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2b purpose and function

This document discusses the purposes and functions of art in society. It begins by outlining six main functions of art: for delight, as commentary, in worship and ritual, for commemoration, as a status symbol, and for propaganda. Each function is then explored in more detail with examples. For the function of art for delight, the document examines paintings, pottery, and photographs that aim to provide aesthetic pleasure or surprise. It discusses how definitions of beauty vary across cultures.

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Prebles' ArtformsPrebles' Artforms An Introduction to the Visual ArtsAn Introduction to the Visual Arts CHAPTER ELEVENTH EDITION Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved The Purposes and Functions of Art 2
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Learning ObjectivesLearning Objectives 1. Contrast the ritual, social, and public functions of art. 2. Discuss the aesthetic and emotional appeal of art that gives pleasure. 3. Consider the historical shift toward greater self-expression through art. 4. Identify and explain examples that reveal art's different functions in society.
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved IntroductionIntroduction • Art forms as a result of meeting deep and subtle needs as a society.  Public purposes, not personal goals of the artist • Art in its social and cultural context  Six functions  May address more than one need
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Appreciation of beauty or decoration • Delight in an element of surprise • Aesthetics  An awareness of beauty or a quality that evokes a sense of elevated awareness in the viewer • Definitions of "beauty"  Classical Greek or Renaissance art in the West
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved James Abbott McNeill Whistler. Nocturne: Blue and Gold—Old Battersea Bridge. 1872–1875. Oil on canvas. 26-7/8" × 12-1/4". Tate, London. Photograph: akg-images/Erich Lessing. [Fig. 2-1]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Definitions of "beauty"  Varies across cultures  Painting • Pleasant or inspiring subject • Thoughtful execution • Harmonious balance of colors
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Whistler, Nocturne: Blue and Gold  Subtle variations of blue in sky and water  Almost monochromatic • Based on one color • Geometric bowl of the Mimbres culture  Dynamic design of invented forms  Use of slip, or clay thinned to the consistency of cream
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Bowl. Classic Mimbres geometric. c.1000 CE. Earthenware. Height 4-1/4", diameter 11-1/4". Private collection. Photograph by Tony Berlant. [Fig. 2-2]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Orozco, Juego de Limones  Recognizable but unexpected surprise  Imagining players using lime slices as tokens on a board  Colors of the Mexican flag
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. Juego de Limones (Game of Limes). Silver dye bleach print. 16" × 20". Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-5]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Forming ArtForming Art • Gabriel Orozco: The Art of Surprise  Forms art from the most simple means to create surprise and delight • Subtle displacements  Edited version of a Citroën DS sedan • Middle third cut out  Intends for his work to be a moment of poetry, pleasure, revelation, thinking
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. Portrait by Enrique Badulescu. Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-3]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. La DS. 1993. Modified Citroen DS auto. 4' 7-3/16" × 15' 9-15/16" × 3' 9-5/16". Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-4]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Answer to a need for information • A visual account of an event, person, or opinion • Communication between artist and viewer through subject matter • Goya's The Disasters of War  82 prints surrounding Spain's war of resistance against Napoleon • Distributed in multiple copies
