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, 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.
, c. mid-1450s. Oil on wood, 127.6 cm × 94.9 cm (50.2 in × 37.4 in), National Gallery of Art
, Washington, D.C.
The Nativity is a devotional mid-1450s oil-on-wood panel painting by the Early Netherlandish painter Petrus Christus. It shows a nativity scene with grisaille archways and trompe-l'œil sculptured reliefs. Christus was influenced by the first generation of Netherlandish artists, especially Jan van Eyck and Rogier van der Weyden, and the panel is characteristic of the simplicity and naturalism of art of that period. Placing archways as a framing device is a typical van der Weyden device, and here likely borrowed from that artist's Altar of Saint John and Miraflores Altarpiece. Yet Christus adapts these painterly motifs to a uniquely mid-15th century sensibility, and the unusually large panel – perhaps painted as a central altarpiece panel for a triptych – is nuanced and visually complex. It shows his usual harmonious composition and employment of one-point-perspective, especially evident in the geometric forms of the shed's roof, and his bold use of color. It is one of Christus's most important works. Max Friedländer definitely attributed the panel to Christus in 1930, concluding that "in scope and importance, [it] is superior to all other known creations of this master."
The overall atmosphere is one of simplicity, serenity and understated sophistication. It is reflective of the 14th-century Devotio Moderna
movement, and contains complex Christian symbolism, subtly juxtaposing Old
Testament iconography. The sculpted figures in the archway depict biblical scenes of sin and punishment, signaling the advent of Christ
's sacrifice, with an over-reaching message of the "Fall and Redemption of humankind". Inside the archway, surrounded by four angels, is the Holy Family
; beyond, a landscape extends into the far background. Read more...
Matryoshka dolls, also known as Russian nested dolls or Babushka dolls, were seen as early as 1890. They are not a traditional Russian handicraft, although the concept of nested objects was familiar in Russia. The first set of dolls is said to have been made by a painter in the Abramtsevo estate inspired by a set of Japanese wooden dolls representing the Seven Gods of Fortune.
||When I've painted a woman's behind so that I want to touch it, then it's finished!
||— Pierre-Auguste Renoir, Vollard, Ambroise (1925). Renoir: an initimate record. Translated by Van Dooren, Harold L.; Weaver, Randolph T. New York: Alfred A. Knopf. p. 57. OCLC 631984646.|
Cameo of Pistrucci (ca. 1850, by his daughter, Elisa)
Benedetto Pistrucci (29 May 1783 – 16 September 1855) was an Italian gem-engraver, medallist and coin engraver, probably best known for his Saint George and the Dragon design for the British sovereign coin. Pistrucci was commissioned by the British government to create the large Waterloo Medal, a project which took him thirty years to complete.
Born in Rome in 1783, Pistrucci studied briefly with other artists before striking out on his own at age 15. He became prominent as a cameo
carver and was patronised by royalty. In 1815, he moved to Britain, where he would live for most of the rest of his life. His talent brought him to the attention of notables including William Wellesley-Pole
, the Master of the Mint
. Pole engaged Pistrucci to design new coinage, including the sovereign, which was first issued in 1817 to mixed reactions. Although Pole probably promised Pistrucci the post of Chief Engraver, the position could not be awarded as only a British subject could hold it. This slight became a long-term grievance for Pistrucci. Read more...
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The following are images from various visual arts-related articles on Wikipedia.
Netsuke of tigress with two cubs, mid-19th-century Japan, ivory with shell inlay
Moai from Easter Island, where the concentration of resources on large sculpture may have had serious political effects.
Ivory with traces of paint, 11th–12th century, Egypt
Spanish cave painting of Bulls
A Jōmon dogū figure, 1st millennium BCE, Japan
The Brunswick Lion, 1166, the first large hollow casting of a figure since antiquity, 1.78 metres tall and 2.79 metres long
Sumerian male worshipper, alabaster with shell eyes, 2750−2600 BCE
Venus of Laussel c. 27,000 BP, an Upper Palaeolithic carving, Bordeaux museum, France
Spring Morning in the Han Palace, by Ming-era artist Qiu Ying (1494–1552 AD)
Detail of Crucifixion of Jesus Christ, Spanish, wood and polychrome, 1793.
Cueva de las Manos (Spanish for Cave of the Hands) in the Santa Cruz province in Argentina, c. 7300 BC
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
Device to Root Out Evil (1997) sculpture by Dennis Oppenheim at
Palma de Mallorca, Plaça de la Porta de Santa Catalina
The Gero Cross, c. 965–970, Cologne, Germany. The first great example of the revival of large sculpture
Two Scribes Seated with Books and a Writing Table Fragment of a decorative margin Northern India (Mughal school), ca. 1640–1650
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
French ivory Virgin and Child, end of 13th century, 25 cm high, curving to fit the shape of the ivory tusk
The Pergamene style of the Hellenistic period, from the Pergamon Altar, early 2nd century
Mother Goddess A miniature painting of the Pahari style, dating to the eighteenth century. Pahari and Rajput miniatures share many common features.
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).
The Eternal Father Painting the Virgin of Guadalupe. Attributed to Joaquín Villegas (1713 - active in 1753) (Mexican) (painter, Museo Nacional de Arte.
Visible damage due to acid rain on a sculpture
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