essay on art of life

Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art. It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

Customize your course in 30 seconds

Which class are you in.

Travelling Essay
Picnic Essay
Our Country Essay
My Parents Essay
Essay on Favourite Personality
Essay on Memorable Day of My Life
Essay on Knowledge is Power
Essay on Gurpurab
Essay on My Favourite Season
Essay on Types of Sports

Download the App

How Art Makes Us More Human: Why Being Creative is So Important in Life

Art is an important part of life, as it helps us to explore our creativity and express ourselves in unique ways. Art is more than just a form of expression - it’s a way of understanding the world and our place in it. In this blog post, we’ll discuss the psychological, social, and cognitive benefits of creating art and how it can bring joy and purpose to our lives.

What is art?

Art is a form of expression that values creativity and self-expression. It can take many forms, from paintings and sculptures to photography and even digital art. Art has the power to move us, to make us feel something, and to tell stories. Art can be used as a way of connecting with ourselves and with each other, and its power lies in its ability to inspire, create joy, and provoke thought. Art is an expression of the human experience, and its value lies in its ability to bring people together.

The connection between art and emotion

The value of art lies in its ability to evoke emotion. Whether you’re looking at a painting, watching a performance, or listening to music, art allows us to experience a range of emotions from joy to sorrow and everything in between. Art can help us make sense of our own emotions and gain a better understanding of how other people are feeling. It can even bring us closer together as it enables us to feel connected with the artist, even if we have never met them. When we interact with art, it can often spark a dialogue, creating a feeling of understanding and empathy within us.

One way in which art can be especially powerful is when it reflects our personal experiences and values. By connecting with a piece of art that speaks to our values, we can often feel a strong emotional connection with it, enabling us to recognize ourselves in the work and appreciate its beauty and meaning.

The link between art and mental health

Art can be an incredibly powerful tool in helping us to manage our mental health and well-being. Studies have found that art can reduce stress, increase self-esteem, and improve our ability to cope with difficult emotions. Art provides a safe space for us to express our thoughts and feelings, allowing us to connect with ourselves on a deeper level.

One of the main ways that art benefits mental health is through its ability to help us process and make sense of our emotions. Art enables us to externalize our inner struggles, allowing us to make sense of them in a new way. By engaging in creative activities, we can gain insight into our own feelings, giving us the opportunity to recognize patterns and reflect on them in a non-judgmental manner. This can help us to gain a better understanding of our emotions and allow us to find healthier ways of managing them.

Art can also help to decrease symptoms of depression and anxiety. Studies have found that engaging in creative activities such as painting, drawing, or sculpting can reduce symptoms of both depression and anxiety. It also can increase positive moods and overall life satisfaction. In addition, engaging in art can give us a sense of control over our lives, providing us with the opportunity to express ourselves without fear of judgment.

Finally, creating art can provide a sense of purpose and accomplishment, helping us to feel connected to something larger than ourselves. Art gives us a way to channel our energy into something meaningful, allowing us to have a tangible outcome at the end of our creative journey. The act of creation itself can be incredibly empowering, giving us the confidence to take on new challenges and set goals for ourselves.

Overall, engaging in art has been proven to have a positive impact on mental health. Through its ability to help us process emotions, decrease symptoms of depression and anxiety, and provide us with a sense of purpose and accomplishment, art has the power to truly transform our lives.

The benefits of creating art

Creating art can be an immensely rewarding experience that has both psychological and physical benefits. It can provide a sense of purpose, satisfaction, and accomplishment. Art can also help reduce stress, build self-confidence, and improve problem solving skills.

Art can be used to express feelings and emotions, helping to better understand and cope with difficult experiences. It can also be used to relieve anxiety, improve mental health, and enhance positive self-image. Additionally, engaging in creative activities encourages creative thinking, which can foster innovation and creativity in other areas of life.

Creating art can also improve physical well-being. It has been linked to reducing chronic pain and boosting the immune system. It can also help with motor coordination, providing relief for conditions such as carpal tunnel syndrome. Furthermore, it can help with hand-eye coordination, increasing dexterity and making everyday tasks easier.

Finally, creating art is a great way to relax and unwind after a long day. It can provide an outlet for pent-up emotions and help to restore a sense of balance and wellbeing. Even if your work is not immediately appreciated, it’s important to remember that art is subjective and it should be created for yourself, not for the approval of others.

The power of art in storytelling

Storytelling is a powerful tool for communication, and art is an important part of this process. Through art, we can express ourselves in ways that words alone cannot do justice to. Art allows us to show the emotion behind our stories, to add nuance and depth to our tales, and to create visuals that can leave a lasting impression.

Stories told through art have a special power. Whether it's through painting, drawing, sculpture, or even film, art has the potential to bring our stories to life in a way that words simply cannot do. With art, we can bring our characters and stories to life in vivid detail, making them more vivid and alive than if we were to tell the story with just words. We can also add layers of symbolism and meaning to our stories which can make them more meaningful and powerful.

Art has been used as a storytelling device for thousands of years. Ancient cultures used drawings and sculptures to tell their stories, and today, the tradition continues with all forms of visual arts. From street art to museum installations, art is used to tell stories of cultures, histories, beliefs, and emotions. By using art to tell stories, we can move people emotionally and capture their attention in a unique way.

In today's world, where we are bombarded with information from all sides, it can be hard to stand out. Art gives us the chance to do that in a powerful way. By creating art, we can tell stories that resonate with people, inspiring them and showing them something new. The power of storytelling through art is immense and should not be underestimated.

The importance of art in education

Art plays an important role in education, as it encourages creative thinking and provides a platform for students to express their feelings and ideas. It can also be used as a form of communication, allowing students to interpret and create meaning from what they observe. Additionally, the visual representation of art helps children to develop skills such as analyzing information, forming arguments, and making connections.

In the classroom, art can help to introduce new concepts, convey complex topics, and build relationships between students. By incorporating art into lesson plans, teachers are able to engage students in learning and make the material more interesting. Art also helps students to identify patterns and practice critical thinking skills by exploring how elements interact to create a bigger picture.

Furthermore, art allows for students to practice collaboration, problem-solving, and social interaction. Through group projects, students can work together to plan, organize, and execute a project from start to finish. This helps to teach kids essential teamwork skills while also giving them the opportunity to explore their individual strengths and weaknesses.

