THE VISUAL ARTS PORTAL
The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art, and textile arts also involve aspects of visual arts as well as arts of other types. Also included within the visual arts are the applied arts such as industrial design, graphic design, fashion design, interior design and decorative art.
Current usage of the term "visual arts" includes fine art as well as the applied or decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' had for some centuries often been restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the decorative arts, craft, or applied Visual arts media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms. Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts.
The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions painting has been seen as relying to the highest degree on the imagination of the artist, and the furthest removed from manual labour – in Chinese painting the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes.
Paul Gauguin, Oviri
), 1894, partially glazed stoneware
, 75 × 19 × 27 cm (29.5 × 7.5 × 10.6 in), Musée d'Orsay
Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning and is shown with long pale hair and wild eyes, smothering a wolf with her feet while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a "civilised savage". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief of a "master of animals" type, and Majapahit mummies. Other possible influences include preserved skulls from the Marquesas Islands, figures found at Borobudur, and a 9th-century Mahayana Buddhist temple in central Java.
Gauguin made three casts, each in partially glazed stoneware
, and while several copies exist in plaster or bronze, the original cast is in the Musée d'Orsay
. His sales of the casts were not successful, and at a low financial and personal ebb he asked for one to be placed on his grave. There are only three other surviving comments of his on the figure: he described the figure as a strange and cruel enigma on an 1895 presentation mount of two impressions of a woodcut
for Stéphane Mallarmé
; he referred to it as La Tueuse
("The Murderess") in an 1897 letter to Ambroise Vollard
; and he appended an inscription referencing Honoré de Balzac
's novel Séraphîta
in a c. 1899
was exhibited at the 1906 Salon d'Automne
(no. 57) where it influenced Pablo Picasso
, who based one of the figures in Les Demoiselles d'Avignon
on it. Read more...
||Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
||— Robert Motherwell, The Times (November 17, 1985)
Did you know...
The following are images from various visual arts-related articles on Wikipedia.
Loquats and Mountain Bird, anonymous artist of the Southern Song dynasty; paintings in leaf album style such as this were popular in the Southern Song (1127–1279).
Modern reconstruction of the original painted appearance of a Late Archaic Greek marble figure from the Temple of Aphaea, based on analysis of pigment traces, c. 500 BCE
Francis Picabia, (Left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915
Moai from Easter Island, where the concentration of resources on large sculpture may have had serious political effects.
Netsuke of tigress with two cubs, mid-19th-century Japan, ivory with shell inlay
Visible damage due to acid rain on a sculpture
Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD)
The Pergamene style of the Hellenistic period, from the Pergamon Altar, early 2nd century
Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c. 7300 BC
Sumerian male worshipper, alabaster with shell eyes, 2750−2600 BCE
Device to Root Out Evil (1997) sculpture by Dennis Oppenheim at
Palma de Mallorca, Plaça de la Porta de Santa Catalina
The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 – active in 1753) (Mexican) (painter, Museo Nacional de Arte.
Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650
Ivory with traces of paint, 11th–12th century, Egypt
Venus of Laussel c. 27,000 BP, an Upper Palaeolithic carving, Bordeaux museum, France
The Brunswick Lion, 1166, the first large hollow casting of a figure since antiquity, 1.78 metres tall and 2.79 metres long
Spanish cave painting of Bulls
A Jōmon dogū figure, 1st millennium BCE, Japan
French ivory Virgin and Child, end of 13th century, 25 cm high, curving to fit the shape of the ivory tusk
The Gero Cross, c. 965–970, Cologne, Germany. The first great example of the revival of large sculpture
Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features.
Detail of Crucifixion of Jesus Christ, Spanish, wood and polychrome, 1793.
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