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Francisco Goya. I Saw This. From the series The Disasters of War, 1810. Etching, drypoint, and burin. 6-1/14" × 9". Private collection. [Fig. 2-6]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Goya's The Disasters of War  Gruesome, frightening account of what Goya witnessed • Impressionist artists  Captured what they had seen • Berthe Morisot, In a Villa at the Seaside  Painterly (loose, spontaneous) brushwork  Perhaps painted in a single sitting
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Berthe Morisot. In a Villa at the Seaside. 1874. Oil on canvas. 19-3/4" × 24". Norton Simon Art Foundation M. 1979.21.P © 2012 Norton Simon Art Foundation. [Fig. 2-7]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Berthe Morisot, In a Villa at the Seaside  Information about dress details and vacation sites of the upper class as well as a calm portrait • Artist's commentaries often include personal judgments.  Conditions  Facts  Politics
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Occupy LA Mural  Octopus personifying Federal Reserve Bank  Symbols of foreclosed home, money, city  Scale where the 1% outweighs the 99%  Scott Olsen, an Iraq war veteran injured in the Occupy group in Oakland  Not subtle in its commentary
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Unknown artist. Occupy LA Mural. 2011. Poster paint on wood panels. Height 14'. Formerly City Hall Park, Los Angeles. Photograph: Patrick Frank. [Fig. 2-8]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Enhances religious contemplation • In the time of Thomas Aquinas  Attractive representations raise viewers "to the knowledge of intelligible truths"  The Tree of Jesse • Stained glass window • Genealogy of Christ • Composition leading the eye upward in a metaphor for religious transcendence
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved The Tree of Jesse. c.1150–1170. Stained glass. West façade of Chartres Cathedral. Sonia Halliday Photographs. [Fig. 2-9] Web Resource: Chartres Cathedral Closer Look: The Stained Glass at Chartres
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Zen school of Buddhism  Solitary meditation  Rock garden as aid to contemplation • Chief feature of emptiness • Eskimos of Southwest Alaska  Shamans interpret the spirit world  Masks • Transformation to take on identity of sacred animals
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Rock Garden. Built beginning 1480. 30' × 73'. Ryoan-ji, Kyoto, Japan. Michael S. Yamashita/CORBIS. [Fig. 2-10] Web Resource: Ryoan-ji Temple
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Complex mask. c.1880. Wood, pigments, and feathers. Height 35". Yupik Eskimo, Southwest Alaska. Donald Ellis Gallery Ltd., New York, NY. Photo John Bigelow Taylor. [Fig. 2-11]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Objects used in divine rituals  Made to look precious  Beatrice Wood's Chalice • Glowing metallic technique produced by Muslim potters centuries ago • Lacks straight lines and square edges • Origins in natural forms of the earth • Symmetrical loops
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Beatrice Wood. Chalice. 1985. Pottery. Height 12-7/8", diameter 7-5/8". Collection of The Newark Museum. Purchase 1986 Louis Bamberger Bequest Fund (86.4) © 2013 Photo The Newark Museum/Art Resource/Scala, Florence. Courtesy Beatrice Wood Center for the Arts/Happy Valley Foundation. [Fig. 2-12]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • An aid to memory • Often a public celebration  Of a person or event  Honoring patriotic actions • Connection with chain of humanity  Human life significant and valuable
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • Taj Mahal  Personal commemoration of Shah Jahan's favorite wife, who died in childbirth  Testament to romantic love and devotion • The Death of General Wolfe  Depiction of patriotic self-sacrifice
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Taj Mahal. 1632–1648. Agra, India. Photograph: Peter Adams/Corbis. [Fig. 2-13] Video: Taj Mahal
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • The Death of General Wolfe  Controversy of contemporary clothing • Subjects not represented in Greek or Roman figures • Royal Academy sent by King George III to stop work • West argued for depicting history as it occurred. • They sided with him and the painting went on to influence European art.