Overall, art is an integral part of education that helps students develop important skills and encourages creative expression. It is an important tool for teaching and can be used in various ways to make learning more engaging and meaningful.

The role of art in social change

The power of art in creating social change is undeniable. It has been used throughout history as a tool to inspire, educate, and challenge the status quo. Art can be used to bring attention to injustices, advocate for different perspectives, and to create positive cultural shifts.

One example of how art has been used to inspire social change is through protest art. This type of art is often seen at protests and marches, or used to create powerful visuals for political campaigns. Protest art can be anything from signs and banners to sculptures, graffiti, or public installations. It can also take the form of music, film, theater, and literature. By combining art and activism, people are able to communicate their message in an effective way that captures the attention of the public.

Another example of how art can be used to create social change is through digital media platforms such as Instagram and Twitter. These platforms allow anyone with an internet connection to share their creative works and connect with other like-minded individuals. Art has been used on these platforms to raise awareness about important issues, tell stories that inspire change, and even challenge oppressive systems.

Finally, art can be used to help those who are oppressed find strength and resilience. Art provides a platform for those who are marginalized to tell their stories and express their experiences in a safe space. Through art, people are able to connect with each other and find solidarity in the face of adversity.

Art plays an important role in social change and is an invaluable tool for anyone looking to create positive impact in the world. Whether it’s used to create powerful visuals for a protest or to tell stories that inspire action, art has the power to bring people together and spark meaningful conversations about important topics.

Art is essential for all our lives

No matter who you are or where you come from, art plays a vital role in helping us make sense of our lives and the world around us. Art helps us to express our emotions, to communicate our thoughts and feelings, and to explore the depths of our imaginations. By engaging with art, we can discover more about ourselves and the world around us, and cultivate empathy and understanding.

Cultivate News

The Value of Art Why should we care about art?

One of the first questions raised when talking about art is simple—why should we care? Art in the contemporary era is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn't cure disease, build roads, or feed the poor. So to understand the value of art, let’s look at how art has been valued through history and consider how it is valuable today.

The value of creating

At its most basic level, the act of creating is rewarding in itself. Children draw for the joy of it before they can speak, and creating pictures, sculptures and writing is both a valuable means of communicating ideas and simply fun. Creating is instinctive in humans, for the pleasure of exercising creativity. While applied creativity is valueable in a work context, free-form creativity leads to new ideas.

Material value

Through the ages, art has often been created from valuable materials. Gold , ivory and gemstones adorn medieval crowns , and even the paints used by renaissance artists were made from rare materials like lapis lazuli , ground into pigment. These objects have creative value for their beauty and craftsmanship, but they are also intrinsically valuable because of the materials they contain.

Historical value

Artwork is a record of cultural history. Many ancient cultures are entirely lost to time except for the artworks they created, a legacy that helps us understand our human past. Even recent work can help us understand the lives and times of its creators, like the artwork of African-American artists during the Harlem Renaissance . Artwork is inextricably tied to the time and cultural context it was created in, a relationship called zeitgeist , making art a window into history.

Religious value

For religions around the world, artwork is often used to illustrate their beliefs. Depicting gods and goddesses, from Shiva to the Madonna , make the concepts of faith real to the faithful. Artwork has been believed to contain the spirits of gods or ancestors, or may be used to imbue architecture with an aura of awe and worship like the Badshahi Mosque .

Patriotic value

Art has long been a source of national pride, both as an example of the skill and dedication of a country’s artisans and as expressions of national accomplishments and history, like the Arc de Triomphe , a heroic monument honoring the soldiers who died in the Napoleonic Wars. The patriotic value of art slides into propaganda as well, used to sway the populace towards a political agenda.

Symbolic value

Art is uniquely suited to communicating ideas. Whether it’s writing or painting or sculpture, artwork can distill complex concepts into symbols that can be understood, even sometimes across language barriers and cultures. When art achieves symbolic value it can become a rallying point for a movement, like J. Howard Miller’s 1942 illustration of Rosie the Riveter, which has become an icon of feminism and women’s economic impact across the western world.

Societal value

And here’s where the rubber meets the road: when we look at our world today, we see a seemingly insurmountable wave of fear, bigotry, and hatred expressed by groups of people against anyone who is different from them. While issues of racial and gender bias, homophobia and religious intolerance run deep, and have many complex sources, much of the problem lies with a lack of empathy. When you look at another person and don't see them as human, that’s the beginning of fear, violence and war. Art is communication. And in the contemporary world, it’s often a deeply personal communication. When you create art, you share your worldview, your history, your culture and yourself with the world. Art is a window, however small, into the human struggles and stories of all people. So go see art, find art from other cultures, other religions, other orientations and perspectives. If we learn about each other, maybe we can finally see that we're all in this together. Art is a uniquely human expression of creativity. It helps us understand our past, people who are different from us, and ultimately, ourselves.

Reed Enger, "The Value of Art, Why should we care about art?," in Obelisk Art History , Published June 24, 2017; last modified November 08, 2022, http://www.arthistoryproject.com/essays/the-value-of-art/.

Advanced Composition Techniques

Let's get mathematical

Categorizing Art

Can we make sense of it all?

What is Artistic Composition?

Geometry and the Subconscious

By continuing to browse Obelisk you agree to our Cookie Policy

Works & Talks
Newsletter Sign Up

Art and Sense of Life

This essay was originally published in the March 1966 issue of The Objectivist and later anthologized in The Romantic Manifesto (1969 and 1971).

If one saw, in real life, a beautiful woman wearing an exquisite evening gown, with a cold sore on her lips, the blemish would mean nothing but a minor affliction, and one would ignore it.

But a painting of such a woman would be a corrupt, obscenely vicious attack on man, on beauty, on all values — and one would experience a feeling of immense disgust and indignation at the artist. (There are also those who would feel something like approval and who would belong to the same moral category as the artist.)

The emotional response to that painting would be instantaneous, much faster than the viewer’s mind could identify all the reasons involved. The psychological mechanism which produces that response (and which produced the painting) is a man’s sense of life.

(A sense of life is a pre-conceptual equivalent of metaphysics, an emotional, subconsciously integrated appraisal of man and of existence.)

