Introduction The value of art is correlated with how aesthetically pleasing it is Q1: What makes us judge something as beautiful?
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1 SWU Aesthetics for Life W3: The Contextualist Conception of Art 11 H1: The AESTHETIC Conception of Art The expression of beauty is by emotion The person who can communicate his emotions to the soul of the other is the artist H2: The CONTEXTUALIST Conception of Art H3: The CONSTRUCTIVIST Conception of Art - Alphonse Mucha 1 Review: Three Conceptions of Art H1: The AESTHETIC Conception of Art Introduction The value of art is correlated with how aesthetically pleasing it is Q1: What makes us judge something as beautiful? Q2 What makes us judge something as ART? An Essential Properties/Objectivist Approach What triggers an aesthetic judgement? Classical Renaissance Ideals of beauty: An object, x, is art/beautiful if it has Kant s Theory of Aesthetics The aesthetic judgement (i) a symmetrical composition (ie, the act of judging something beautiful) 1 is subjective (a felt judgement, not an intellectual calculation) (ii) ideal subject matter and forms 2 is universal (not just a personal opinion) (iii) a harmonic hue schema 3 is disinterested, and (value independent of usefulness/benefit to perceiver) (iv) a harmonic value schema 4 engages imagination and intellect (in addition to the senses) The Representational Approach to Art An object, x, is art/beautiful if it is a faithful depiction of reality Today s Focus: What is ART? But there are problems with the Aesthetic Approach to art 1 REPRESENTATIONAL VS EXPRESSIVE ART Recall: Fountain by Marcel Duchamp,, Urinal readymade signed with 2 The CONTEXTUALIST conception of art joke name; early example of Dada art A paradigmatic example of found-art 3 Brief overview of Western Art Movements Photograph by Alfred Stieglitz Captions read: Fountain by R Mutt, Photograph 1
2 (iii) how the comparison reflects the shifting artistic and political ideologies of the time by Alfred Stieglitz, THE EXHIBIT REFUSED BY THE INDEPENDENTS, Licensed under Public Domain via Commons Titian s Venus of Urbino 1583, Oil on canvas Parisian artists in Manet s time were rebelling against what the art academies deemed art, - eg, How could something like this be categorized as art, assuming we follow the Aesthetic Conception?! 2 ideal, rounded figures contrasting dark/light values indicating depth warm golden hues The Contextualist Conception of Art idealized content matter: gods, goddesses, biblical scenes H2: The CONTEXTUALIST Paradigm of Art The value of art is correlated with (i) how aesthetically pleasing it is, and (ii) its relationship to its historical context of creation eg, The artistic value of Manet s 1863 Olympia is a due to (i) its formal properties (ii) a comparison to Titian s earlier 1583 The Venus of Urbino, and Manet s Olympia 1583, Oil on canvas 2
3 Artistic sensibilities were shifting from idealism to realism rigid, sharp, angles low-contrast values indicating flatness instead of depth Mannerism: ( ) Compositional tension, asymmetry, elongated (non-naturalistic) body proportions cold colour palettes realistic content matter: prostitutes, servants Titian s idealism approach to painting may appear more realistic on a purely visual level, eg, with respect to the depth and roundness of forms but Manet s realism was more realistic in terms of reflecting the non-ideal everyday life of Paris Basic Idea: The historical reference and contrast to Titian s Venus of Urbino and the interpretation with respect to this emerging political and artistic ideology adds artistic meaning (and therefore value) to Manet s work Michelangelo s The Last Judgement, Detail of Mary and Jesus Many movements in western art history can be interpreted as rebellion against previous artistic conventions: Renaissance: (1400s-1520s) Symmetry, idealism, harmonic colour and value schemas Parmigianino s Madonna with the Long Neck, , Oil on wood Baroque: (1590s-1720s) Dramatic asymmetrical compositions, Exaggerated high-contrast values (tenebrism), intense emotion Da Vinci s La Gioconda, , Oil on Poplar Raphael s School of Athens, , Fresco Caravaggio s The Crucifixion of St Peter, Artemesia Gentileschi Judith Slaying Holofernes 1601, Oil on canvas 1614, Oil on canvas 3
4 Rococo: ( ) Light colour schemes, graceful curves, lighter/frivolous subject matter Courbet s Stone-Breakers 1849, Oil on canvas Impressionism (1860s-1890s) Focus on depicting the effects of changing light, perceived movement, and transience, using visible brush-strokes Content matter: nature and everyday life Boucher s La Toilette de Ve nus 1751, Oil on canvas Fragonard s L Escarpolette 1761, Oil on canvas Neo-Classicism: ( s) Classical symmetry, moralizing/idealized subject-matter (often from mythology), idealized body proportions, idealized golden skintones, political themes Renoir s Les de jeuner des canotiers, 1881 Oil on canvas Monet s Haystacks on a Foggy Morning, 1891 Oil on canvas Modern Art: (1900s-) Rebellion against representational nature of art David s The Death of Marati 1793, Oil on canvas David s Oath of the Horatii 1784, Oil on canvas Realism: (1850s-1890s) Realistic subject-matter (post-revolution everyday life), realistic/nonidealized body proportions, cold/dreary colour palette Picasso s Girl With Mandolin (Fanny Tellier) 1910, Oil on canvas 4
5 What is ART? 3 Manet s Olympia challenged the social and artistic conventions that the viewers of his era expected Representational VS Expressive Approaches to Art Recall: According to the representational/mimetic approach to art, the aesthetic response correlates with how well an object represents reality This intellectual challenge is a large part of Olympia s value as art (cf Kant s fourth criterion) Marcel DuChamp s Fountain does the same thing! - ie, it challenges the conventions that art should be The value of an object as art is correlated with how faithful a representation of reality it is Traditional Conventions of Art (i) Representational (Duchamp: Rather it should be conceptual!) (ii) Visually-pleasing/beautiful (iii) Have a medium like paint, bronze, marble, etc, 5 But what do we mean by REALITY?
