and art are connected usually in art that provokes and disturbs. Such art stirs up the
artist’s or viewer’s personal beliefs, values, and morals due to what is depicted. Works that seem
to purposely pursue or strongly communicate a message may cause controversies to flair up: con-
troversies over the rights of artistic freedom or over how society evaluates art. That judgment of
works created by artists has to do with society’s value judgment in a given time in history.
The relationship between the artist and society is intertwined and sometimes at odds as it
relates to art and ethics. Neither has to be sacrificed for the other, however, and neither needs to
bend to the other in order to create or convey the work’s message.
Page | 279
CHAPTER TEN: ART AND RITUAL LIFE
Page | 280
INTRODUCTION TO ART
Art is subjective: it will be received or interpreted by different people in various ways. What may
be unethical to one may be ethical to another. Because art is subjective, it is vulnerable to ethical
judgment. It is most vulnerable when society does not have a historical context or understanding
of art in order to appreciate a work’s content or aesthetics. This lack does not make ethical judg-
ment wrong or irrational; it shows that appreciation of art or styles changes over time and that
new or different art or styles can come to be appreciated. The general negative taste of society
usually changes with more exposure. Still, taste remains subjective.
Ethics has been a major consideration of the public and those in religious or political power
throughout history. For many artists today, the first and major consideration is not ethics, but the
platform from which to create and deliver the message through formal qualities and the medium.
Consideration of ethics may be established by the artist but without hindrance of free expression.
It is expected that in a work of art an artist’s own beliefs, values, and ideology may contras ...
11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
11 Art and Ethics Peggy Blood and Pamela J. Sachant
11.1 LEARNING OUTCOMES
After completing this chapter, you should be able to:
• Understand why art and ethics are associated
• Identify works of art that were censored due to their failure to meet societal ethics
• Indicate why ethical values change over time by society
• Articulate why some societal groups may consider some works of art controversial
• Identify ethical considerations in the artist’s use of others’ art work in their own, the
materials used in making art, manipulation of an image to alter its meaning or intent,
and the artist’s moral obligations as an observer
• Identify roles that museums play in the preservation, interpretation, and display of
culturally significant objects
11.2 INTRODUCTION
This chapter is concerned with the perception, susceptibility, and ethics of art. It will explore
and analyze the moral responsibility of artists and their rights to represent and create without
censorship.
Morality and art are connected usually in art that provokes and disturbs. Such art stirs up the
artist’s or viewer’s personal beliefs, values, and morals due to what is depicted. Works that seem
to purposely pursue or strongly communicate a message may cause controversies to flair up: con-
troversies over the rights of artistic freedom or over how society evaluates art. That judgment of
works created by artists has to do with society’s value judgment in a given time in history.
The relationship between the artist and society is intertwined and sometimes at odds as it
relates to art and ethics. Neither has to be sacrificed for the other, however, and neither needs to
bend to the other in order to create or convey the work’s message.
Page | 279
CHAPTER TEN: ART AND RITUAL LIFE
Page | 280
INTRODUCTION TO ART
Art is subjective: it will be received or interpreted by different people in various ways. What may
be unethical to one may be ethical to another. Because art is subjective, it is vulnerable to ethical
judgment. It is most vulnerable when society does not have a historical context or understanding
of art in order to appreciate a work’s content or aesthetics. This lack does not make ethical judg-
ment wrong or irrational; it shows that appreciation of art or styles changes over time and that
new or different art or styles can come to be appreciated. The general negative taste of society
usually changes with more exposure. Still, taste remains subjective.
Ethics has been a major consideration of the public and those in religious or political power
throughout history. For many artists today, the first and major consideration is not ethics, but the
platform from which to create and deliver the message through formal qualities and the medium.
Consideration of ethics may be established by the artist but without hindrance of free expression.
It is expected that in a work of art an artist’s own beliefs, values, and ideology may contras ...
Hurt: Arts as a Lens to the World
The document discusses various ways that the arts can be used as a lens to explore the world. It describes exploring artworks historically, critically, and aesthetically. It also discusses making art and moving from just being exposed to art to becoming engaged with it. Several teaching methods are outlined, including Visual Thinking Strategies (VTS), which uses open-ended questions to facilitate discussions about art. Token Response is presented as an interactive game to discuss art. Project-based learning using "big ideas" and driving questions is also mentioned. Finally, some benefits of visual arts education are discussed.
Criticism Essay Example
The Critical Race Theory Essay example
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"Radical Animal: Constructing the Creative Self" - Pat Kane
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11 Art and Ethics Peggy Blood and Pamela J. Sachant 11
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Between World Wars
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Art Appreciation-Chapter13
- 1. Evaluating Art Chapter 13
- 3. Dawn Marie Jingagian. Shy Glance . 1976. 18" × 24". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
- 4. Elizabeth Louise Vigee-LeBrun. Self-Portrait in a Straw Hat . 1782. 97.8 × 70.5 cm NG1653. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
- 8. Titian. Pietà . 1576. 149" × 136". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
- 11. Frank Modell. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
Editor's Notes
- The Museum of Bad Art, Dedham, MA.
- NG1653. © National Gallery, London.
- SCALA\\Art Resource, N.Y.
- © The New Yorker Collection, 1983. Frank Modell from cartoonbank.com. All Rights Reserved.