It is the artist’s sense of life that controls and integrates his work, directing the innumerable choices he has to make, from the choice of subject to the subtlest details of style. It is the viewer’s or reader’s sense of life that responds to a work of art by a complex, yet automatic reaction of acceptance and approval, or rejection and condemnation.

This does not mean that a sense of life is a valid criterion of esthetic merit, either for the artist or the viewer. A sense of life is not infallible. But a sense of life is the source of art, the psychological mechanism which enables man to create a realm such as art.

The emotion involved in art is not an emotion in the ordinary meaning of the term. It is experienced more as a “sense” or a “feel,” but it has two characteristics pertaining to emotions: it is automatically immediate and it has an intense, profoundly personal (yet undefined) value-meaning to the individual experiencing it. The value involved is life, and the words naming the emotion are: “ This is what life means to me. ”

Regardless of the nature or content of an artist’s metaphysical views, what an art work expresses, fundamentally, under all of its lesser aspects is: “ This is life as I see it.” The essential meaning of a viewer’s or reader’s response, under all of its lesser elements, is: “ This is (or is not ) life as I see it.”

The psycho-epistemological process of communication between an artist and a viewer or reader goes as follows: the artist starts with a broad abstraction which he has to concretize, to bring into reality by means of the appropriate particulars; the viewer perceives the particulars, integrates them and grasps the abstraction from which they came, thus completing the circle. Speaking metaphorically, the creative process resembles a process of deduction; the viewing process resembles a process of induction.

This does not mean that communication is the primary purpose of an artist: his primary purpose is to bring his view of man and of existence into reality; but to be brought into reality, it has to be translated into objective (therefore, communicable) terms.

In [ “The Psycho-Epistemology of Art” ], I discussed why man needs art — why, as a being guided by conceptual knowledge, he needs the power to summon the long chain and complex total of his metaphysical concepts into his immediate conscious awareness. “He needs a comprehensive view of existence to integrate his values, to choose his goals, to plan his future, to maintain the unity and coherence of his life.” Man’s sense of life provides him with the integrated sum of his metaphysical abstractions; art concretizes them and allows him to perceive — to experience — their immediate reality.

The function of psychological integrations is to make certain connections automatic, so that they work as a unit and do not require a conscious process of thought every time they are evoked. (All learning consists of automatizing one’s knowledge in order to leave one’s mind free to pursue further knowledge.) There are many special or “cross-filed” chains of abstractions (of interconnected concepts) in man’s mind. Cognitive abstractions are the fundamental chain, on which all the others depend. Such chains are mental integrations, serving a special purpose and formed accordingly by a special criterion.

Cognitive abstractions are formed by the criterion of: what is essential ? (epistemologically essential to distinguish one class of existents from all others). Normative abstractions are formed by the criterion of: what is good ? Esthetic abstractions are formed by the criterion of: what is important ?

An artist does not fake reality — he stylizes it. He selects those aspects of existence which he regards as metaphysically significant — and by isolating and stressing them, by omitting the insignificant and accidental, he presents his view of existence. His concepts are not divorced from the facts of reality — they are concepts which integrate the facts and his metaphysical evaluation of the facts. His selection constitutes his evaluation: everything included in a work of art — from theme to subject to brushstroke or adjective — acquires metaphysical significance by the mere fact of being included, of being important enough to include.

An artist (as, for instance, the sculptors of Ancient Greece) who presents man as a god-like figure is aware of the fact that men may be crippled or diseased or helpless; but he regards these conditions as accidental, as irrelevant to the essential nature of man — and he presents a figure embodying strength, beauty, intelligence, self-confidence, as man’s proper, natural state.

An artist (as, for instance, the sculptors of the Middle Ages) who presents man as a deformed monstrosity is aware of the fact that there are men who are healthy, happy or confident; but he regards these conditions as accidental or illusory, as irrelevant to man’s essential nature — and he presents a tortured figure embodying pain, ugliness, terror, as man’s proper, natural state.

Now consider the painting described at the start of this discussion. The cold sore on the lips of a beautiful woman, which would be insignificant in real life, acquires a monstrous metaphysical significance by virtue of being included in a painting. It declares that a woman’s beauty and her efforts to achieve glamor (the beautiful evening gown) are a futile illusion undercut by a seed of corruption which can mar and destroy them at any moment — that this is reality’s mockery of man — that all of man’s values and efforts are impotent against the power, not even of some great cataclysm, but of a miserable little physical infection.

The Naturalistic type of argument — to the effect that, in real life, a beautiful woman might get a cold sore — is irrelevant esthetically. Art is not concerned with actual occurrences or events as such, but with their metaphysical significance to man.

An indication of the metaphysical slant of art can be seen in the popular notion that a reader of fiction “identifies himself with” some character or characters of the story. “To identify with” is a colloquial designation for a process of abstraction: it means to observe a common element between the character and oneself, to draw an abstraction from the character’s problems and apply it to one’s own life. Subconsciously, without any knowledge of esthetic theory, but by virtue of the implicit nature of art, this is the way in which most people react to fiction and to all other forms of art.

This illustrates one important aspect of the difference between a real-life news story and a fiction story: a news story is a concrete from which one may or may not draw an abstraction, which one may or may not find relevant to one’s own life; a fiction story is an abstraction that claims universality, i.e., application to every human life, including one’s own. Hence one may be impersonal and indifferent in regard to a news story, even though it is real; and one feels an intensely personal emotion about a fiction story, even though it is invented. This emotion may be positive, when one finds the abstraction applicable to oneself — or resentfully negative, when one finds it inapplicable and inimical.

It is not journalistic information or scientific education or moral guidance that man seeks from a work of art (though these may be involved as secondary consequences), but the fulfillment of a more profound need: a confirmation of his view of existence — a confirmation, not in the sense of resolving cognitive doubts, but in the sense of permitting him to contemplate his abstractions outside his own mind, in the form of existential concretes.

Since man lives by reshaping his physical background to serve his purpose, since he must first define and then create his values — a rational man needs a concretized projection of these values, an image in whose likeness he will re-shape the world and himself. Art gives him that image; it gives him the experience of seeing the full, immediate, concrete reality of his distant goals.