6 31 The Expressive Aspect of Art Representation: Outward-looking, aims to capture outer reality Nature Society Human form and action Expression: Inward-looking, aims to convey inner reality Moods Manet s Bar at the Folies-Bergere Depicts a real part of Parisian society (representational) but the expression on the barmaid s face (especially in contrast with her animated pose in mirror s reflection), can be interpreted as expressing Manet s critical attitude towards Parisian societywild Emotions Attitudes The Hudson River School: 19th-Century American landscape painters Realistic/naturalistic approach to natural scenes (representational) David s Oath of the Horatii, commissioned by Louis XVI Scene from Classical Roman history: The three Horatii brothers agree to risk their lives in order to fight against three members of the Curiatii family, to settle a dispute between Rome and Alba Tonal contrasts give appearance of solid form to the figures (representational) Tonal contrast between background and foreground also expressively glorifies the virtues of loyalty, sacrifice, and solidarity to the State a But also expressive of their nationalistic interpretation of the American landscape as monumental, dramatic, breath-taking and wild 6
7 Eg, warm colours for characters with warm, energetic personalities a Prior to the French Revolution, they glorified solidarity to Louis XVI Next week we ll talk about how this relates to the Constructivist Approach to Art Eg, cool colours for characters with cool, calm personalities Q: Whose moods, emotions and attitudes? According to the Expressive Conception of Art: The artist s moods, emotions and attitudes 32 Expressive Uses of Colour Last Week: How to understand and use colour to better represent outward realities Value and chroma can also be used expressively Colour Theory: Hue, Value, Chroma 1 Local Colour and interactions with Light Sources (colour constancy, in terms of hue, value and chroma) eg, Fauvism: Non-naturalistic, expressive colour, defied conventions regarding value and form (eg, the Form principle) 2 Form Principle: Predictable value regions on solid 3D forms eg, Matisse s L Atelier Rouge ( The Red Studio )1, 1911, Oil on Canvas Modern art spreads joy around it by its color, which calms us - Matisse This Week: How to understand and use colour to better express inward realities Expressive Colour - Hue Temperature Recall: The terms warm and cool are often used to describe HUE The cool colors seem to evoke feelings of winter, night, sky, shadow, sleep and ice The color blue suggests quietness, restfulness, and calm Warm colours make us think of fire, hot spices, and blood They connote energy and passion Orange and yellow are ephemeral colors We see them fleetingly in nature: in sunsets, flowers, or autumn leaves ( Gurney 2010 ) 1 Observation: The psychological associations of colour is often used to reinforce particular characterizations as well 7 The studio was actually white
8 WEEKLY INSTAGRAM ASSIGNMENT: Option I 1 Find/create something that uses colour (hue, value or chroma) expressively instead of representationally 2 Explain (i) how the colour use is not representational, and (ii) what you think the divergence from the representational approach expresses 3 Remember to identify with your student code in the comment! WEEKLY INSTAGRAM ASSIGNMENT: Option II 1 Find/create an image with three sections, each section showing a progression in terms of (i) Representation, or (ii) Expressiveness 2 Explain how the visual aspects 3 Remember to identify with your student code in the comment! References Gurney, James 2010 Color and light: A guide for the realist painter Andrews McMeel Publishing Stecker, Robert 2010 Aesthetics and the philosophy of art: An introduction Rowman & Littlefield Publishers 8
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