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Benjamin West. The Death of General Wolfe. 1770. Oil on canvas. 60" × 84-1/2". National Gallery of Canada, Ottawa. Transfer from the Canadian War Memorials, 1921. Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918. Gift of the Duke of Westminster. [Fig. 2-14]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • Vietnam Veterans Memorial, Maya Lin  Simple chronological list of almost 60,000 Americans who died or are missing from the Vietnam War  Initial resistance to uniqueness of work  Solemn black granite walls  Personal attention in recording every lost soldier's name
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Maya Lin. Vietnam Veterans Memorial. 1980–1982. Black granite. Each wall 10' 1" × 246' 9". The Mall, Washington D.C. Photograph: Duane Preble. [Fig. 2-15] Video: Maya Lin: Disappearing Bodies of Water
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Inviting and urging viewer to do or think things that would not otherwise be done • Augustus of Prima Porta  Head is a portrait  Body implies emperor of divine status • Shoeless feet, as in Roman manner of representing gods • Cupid riding dolphin
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Augustus of Prima Porta. Early 1st century CE. Marble. Height 6' 8". Araldo de Luca/CORBIS. [Fig. 2-16]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Louis XIV  Realized the power of visual imagery on public opinion  Versailles, palace and garden • Ornate symbol of monarchy • Classical Greek sculpture  Idealism of humans presented in the prime of life with serious pursuits  Encouraged sober self-restraint
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Pierre Patel. Versailles. c.1665. Oil on canvas. 45-1/4" × 63-1/2". Chateau de Versailles et de Trianon, Versailles, France. Giraudon/The Bridgeman Art Library. [Fig. 2-17]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Charioteer. c.470 BCE. Height 5' 11". Archeological Museum, Delphi. © Craig & Marie Mauzy, Athens. [Fig. 2-18]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Lorenzetti, Effects of Good Government  Depicts a city under wise administration • Decorates the hall where the governing council met • Intended to influence deliberations by example  Contrasting work of the effects of bad government  More literal depictions of persuasion
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Ambrogio Lorenzetti. Effects of Good Government in the City. 1338–39. Fresco. Palazzo Pubblico, Siena. Studio Fotografico Quattrone, Florence. [Fig. 2-19] Closer Look: Ambrogio Lorenzetti, Effects of Good Government in the City and in the Country
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Mende masks  Symbolic visual language to instill proper behavior  Qualities of this mask in particular • Initiation ceremonies for girls on the verge of adulthood • Symbols encourage young women to be virtuous and have impeccable appearance
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Mende peoples, Sierra Leone. Mask. 19th century. Wood, pigment, plant fiber. Height 26-3/4". Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 2-20]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Recent times  Advertisement media persuade us to buy or believe something.  Artists criticize or influence values and public opinion. • Chaz Maviyane-Davies, Global Warning
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Chaz Maviyane-Davies. Global Warning. 1997. Poster for 3rd United Nations Convention on Climate Change, Kyoto. Courtesy of the artist. [Fig. 2-21]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Not the primary reason for creating art for most of human history  Other social and cultural needs engaging artists' talents until recently • Artist conveys information about:  Personality  Feelings  Worldview • Separate from social cause/demand
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Self-portraiture  Nussbaum's Self-Portrait with Jewish Identity Card • Personal and political anxiety of the artist  Yong Soon Min's Dwelling • Sense of divided self • Traditional dress over pile of books • Assemblage • Collection of objects gathered into work
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Felix Nussbaum. Self-Portrait with Jewish Identity Card. 1943. Oil on canvas. 22" × 19-1/4". Kulturgeschichtliches Museum, Osnabrueck, Germany/Artothek/ The Bridgeman Art Library. [Fig. 2-22]
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Yong Soon Min. Dwelling. 1993. Mixed media. 72" × 42" × 28". Photo by Erik Landsberg. Courtesy of the artist. [Fig. 2-23] Podcast: Yong Soon Min, Los Angeles, CA
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Wassily Kandinsky  "Inner necessity," or emotional stirrings of the soul • Attempted to translate inner spiritual energies into color and form • Wanted work to communicate like music  Composition VI • Conveyed restless and aroused inner state probably known to viewers
Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Wassily Kandinsky. Composition VI. 1913. Oil on canvas. 76-3/4" × 118". The State Hermitage Museum, St. Petersburg, Russia/The Bridgeman Art Library © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 2-24]

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2b purpose and function

  • 1.
    Prebles' ArtformsPrebles' Artforms AnIntroduction to the Visual ArtsAn Introduction to the Visual Arts CHAPTER ELEVENTH EDITION Prebles' Artforms, Eleventh Edition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved The Purposes and Functions of Art 2
  • 2.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Learning ObjectivesLearning Objectives 1. Contrast the ritual, social, and public functions of art. 2. Discuss the aesthetic and emotional appeal of art that gives pleasure. 3. Consider the historical shift toward greater self-expression through art. 4. Identify and explain examples that reveal art's different functions in society.