Since a rational man’s ambition is unlimited, since his pursuit and achievement of values is a lifelong process — and the higher the values, the harder the struggle — he needs a moment, an hour or some period of time in which he can experience the sense of his completed task, the sense of living in a universe where his values have been successfully achieved. It is like a moment of rest, a moment to gain fuel to move farther. Art gives him that fuel; the pleasure of contemplating the objectified reality of one’s own sense of life is the pleasure of feeling what it would be like to live in one’s ideal world.

“The importance of that experience is not in what man learns from it, but in that he experiences it. The fuel is not a theoretical principle, not a didactic ‘message,’ but the life-giving fact of experiencing a moment of metaphysical joy — a moment of love for existence.” (See [“The Goal of My Writing”].)

The same principle applies to an irrational man, though in different terms, according to his different views and responses. For an irrational man, the concretized projection of his malevolent sense of life serves, not as fuel, and inspiration to move forward, but as permission to stand still: it declares that values are unattainable, that the struggle is futile, that fear, guilt, pain and failure are mankind’s predestined end — and that he couldn’t help it. Or, on a lower level of irrationality, the concretized projection of a malignant sense of life provides a man with an image of triumphant malice, of hatred for existence, of vengeance against life’s best exponents, of the defeat and destruction of all human values; his kind of art gives him a moment’s illusion that he is right — that evil is metaphysically potent.

Art is man’s metaphysical mirror; what a rational man seeks to see in that mirror is a salute; what an irrational man seeks to see is a justification — even if only a justification of his depravity, as a last convulsion of his betrayed self-esteem.

Between these two extremes, there lies the immense continuum of men of mixed premises — whose sense of life holds unresolved, precariously balanced or openly contradictory elements of reason and unreason — and works of art that reflect these mixtures. Since art is the product of philosophy (and mankind’s philosophy is tragically mixed), most of the world’s art, including some of its greatest examples, falls into this category.

The truth or falsehood of a given artist’s philosophy as such, is not an esthetic matter; it may affect a given viewer’s enjoyment of his work, but it does not negate its esthetic merit. Some sort of philosophical meaning, however, some implicit view of life, is a necessary element of a work of art. The absence of any metaphysical values whatever, i.e., a gray, uncommitted, passively indeterminate sense of life, results in a soul without fuel, motor or voice, and renders a man impotent in the field of art. Bad art is, predominantly, the product of imitation, of secondhand copying, not of creative expression.

Two distinct, but interrelated, elements of a work of art are the crucial means of projecting its sense of life: the subject and the style — what an artist chooses to present and how he presents it.

The subject of an art work expresses a view of man’s existence, while the style expresses a view of man’s consciousness. The subject reveals an artist’s metaphysics, the style reveals his psycho-epistemology.

The choice of subject declares what aspects of existence the artist regards as important — as worthy of being re-created and contemplated. He may choose to present heroic figures, as exponents of man’s nature — or he may choose statistical composites of the average, the undistinguished, the mediocre — he may choose crawling specimens of depravity. He may present the triumph of heroes, in fact or in spirit (Victor Hugo), or their struggle (Michelangelo), or their defeat (Shakespeare). He may present the folks next door: next door to palaces (Tolstoy), or to drugstores (Sinclair Lewis), or to kitchens (Vermeer), or to sewers (Zola). He may present monsters as objects of moral denunciation (Dostoevsky), or as objects of terror (Goya) — or he may demand sympathy for his monsters, and thus crawl outside the limits of the realm of values, including esthetic ones.

Whatever the case may be, it is the subject (qualified by the theme) that projects an art work’s view of man’s place in the universe.

The theme of an art work is the link uniting its subject and its style. “Style” is a particular, distinctive or characteristic mode of execution. An artist’s style is the product of his own psycho-epistemology — and, by implication, a projection of his view of man’s consciousness, of its efficacy or impotence, of its proper method and level of functioning.

Predominantly (though not exclusively), a man whose normal mental state is a state of full focus, will create and respond to a style of radiant clarity and ruthless precision — a style that projects sharp outlines, cleanliness, purpose, an intransigent commitment to full awareness and clear-cut identity — a level of awareness appropriate to a universe where A is A, where everything is open to man’s consciousness and demands its constant functioning.

A man who is moved by the fog of his feelings and spends most of his time out of focus will create and respond to a style of blurred, “mysterious” murk, where outlines dissolve and entities flow into one another, where words connote anything and denote nothing, where colors float without objects, and objects float without weight — a level of awareness appropriate to a universe where A can be any non-A one chooses, where nothing can be known with certainty and nothing much is demanded of one’s consciousness.

Style is the most complex element of art, the most revealing and, often, the most baffling psychologically. The terrible inner conflicts from which artists suffer as much as (or, perhaps, more than) other men are magnified in their work. As an example: Salvador Dali, whose style projects the luminous clarity of a rational psycho-epistemology, while most (though not all) of his subjects project an irrational and revoltingly evil metaphysics. A similar, but less offensive, conflict may be seen in the paintings of Vermeer, who combines a brilliant clarity of style with the bleak metaphysics of Naturalism. At the other extreme of the stylistic continuum, observe the deliberate blurring and visual distortions of the so-called “painterly” school, from Rembrandt on down — down to the rebellion against consciousness, expressed by a phenomenon such as Cubism which seeks specifically to disintegrate man’s consciousness by painting objects as man does not perceive them (from several perspectives at once).

A writer’s style may project a blend of reason and passionate emotion (Victor Hugo) — or a chaos of floating abstractions, of emotions cut off from reality (Thomas Wolfe) — or the dry, bare, concrete-bound, humor-tinged raucousness of an intelligent reporter (Sinclair Lewis) — or the disciplined, perceptive, lucid, yet muted understatement of a represser (John O’Hara) — or the carefully superficial, over-detailed precision of an amoralist (Flaubert) — or the mannered artificiality of a second-hander (several moderns not worthy of mention).

Style conveys what may be called a “psycho-epistemological sense of life,” i.e., an expression of that level of mental functioning on which the artist feels most at home. This is the reason why style is crucially important in art — both to the artist and to the reader or viewer — and why its importance is experienced as a profoundly personal matter. To the artist, it is an expression, to the reader or viewer a confirmation of his own consciousness — which means: of his efficacy — which means: of his self-esteem (or pseudo-self-esteem).

