Is Art Supposed to Be Good? скачать в хорошем качестве

Is Art Supposed to Be Good?

NO HATE TO ANY ARTWORK USED IN THE VIDEO! All of the artists are incredibly talented and skilled. 1st Artist Clip: “Timelapse Charcoal Drawing of DANIEL RADCLIFFE - by Matteo Zoccheddu” on YouTube, channel: ZokArt 2nd Artist Clip: "Sun Yuan and Peng Yu: Can't Help Myself" on YouTube All other artists/clips have usernames included TIMESTAMPS: 0:00 - thesis 1:28 - the paradigm shift 5:43 - the new patrons 7:31 - square one What if i told you that this is bad art, and this is good art? You'd probably think im just trying to be pretentious, and in a way, I am, but, in a historical context, there is more artistic expression in this artwork (Piet Mondrian) than there is in this artwork (arnolfini portrait), because artistry is beyond what meets the eye. To understand why, we have to stop looking at art as a hobby and start looking at it as a transaction, because that’s what it was for the majority of time. You see, way back when, when cameras didn’t exist, the depiction of people were rare! You and I would not be getting our portraits done. So people who could afford their own portraits hired artists to depict their likeness. This meant that the people funding the art, or the patrons, had the final say over what kind of art was being made. And you better believe they’d be getting their money’s worth! Naturally, they’d want it to look “good”. You know, realistic, noble, powerful, and to cover up the blemishes they might have. This applied not only to people like traders and kings, but to organizations as well, like religions, where although they were often motivated by a message, there was still an emphasis on establishing their grandness, because only the best was accepted for the course of truth. So for the most part, professional art really only existed for power, and to shape perceived reality in favor of those who controlled it. Eventually the first photograph ever would be taken in 1826 by Joseph Neyeps and soon after, the first standardized photographic process was developed. Suddenly portraits, landscapes, and reality as a whole was a lot easier to depict, and artists were confronted by a harsh question: if a machine can capture reality perfectly, what is the point of the artist anymore? You see, for centuries, artists honed their skills in depicting the world as realistically and beautifully as possible. Before the camera, painters were the only technology capable of preserving the way the world looked. Now that the objective reality of the world had been covered by technology, artists had to adapt and depict a new domain: the subjective reality. Artists like Claude Monet, who certainly possessed the skills of realism, became less and less concerned with depicting the world realistically, and instead focused on evoking the feeling of the scene they were depicting. You can see in the brushstrokes that this is not the way the world looks, but it is often how the world feels. This new impressionist era embraced that idea. Instead of carefully polishing every detail, artists used visible brushstrokes and loose forms to capture fleeting moments of light, atmosphere and movement– not the objective reality itself, but the subject impression of it. In fact, the name “Impressionism”, came from Monet’s very own artwork, Impression, Sunrise. The story goes that when critics saw the painting at an independent exhibition in 1874, one journalist, reflecting the opinions of the patrons, mocked the work for looking unfinished, saying it didn’t look like a painting but an impression of one. The label was meant as an insult, but artists embraced it. You might be wondering, if the powerful didn’t want to patron his art, then how did Monet make a living? Well, around this time, the art world was shifting from artists relying on patrons for income to the art market, a place where artists could sell artworks that reflected their own perspective, not that of a patron. The impressionists would eventually garner international recognition, thanks to early supporters of the movement like art dealer Paul Durand-Ruel, who helped popularize the movement beyond Europe and in the United States. And once artists were no longer bound to a single patron’s demands, art began to change much faster. Suddenly, they were freed from the expectation of depicting reality, and began to experiment on how to represent the world, as art moved further and further away from realism, which left more to the viewer’s interpretation. Over the next few decades, experimentation in art would accelerate rapidly. What began with artists capturing fleeting impressions of light and atmosphere would eventually turn into movements that abandoned realistic interpretation almost entirely. By the early 20th century, artists like Piet Mondrian were reducing visual reality down to simple lines, shapes and primary colors. But this wasn’t for no reason; this abstraction was exploring ideas about balance, harmony, and the structure of reality