  • 3.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved IntroductionIntroduction • Art forms as a result of meeting deep and subtle needs as a society.  Public purposes, not personal goals of the artist • Art in its social and cultural context  Six functions  May address more than one need
  • 4.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Appreciation of beauty or decoration • Delight in an element of surprise • Aesthetics  An awareness of beauty or a quality that evokes a sense of elevated awareness in the viewer • Definitions of "beauty"  Classical Greek or Renaissance art in the West
  • 5.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved James Abbott McNeill Whistler. Nocturne: Blue and Gold—Old Battersea Bridge. 1872–1875. Oil on canvas. 26-7/8" × 12-1/4". Tate, London. Photograph: akg-images/Erich Lessing. [Fig. 2-1]
  • 6.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Definitions of "beauty"  Varies across cultures  Painting • Pleasant or inspiring subject • Thoughtful execution • Harmonious balance of colors
  • 7.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Whistler, Nocturne: Blue and Gold  Subtle variations of blue in sky and water  Almost monochromatic • Based on one color • Geometric bowl of the Mimbres culture  Dynamic design of invented forms  Use of slip, or clay thinned to the consistency of cream
  • 8.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Bowl. Classic Mimbres geometric. c.1000 CE. Earthenware. Height 4-1/4", diameter 11-1/4". Private collection. Photograph by Tony Berlant. [Fig. 2-2]
  • 9.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for DelightArt for Delight • Orozco, Juego de Limones  Recognizable but unexpected surprise  Imagining players using lime slices as tokens on a board  Colors of the Mexican flag
  • 10.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. Juego de Limones (Game of Limes). Silver dye bleach print. 16" × 20". Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-5]
  • 11.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Forming ArtForming Art • Gabriel Orozco: The Art of Surprise  Forms art from the most simple means to create surprise and delight • Subtle displacements  Edited version of a Citroën DS sedan • Middle third cut out  Intends for his work to be a moment of poetry, pleasure, revelation, thinking
  • 12.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. Portrait by Enrique Badulescu. Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-3]
  • 13.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Gabriel Orozco. La DS. 1993. Modified Citroen DS auto. 4' 7-3/16" × 15' 9-15/16" × 3' 9-5/16". Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-4]
  • 14.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Answer to a need for information • A visual account of an event, person, or opinion • Communication between artist and viewer through subject matter • Goya's The Disasters of War  82 prints surrounding Spain's war of resistance against Napoleon • Distributed in multiple copies
  • 15.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Francisco Goya. I Saw This. From the series The Disasters of War, 1810. Etching, drypoint, and burin. 6-1/14" × 9". Private collection. [Fig. 2-6]
  • 16.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Goya's The Disasters of War  Gruesome, frightening account of what Goya witnessed • Impressionist artists  Captured what they had seen • Berthe Morisot, In a Villa at the Seaside  Painterly (loose, spontaneous) brushwork  Perhaps painted in a single sitting
  • 17.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Berthe Morisot. In a Villa at the Seaside. 1874. Oil on canvas. 19-3/4" × 24". Norton Simon Art Foundation M. 1979.21.P © 2012 Norton Simon Art Foundation. [Fig. 2-7]
  • 18.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Berthe Morisot, In a Villa at the Seaside  Information about dress details and vacation sites of the upper class as well as a calm portrait • Artist's commentaries often include personal judgments.  Conditions  Facts  Politics
  • 19.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as CommentaryArt as Commentary • Occupy LA Mural  Octopus personifying Federal Reserve Bank  Symbols of foreclosed home, money, city  Scale where the 1% outweighs the 99%  Scott Olsen, an Iraq war veteran injured in the Occupy group in Oakland  Not subtle in its commentary