Now a word of warning about the criteria of esthetic judgment. A sense of life is the source of art, but it is not the sole qualification of an artist or of an esthetician, and it is not a criterion of esthetic judgment. Emotions are not tools of cognition. Esthetics is a branch of philosophy — and just as a philosopher does not approach any other branch of his science with his feelings or emotions as his criterion of judgment, so he cannot do it in the field of esthetics. A sense of life is not sufficient professional equipment. An esthetician — as well as any man who attempts to evaluate art works — must be guided by more than an emotion.

The fact that one agrees or disagrees with an artist’s philosophy is irrelevant to an esthetic appraisal of his work qua art. One does not have to agree with an artist (nor even to enjoy him) in order to evaluate his work. In essence, an objective evaluation requires that one identify the artist’s theme, the abstract meaning of his work (exclusively by identifying the evidence contained in the work and allowing no other, outside considerations), then evaluate the means by which he conveys it — i.e., taking his theme as criterion, evaluate the purely esthetic elements of the work, the technical mastery (or lack of it) with which he projects (or fails to project) his view of life.

(The esthetic principles which apply to all art, regardless of an individual artist’s philosophy, and which must guide an objective evaluation, are outside the scope of this discussion. I will mention only that such principles are defined by the science of esthetics — a task at which modern philosophy has failed dismally.)

Since art is a philosophical composite, it is not a contradiction to say: “This is a great work of art, but I don’t like it, “ — provided one defines the exact meaning of that statement: the first part refers to a purely esthetic appraisal, the second to a deeper philosophical level which includes more than esthetic values.

Even in the realm of personal choices, there are many different aspects from which one may enjoy a work of art — other than sense-of-life affinity. One’s sense of life is fully involved only when one feels a profoundly personal emotion about a work of art. But there are many other levels or degrees of liking; the differences are similar to the difference between romantic love and affection or friendship.

For instance: I love the work of Victor Hugo, in a deeper sense than admiration for his superlative literary genius, and I find many similarities between his sense of life and mine, although I disagree with virtually all of his explicit philosophy — I like Dostoevsky, for his superb mastery of plot structure and for his merciless dissection of the psychology of evil, even though his philosophy and his sense of life are almost diametrically opposed to mine — I like the early novels of Mickey Spillane, for his plot ingenuity and moralistic style, even though his sense of life clashes with mine, and no explicit philosophical element is involved in his work — I cannot stand Tolstoy, and reading him was the most boring literary duty I ever had to perform, his philosophy and his sense of life are not merely mistaken, but evil, and yet, from a purely literary viewpoint, on his own terms, I have to evaluate him as a good writer.

Now, to demonstrate the difference between an intellectual approach and a sense of life, I will restate the preceding paragraph in sense-of-life terms: Hugo gives me the feeling of entering a cathedral — Dostoevsky gives me the feeling of entering a chamber of horrors, but with a powerful guide — Spillane gives me the feeling of hearing a military band in a public park — Tolstoy gives me the feeling of an unsanitary backyard which I do not care to enter.

When one learns to translate the meaning of an art work into objective terms, one discovers that nothing is as potent as art in exposing the essence of a man’s character. An artist reveals his naked soul in his work — and so, gentle reader, do you when you respond to it.

About the Author

Related Materials

Buy The Book: The Romantic Manifesto

Read: philosophy and sense of life.

Objectivism’s View of Art and Its Role in Man’s Life

Ayn Rand: A Writer’s Life

Privacy Policy
Terms & Conditions
Ayn Rand Global
Ayn Rand Institute eStore
Ayn Rand University app

Updates From ARI

Copyright © 1985 – 2024 The Ayn Rand Institute (ARI). Reproduction of content and images in whole or in part is prohibited. All rights reserved. ARI is a 501(c)(3) nonprofit organization. Contributions to ARI in the United States are tax-exempt to the extent provided by law. Objectivist Conferences (OCON), Ayn Rand Conference (ARC), Ayn Rand University (ARU) and the Ayn Rand Institute eStore are operated by ARI. Payments to OCON, ARC, ARU or the Ayn Rand Institute eStore do not qualify as tax-deductible contributions to the Ayn Rand Institute. AYN RAND, AYN RAND INSTITUTE, ARI, AYN RAND UNIVERSITY and the AYN RAND device are trademarks of the Ayn Rand Institute. All rights reserved.

Essays About Art: Top 5 Examples and 9 Prompts

Essays about art inspire beauty and creativity; see our top essay picks and prompts to aid you.

Art is an umbrella term for various activities that use human imagination and talents.

The products from these activities incite powerful feelings as artists convey their ideas, expertise, and experience through art. Examples of art include painting, sculpture, photography, literature, installations, dance, and music.

Art is also a significant part of human history. We learn a lot from the arts regarding what living in a period is like, what events influenced the elements in the artwork, and what led to art’s progress to today.

To help you create an excellent essay about art, we prepared five examples that you can look at:

IMAGE	PRODUCT
	Grammarly
	ProWritingAid

1. Why Have There Been No Great Women Artists? by Linda Nochlin

2. what is art by writer faith, 3. my art taught me… by christine nishiyama, 4. animals and art by ron padgett, 5. the value of art by anonymous on arthistoryproject.com, 1. art that i won’t forget, 2. unconventional arts, 3. art: past and present, 4. my life as an artist, 5. art histories of different cultures, 6. comparing two art pieces, 7. create a reflection essay on a work of art, 8. conduct a visual analysis of an artwork, 9. art period or artist history.

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class, and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education–education understood to include everything that happens to us from the moment we enter this world…”

Nochlin goes in-depth to point out women’s part in art history. She focuses on unjust opportunities presented to women compared to their male peers, labeling it the “Woman Problem.” This problem demands a reinterpretation of the situation’s nature and the need for radical change. She persuades women to see themselves as equal subjects deserving of comparable achievements men receive.

Throughout her essay, she delves into the institutional barriers that prevented women from reaching the heights of famous male art icons.

“Art is the use of skill and imagination in the creation of aesthetic objects that can be shared with others. It involves the arranging of elements in a way that appeals to the senses or emotions and acts as a means of communication with the viewer as it represents the thoughts of the artist.”

The author defines art as a medium to connect with others and an action. She focuses on Jamaican art and the feelings it invokes. She introduces Osmond Watson, whose philosophy includes uplifting the masses and making people aware of their beauty – he explains one of his works, “Peace and Love.”

“But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle. My art has taught me to accept where I am today… My art has taught me that whatever marks I make on the page are good enough… My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.”

Nishiyama starts her essay by describing how writing makes her feel. She feels pressured to create something “great” after her maternity leave, causing her to struggle. She says she pens essays to process her experiences as an artist and human, learning alongside the reader. She ends her piece by acknowledging her feelings and using her art to accept them.

“I was saying that sometimes I feel sorry for wild animals, out there in the dark, looking for something to eat while in fear of being eaten. And they have no ballet companies or art museums. Animals of course are not aware of their lack of cultural activities, and therefore do not regret their absence.”

Padgett recounts telling his wife how he thinks it’s unfortunate for animals not to have cultural activities, therefore, can’t appreciate art. He shares the genetic mapping of humans being 99% chimpanzees and is curious about the 1% that makes him human and lets him treasure art. His essay piques readers’ minds, making them interested in how art elevates human life through summoning admiration from lines and colors.

“One of the first questions raised when talking about art is simple — why should we care? Art, especially in the contemporary era, is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn’t cure disease, build roads, or feed the poor.”

Because art can easily be dismissed as a pastime, the author lists why it’s precious. It includes exercising creativity, materials used, historical connection, and religious value.

Check out our best essay checkers to ensure you have a top-notch essay.

9 Prompts on Essays About Art

After knowing more about art, below are easy prompts you can use for your art essay:

Essays About Art: Art that I won't forget

Is there an art piece that caught your attention because of its origin? First, talk about it and briefly summarize its backstory in your essay. Then, explain why it’s something that made an impact on you. For example, you can write about the Mona Lisa and her mysterious smile – or is she smiling? You can also put theories on what could have happened while Leonardo da Vinci painted the Mona Lisa.

Rather than focusing on mainstream arts like ballet and painting, focus your essay on unconventional art or something that defies usual pieces, such as avant-garde art. Then, share what you think of this type of art and measure it against other mediums.

How did art change over the centuries? Explain the differences between ancient and modern art and include the factors that resulted in these changes.

Are you an artist? Share your creative process and objectives if you draw, sing, dance, etc. How do you plan to be better at your craft? What is your ultimate goal?

To do this prompt, pick two countries or cultures with contrasting art styles. A great example is Chinese versus European arts. Center your essay on a category, such as landscape paintings. Tell your readers the different elements these cultures consider. What is the basis of their art? What influences their art during that specific period?

Like the previous prompt, write an essay about similar pieces, such as books, folktales, or paintings. You can also compare original and remake versions of movies, broadway musicals, etc.

Pick a piece you want to know more about, then share what you learned through your essay. What did the art make you feel? If you followed creating art, like pottery, write about the step-by-step process, from clay to glazing.

Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay.

Since art is a broad topic, you can narrow your research by choosing only the most significant moments in art history. For instance, if you pick English art, you can divide each art period by century or by a king’s ruling time. You can also select an artist and discuss their pieces, their art’s backstory, and how it relates to their life at the time.

If you are interested in learning more, check out our essay writing tips !

Art, Its Functions and Purposes Essay (Critical Writing)

To find inspiration for your paper and overcome writer’s block
As a source of information (ensure proper referencing)
As a template for you assignment

The concept of art is defined as a high-level skill in any field of creativity. Previously, it was believed that art is an activity that satisfies a person’s spiritual craving for something beautiful. The evolution of the norms of society and aesthetics and activities aimed at creating aesthetic objects in modern times are also called art (Frank 20). Aesthetics is philosophical teaching about the essence and forms of beauty in artistic creativity, nature, life, and art as a particular form of social consciousness. Any art has its own goals and functions, which carry a specific message to society.

The most common function of art is communication, which is aimed at ensuring that a person receives this or that information. Also, the purpose of art is to manage emotions, so its function is to help with relaxation or fun. Sometimes a protest is expressed through art, but art cannot be used directly as a political goal; it can only criticize any elements of political activity. Works of art are sometimes used for propaganda purposes to gradually change the tastes and moods of the public. Calligraphy is the art of beautiful writing, reflecting the integrity of individual letters and the entire text, harmony, form, and rhythm, which transmit written information (Frank 24). There are still many functions and purposes of art, each of which is significant for the spiritual development of people.

One of the most attractive and widespread types of art is fine art. I was attracted by the picture depicted by Claude Lorrain called Ascanius Shooting the Stage of Silvia . The sky in the picture is covered with thunderclouds, the trees are bent by the wind blowing from the left, and the exquisite temple of the Corinthian order has long been destroyed. The artist depicted the incredible picturesqueness and liveliness of nature. Picturesque is a specific property of the arts expressed in the dynamic interaction of forms, light, shadow, and lines, in which there is a vivid impression of general mobility, variability, and diversity of aspects. Looking at this picture, one can imagine the presence in the depicted place and see firsthand all the beauty of this place. This painting has several functions, for example, aesthetic; that is, it forms an aesthetic taste. In addition, it is cognitive since data about the event is transmitted through it.

Frank, Patrick. Prebles Artforms. Pearson, 2019.

Pteranodon Heads Pictures as Museum Objects
How Has Technology Influenced the Creation of Art?
Taoism and Chinese Calligraphy Development
Chinese Culture: Chinese Calligraphy Art
Sonnet 141 by William Shakespeare
Characteristics That Qualify a Piece as Art
Collections Management Policies
The Technical and Artistic History of Porcelain
The Importance of Art in the Pandemic Times
Analytic Views of Art and Art Works
Chicago (A-D)
Chicago (N-B)

IvyPanda. (2023, May 23). Art, Its Functions and Purposes. https://ivypanda.com/essays/art-its-functions-and-purposes/

"Art, Its Functions and Purposes." IvyPanda , 23 May 2023, ivypanda.com/essays/art-its-functions-and-purposes/.

IvyPanda . (2023) 'Art, Its Functions and Purposes'. 23 May.

IvyPanda . 2023. "Art, Its Functions and Purposes." May 23, 2023. https://ivypanda.com/essays/art-its-functions-and-purposes/.

1. IvyPanda . "Art, Its Functions and Purposes." May 23, 2023. https://ivypanda.com/essays/art-its-functions-and-purposes/.

Bibliography

IvyPanda . "Art, Its Functions and Purposes." May 23, 2023. https://ivypanda.com/essays/art-its-functions-and-purposes/.