  • 20.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Unknown artist. Occupy LA Mural. 2011. Poster paint on wood panels. Height 14'. Formerly City Hall Park, Los Angeles. Photograph: Patrick Frank. [Fig. 2-8]
  • 21.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Enhances religious contemplation • In the time of Thomas Aquinas  Attractive representations raise viewers "to the knowledge of intelligible truths"  The Tree of Jesse • Stained glass window • Genealogy of Christ • Composition leading the eye upward in a metaphor for religious transcendence
  • 22.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved The Tree of Jesse. c.1150–1170. Stained glass. West façade of Chartres Cathedral. Sonia Halliday Photographs. [Fig. 2-9] Web Resource: Chartres Cathedral Closer Look: The Stained Glass at Chartres
  • 23.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Zen school of Buddhism  Solitary meditation  Rock garden as aid to contemplation • Chief feature of emptiness • Eskimos of Southwest Alaska  Shamans interpret the spirit world  Masks • Transformation to take on identity of sacred animals
  • 24.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Rock Garden. Built beginning 1480. 30' × 73'. Ryoan-ji, Kyoto, Japan. Michael S. Yamashita/CORBIS. [Fig. 2-10] Web Resource: Ryoan-ji Temple
  • 25.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Complex mask. c.1880. Wood, pigments, and feathers. Height 35". Yupik Eskimo, Southwest Alaska. Donald Ellis Gallery Ltd., New York, NY. Photo John Bigelow Taylor. [Fig. 2-11]
  • 26.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art in Worship and RitualArt in Worship and Ritual • Objects used in divine rituals  Made to look precious  Beatrice Wood's Chalice • Glowing metallic technique produced by Muslim potters centuries ago • Lacks straight lines and square edges • Origins in natural forms of the earth • Symmetrical loops
  • 27.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Beatrice Wood. Chalice. 1985. Pottery. Height 12-7/8", diameter 7-5/8". Collection of The Newark Museum. Purchase 1986 Louis Bamberger Bequest Fund (86.4) © 2013 Photo The Newark Museum/Art Resource/Scala, Florence. Courtesy Beatrice Wood Center for the Arts/Happy Valley Foundation. [Fig. 2-12]
  • 28.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • An aid to memory • Often a public celebration  Of a person or event  Honoring patriotic actions • Connection with chain of humanity  Human life significant and valuable
  • 29.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • Taj Mahal  Personal commemoration of Shah Jahan's favorite wife, who died in childbirth  Testament to romantic love and devotion • The Death of General Wolfe  Depiction of patriotic self-sacrifice
  • 30.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Taj Mahal. 1632–1648. Agra, India. Photograph: Peter Adams/Corbis. [Fig. 2-13] Video: Taj Mahal
  • 31.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • The Death of General Wolfe  Controversy of contemporary clothing • Subjects not represented in Greek or Roman figures • Royal Academy sent by King George III to stop work • West argued for depicting history as it occurred. • They sided with him and the painting went on to influence European art.
  • 32.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Benjamin West. The Death of General Wolfe. 1770. Oil on canvas. 60" × 84-1/2". National Gallery of Canada, Ottawa. Transfer from the Canadian War Memorials, 1921. Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918. Gift of the Duke of Westminster. [Fig. 2-14]
  • 33.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for CommemorationArt for Commemoration • Vietnam Veterans Memorial, Maya Lin  Simple chronological list of almost 60,000 Americans who died or are missing from the Vietnam War  Initial resistance to uniqueness of work  Solemn black granite walls  Personal attention in recording every lost soldier's name
  • 34.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Maya Lin. Vietnam Veterans Memorial. 1980–1982. Black granite. Each wall 10' 1" × 246' 9". The Mall, Washington D.C. Photograph: Duane Preble. [Fig. 2-15] Video: Maya Lin: Disappearing Bodies of Water