Corrections

“Without Art Mankind Could Not Exist”: Leo Tolstoy’s Essay What is Art

In his essay “What is Art?” Leo Tolstoy, the author of War and Peace, defines art as a way to communicate emotion with the ultimate goal of uniting humanity.

How can we define art? What is authentic art and what is good art? Leo Tolstoy answered these questions in “What is Art?” (1897), his most comprehensive essay on the theory of art. Tolstoy’s theory has a lot of charming aspects. He believes that art is a means of communicating emotion, with the aim of promoting mutual understanding. By gaining awareness of each other’s feelings we can successfully practice empathy and ultimately unite to further mankind’s collective well-being.

Furthermore, Tolstoy firmly denies that pleasure is art’s sole purpose. Instead, he supports a moral-based art able to appeal to everyone and not just the privileged few. Although he takes a clear stance in favor of Christianity as a valid foundation for morality, his definition of religious perception is flexible. As a result, it is possible to easily replace it with all sorts of different ideological schemes.

Personally, I do not approach Tolstoy’s theory as a set of laws for understanding art. More than anything, “What is art?” is a piece of art itself. A work about the meaning of art and a fertile foundation on which truly beautiful ideas can flourish.

Most of the paintings used for this article were drawn by realist painter Ilya Repin. The Russian painter created a series of portraits of Tolstoy, which were exhibited together at the 2019 exhibition “Repin: The Myth of Tolstoy” at the State Museum L.N. Tolstoy. More information regarding the relationship between Tolstoy and Repin can be found in this article .

Who was Tolstoy?

Get the latest articles delivered to your inbox

Please check your inbox to activate your subscription.

Leo Tolstoy ( Count Lev Nikolayevich Tolstoy) was born in 1828 in his family estate of Yasnaya Polyana, some 200km from Moscow. His family belonged in the Russian aristocracy and thus Leo inherited the title of count. In 1851 he joined the tsarist army to pay off his accumulated debt but quickly regretted this decision. Eventually, he left the army right after the end of the Crimean War in 1856.

After traveling Europe and witnessing the suffering and cruelty of the world, Tolstoy was transformed. From a privileged aristocrat, he became a Christian anarchist arguing against the State and propagating non-violence. This was the doctrine that inspired Gandhi and was expressed as non-resistance to evil. This means that evil cannot be fought with evil means and one should neither accept nor resist it.

Tolstoy’s writing made him famous around the world and he is justly considered among the four giants of Russian Literature next to Dostoevsky, Chekhov, and Turgenev. His most famous novels are War and Peace (1869) and Anna Karenina (1877). However, he also wrote multiple philosophical and theological texts as well as theatrical plays and short stories. Upon completing his masterpiece Anna Karenina , Tolstoy fell into a state of insufferable existential despair.

Charmed by the faith of the common people, he turned to Christianity. Eventually, he dismissed the Russian Church and every other Church as corrupted and looked for his own answers. His theological explorations led to the formulation of his own version of Christianity, which deeply influenced his social vision. He died in 1910 at the age of 82 after suffering from pneumonia.

Art Based On Beauty And Taste

Tolstoy wrote “What is art?” in 1897. There, he laid down his opinions on several art-related issues. Throughout this essay , he remains confident that he is the first to provide an exact definition for art:

“…however strange it may seem to say so, in spite of the mountains of books written about art, no exact definition of art has been constructed. And the reason of this is that the conception of art has been based on the conception of beauty.”

So, what is art for Tolstoy? Before answering the question, the Russian novelist seeks a proper basis for his definition. Examining works of other philosophers and artists, he notices that they usually assume that beauty is art’s foundation. For them beauty is either that which provides a certain kind of pleasure or that which is perfect according to objective, universal laws.

Tolstoy thinks that both cases lead to subjective definitions of beauty and in turn to subjective definitions of art. Those who realize the impossibility of objectively defining beauty, turn to a study of taste asking why a thing pleases. Again, Tolstoy sees no point in this, as taste is also subjective. There is no way of explaining why one thing pleases someone but displeases someone else, he concludes.

Theories that Justify the Canon

Theories of art based on beauty or taste inescapably include only that type of art that appeals to certain people:

“First acknowledging a certain set of productions to be art (because they please us) and then framing such a theory of art that all those productions which please a certain circle of people should fit into it.”

These theories are made to justify the existing art canon which covers anything from Greek art to Shakespeare and Beethoven. In reality, the canon is nothing more than the artworks appreciated by the upper classes. To justify new productions that please the elites, new theories that expand and reaffirm the canon are constantly created:

“No matter what insanities appear in art, when once they find acceptance among the upper classes of our society, a theory is quickly invented to explain and sanction them; just as if there had never been periods in history when certain special circles of people recognized and approved false, deformed, and insensate art which subsequently left no trace and has been utterly forgotten.”

The true definition of art, according to Tolstoy, should be based on moral principles. Before anything, we need to question if a work of art is moral. If it is moral, then it is good art. If it is not moral, it is bad. This rationale leads Tolstoy to a very bizarre idea. At one point in his essay, he states that Shakespeare’s Romeo and Juliette, Goethe’s Wilhelm Meister, and his own War and Peace are immoral and therefore bad art. But what does Tolstoy exactly mean when he says that something is good or bad art? And what is the nature of the morality he uses for his artistic judgments?

What is Art?

Art is a means of communicating feelings the same way words transmit thoughts. In art, someone transmits a feeling and “infects” others with what he/she feels. Tolstoy encapsulates his definition of art in the following passages:

“To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling – this is the activity of art. Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hand on to others feelings he has lived through, and that other people are infected by these feelings and also experience them.”

In its essence, art is a means of union among men brought together by commonly experienced feelings. It facilitates access to the psychology of others fostering empathy and understanding by tearing down the walls of the Subject. This function of art is not only useful but also necessary for the progress and wellbeing of humanity.

The innumerable feelings experienced by humans both in past and present are available to us only through art. The loss of such a unique ability would be a catastrophe. “Men would be like beasts”, says Tolstoy, and even goes as far as to claim that without art, mankind could not exist. This is a bold declaration, which recalls the Nietzschean aphorism that human existence is justified only as an aesthetic phenomenon.