  • 35.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Inviting and urging viewer to do or think things that would not otherwise be done • Augustus of Prima Porta  Head is a portrait  Body implies emperor of divine status • Shoeless feet, as in Roman manner of representing gods • Cupid riding dolphin
  • 36.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Augustus of Prima Porta. Early 1st century CE. Marble. Height 6' 8". Araldo de Luca/CORBIS. [Fig. 2-16]
  • 37.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Louis XIV  Realized the power of visual imagery on public opinion  Versailles, palace and garden • Ornate symbol of monarchy • Classical Greek sculpture  Idealism of humans presented in the prime of life with serious pursuits  Encouraged sober self-restraint
  • 38.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Pierre Patel. Versailles. c.1665. Oil on canvas. 45-1/4" × 63-1/2". Chateau de Versailles et de Trianon, Versailles, France. Giraudon/The Bridgeman Art Library. [Fig. 2-17]
  • 39.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Charioteer. c.470 BCE. Height 5' 11". Archeological Museum, Delphi. © Craig & Marie Mauzy, Athens. [Fig. 2-18]
  • 40.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Lorenzetti, Effects of Good Government  Depicts a city under wise administration • Decorates the hall where the governing council met • Intended to influence deliberations by example  Contrasting work of the effects of bad government  More literal depictions of persuasion
  • 41.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Ambrogio Lorenzetti. Effects of Good Government in the City. 1338–39. Fresco. Palazzo Pubblico, Siena. Studio Fotografico Quattrone, Florence. [Fig. 2-19] Closer Look: Ambrogio Lorenzetti, Effects of Good Government in the City and in the Country
  • 42.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Mende masks  Symbolic visual language to instill proper behavior  Qualities of this mask in particular • Initiation ceremonies for girls on the verge of adulthood • Symbols encourage young women to be virtuous and have impeccable appearance
  • 43.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Mende peoples, Sierra Leone. Mask. 19th century. Wood, pigment, plant fiber. Height 26-3/4". Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 2-20]
  • 44.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art for PersuasionArt for Persuasion • Recent times  Advertisement media persuade us to buy or believe something.  Artists criticize or influence values and public opinion. • Chaz Maviyane-Davies, Global Warning
  • 45.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Chaz Maviyane-Davies. Global Warning. 1997. Poster for 3rd United Nations Convention on Climate Change, Kyoto. Courtesy of the artist. [Fig. 2-21]
  • 46.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Not the primary reason for creating art for most of human history  Other social and cultural needs engaging artists' talents until recently • Artist conveys information about:  Personality  Feelings  Worldview • Separate from social cause/demand
  • 47.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Self-portraiture  Nussbaum's Self-Portrait with Jewish Identity Card • Personal and political anxiety of the artist  Yong Soon Min's Dwelling • Sense of divided self • Traditional dress over pile of books • Assemblage • Collection of objects gathered into work
  • 48.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Felix Nussbaum. Self-Portrait with Jewish Identity Card. 1943. Oil on canvas. 22" × 19-1/4". Kulturgeschichtliches Museum, Osnabrueck, Germany/Artothek/ The Bridgeman Art Library. [Fig. 2-22]
  • 49.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Yong Soon Min. Dwelling. 1993. Mixed media. 72" × 42" × 28". Photo by Erik Landsberg. Courtesy of the artist. [Fig. 2-23] Podcast: Yong Soon Min, Los Angeles, CA
  • 50.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Art as Self-ExpressionArt as Self-Expression • Wassily Kandinsky  "Inner necessity," or emotional stirrings of the soul • Attempted to translate inner spiritual energies into color and form • Wanted work to communicate like music  Composition VI • Conveyed restless and aroused inner state probably known to viewers
  • 51.
    Prebles' Artforms, EleventhEdition Patrick Frank Copyright © 2014, 2011, 2009 by Pearson Education, Inc. All Rights Reserved Wassily Kandinsky. Composition VI. 1913. Oil on canvas. 76-3/4" × 118". The State Hermitage Museum, St. Petersburg, Russia/The Bridgeman Art Library © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 2-24]

Editor's Notes

  • #6 James Abbott McNeill Whistler.Nocturne: Blue and Gold—Old Battersea Bridge. 1872–1875.Oil on canvas. 26-7/8" × 12-1/4".Tate, London. Photograph: akg-images/Erich Lessing. [Fig. 2-1]
  • #9 Bowl. Classic Mimbres geometric. c.1000 CE.Earthenware. Height 4-1/4", diameter 11-1/4".Private collection. Photograph by Tony Berlant. [Fig. 2-2]
  • #11 Gabriel Orozco. Juego de Limones (Game of Limes).Silver dye bleach print. 16" × 20".Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-5]
  • #13 Gabriel Orozco.Portrait by Enrique Badulescu.Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-3]
  • #14 Gabriel Orozco. La DS. 1993.Modified Citroen DS auto. 4' 7-3/16" × 15' 9-15/16" × 3' 9-5/16".Courtesy of the artist and Marian Goodman Gallery, New York. [Fig. 2-4]
  • #16 Francisco Goya. I Saw This. From the series The Disasters of War, 1810.Etching, drypoint, and burin. 6-1/14" × 9".Private collection. [Fig. 2-6]
  • #18 Berthe Morisot. In a Villa at the Seaside. 1874.Oil on canvas. 19-3/4" × 24".Norton Simon Art Foundation M. 1979.21.P © 2012 Norton Simon Art Foundation.[Fig. 2-7]
  • #21 Unknown artist. Occupy LA Mural. 2011.Poster paint on wood panels. Height 14'.Formerly City Hall Park, Los Angeles. Photograph: Patrick Frank. [Fig. 2-8]
  • #23 The Tree of Jesse. c.1150–1170.Stained glass.West façade of Chartres Cathedral. Sonia Halliday Photographs. [Fig. 2-9]
  • #25 Rock Garden. Built beginning 1480.30' × 73'.Ryoan-ji, Kyoto, Japan. Michael S. Yamashita/CORBIS. [Fig. 2-10]
  • #26 Complex mask. c.1880.Wood, pigments, and feathers. Height 35".Yupik Eskimo, Southwest Alaska. Donald Ellis Gallery Ltd., New York, NY. Photo John Bigelow Taylor. [Fig. 2-11]
  • #28 Beatrice Wood. Chalice. 1985.Pottery. Height 12-7/8", diameter 7-5/8".Collection of The Newark Museum. Purchase 1986 Louis Bamberger BequestFund (86.4) © 2013 Photo The Newark Museum/Art Resource/Scala, Florence.Courtesy Beatrice Wood Center for the Arts/Happy Valley Foundation. [Fig. 2-12]
  • #31 Taj Mahal. 1632–1648.Agra, India. Photograph: Peter Adams/Corbis. [Fig. 2-13]
  • #33 Benjamin West. The Death of General Wolfe. 1770.Oil on canvas. 60" × 84-1/2".National Gallery of Canada, Ottawa. Transfer from the Canadian War Memorials, 1921. Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918. Gift of the Duke of Westminster. [Fig. 2-14]
  • #35 Maya Lin. Vietnam Veterans Memorial. 1980–1982.Black granite. Each wall 10' 1" × 246' 9".The Mall, Washington D.C. Photograph: Duane Preble. [Fig. 2-15]
  • #37 Augustus of Prima Porta. Early 1st century CE.Marble. Height 6' 8".Araldo de Luca/CORBIS. [Fig. 2-16]
  • #39 Pierre Patel. Versailles. c.1665.Oil on canvas. 45-1/4" × 63-1/2".Chateau de Versailles et de Trianon, Versailles, France. Giraudon/The Bridgeman Art Library. [Fig. 2-17]
  • #40 Charioteer. c.470 BCE.Height 5' 11".Archeological Museum, Delphi. © Craig & Marie Mauzy, Athens. [Fig. 2-18]
  • #42 Ambrogio Lorenzetti. Effects of Good Government in the City. 1338–39.Fresco.Palazzo Pubblico, Siena. Studio Fotografico Quattrone, Florence. [Fig. 2-19]
  • #44 Mende peoples, Sierra Leone. Mask. 19th century.Wood, pigment, plant fiber. Height 26-3/4".Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 2-20]
  • #46 Chaz Maviyane-Davies. Global Warning. 1997.Poster for 3rd United Nations Convention on Climate Change, Kyoto.Courtesy of the artist. [Fig. 2-21]
  • #49 Felix Nussbaum. Self-Portrait with Jewish Identity Card. 1943.Oil on canvas. 22" × 19-1/4".Kulturgeschichtliches Museum, Osnabrueck, Germany/Artothek/The Bridgeman Art Library. [Fig. 2-22]
  • #50 Yong Soon Min. Dwelling. 1993.Mixed media. 72" × 42" × 28".Photo by Erik Landsberg. Courtesy of the artist. [Fig. 2-23]
  • #52 Wassily Kandinsky. Composition VI. 1913.Oil on canvas. 76-3/4" × 118".The State Hermitage Museum, St. Petersburg, Russia/The Bridgeman Art Library © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 2-24]