Art in the Extended and Limited Sense of the Word

Tolstoy’s definition expands to almost every aspect of human activity way beyond the fine arts. Even a boy telling the story of how he met a wolf can be art. That is, however, only if the boy succeeds in making the listeners feel the fear and anguish of the encounter. Works of art are everywhere, according to this view. Cradlesong, jest, mimicry, house ornamentation, dress and utensils, even triumphal processions are all works of art.

This is, in my view, the strongest point of Tolstoy’s theory. Namely, that it considers almost the totality of human activity as art. However, there is a distinction between this expanded art, and art in the limited sense of the word. The latter corresponds to the fine arts and is the area that Tolstoy investigates further in his essay. A weak point of the theory is that it never examines the act of creation and art that is not shared with others.

Real and Counterfeit Art

The distinction between real and counterfeit, good and bad art is Tolstoy’s contribution to the field of art criticism. Despite its many weaknesses, this system offers an interesting alternative to judging and appreciating art.

Tolstoy names real art (i.e. authentic, true to itself) the one resulting from an honest, internal need for expression. The product of this internal urge becomes a real work of art, if it successfully evokes feelings to other people. In this process, the receiver of the artistic impression becomes so united with the artist’s experience, that he/she feels like the artwork is his/her own. Therefore, real art removes the barrier between Subject and Object, and between receiver and sender of an artistic impression. In addition, it removes the barrier between the receivers who experience unity through a common feeling.

“In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.” Furthermore, a work that does not evoke feelings and spiritual union with others is counterfeit art. No matter how poetical, realistic, effectful, or interesting it is, it must meet these conditions to succeed. Otherwise it is just a counterfeit posing as real art.

Emotional Infectiousness

Emotional infectiousness is a necessary quality of a work of art. The degree of infectiousness is not always the same but varies according to three conditions:

The individuality of the feeling transmitted: the more specific to a person the feeling, the more successful the artwork.
The clearness of the feeling transmitted: the clearness of expression assists the transition of feelings and increases the pleasure derived from art.
The sincerity of the artist: the force with which the artist feels the emotion he/she transmits through his/her art.

Out of all three, sincerity is the most important. Without it, the other two conditions cannot exist. Worth noting is that Tolstoy finds sincerity almost always present in “peasant art” but almost always absent in “upper-class art”. If a work lacks even one of the three qualities, it is counterfeit art. In contrast, it is real if it possesses all three. In that case, it only remains to judge whether this real artwork is good or bad, more or less successful. The success of an artwork is based firstly on the degree of its infectiousness. The more infectious the artwork, the better.

The Religious Perception of Art

Tolstoy believes that art is a means of progress towards perfection. With time, art evolves rendering accessible the experience of humanity for humanity’s sake. This is a process of moral realization and results in society becoming kinder and more compassionate. A genuinely good artwork ought to make accessible these good feelings that move humanity closer to its moral completion. Within this framework, a good work of art must also be moral.

But how can we judge what feelings are morally good? Tolstoy’s answer lies in what he calls “the religious perception of the age”. This is defined as the understanding of the meaning of life as conceived by a group of people. This understanding is the moral compass of a society and always points towards certain values. For Tolstoy, the religious perception of his time is found in Christianity. As a result, all good art must carry the foundational message of this religion understood as brotherhood among all people. This union of man aiming at his collective well-being, argues Tolstoy, must be revered as the highest value of all.

Although it relates to religion, religious perception is not the same with religious cult. In fact, the definition of religious perception is so wide, that it describes ideology in general. To this interpretation leads Tolstoy’s view that, even if a society recognizes no religion, it always has a religious morality. This can be compared with the direction of a flowing river:

If the river flows at all, it must have a direction. If a society lives, there must be a religious perception indicating the direction in which, more or less consciously, all its members tend.

It is safe to say that more than a century after Tolstoy’s death, “What is Art?” retains its appeal. We should not easily dismiss the idea that (good) art communicates feelings and promotes unity through universal understanding. This is especially the case in our time where many question art’s importance and see it as a source of confusion and division.

Tolstoy, L.N. 1902. What is Art? In the Novels and Other Works of Lyof N. Tolstoy . translated by Aline Delano. New York: Charles Scribner’s Sons. pp. 328-527. Available at: http://www.gutenberg.org/ebooks/43409
Jahn, G.R. 1975. ‘The Aesthetic Theory of Leo Tolstoy’s What Is Art?’. The Journal of Aesthetics and Art Criticism , Vol. 34, No. 1. pp. 59-65. Available at: https://www.jstor.org/stable/428645
Morson, G.S. 2019. ‘Leo Tolstoy’. Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Leo-Tolstoy

Theodor Adorno on the Essay: An Antidote to Modernity

By Antonis Chaliakopoulos MSc Museum Studies, BA History & Archaeology Antonis is an archaeologist with a passion for museums and heritage and a keen interest in aesthetics and the reception of classical art. He holds an MSc in Museum Studies from the University of Glasgow and a BA in History and Archaeology from the University of Athens (NKUA) where he is currently working on his PhD.

laocoon-and-his-sons-antiquity-greatest-sculpture

Frequently Read Together

Timeline of Ancient Greek Art & Sculpture

Home — Essay Samples — Arts & Culture — Creativity — My Experience With Art Essay

My Experience with Art Essay

Categories: Creativity

About this sample

Words: 643 |

Published: Mar 5, 2024

Words: 643 | Page: 1 | 4 min read

Cite this Essay

Let us write you an essay from scratch

450+ experts on 30 subjects ready to help
Custom essay delivered in as few as 3 hours

Get high-quality help

Verified writer

Expert in: Arts & Culture

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

1 pages / 498 words

4 pages / 1599 words

2 pages / 778 words

3 pages / 1361 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Creativity

In the world of comedy, Adam Sandler is a polarizing figure. Loved by some and criticized by others, Sandler has carved out a unique niche in Hollywood with his distinct brand of humor. In this essay, we will delve into the [...]

Porter Robinson, a talented electronic music producer and DJ, has captivated audiences worldwide with his ethereal sounds and emotive lyrics. One of his most iconic tracks, "Shelter," released in collaboration with Madeon, is a [...]

Cosplay, short for costume play, is a form of performance art where individuals, known as cosplayers, dress up in costumes and accessories to represent a specific character from a movie, video game, anime, manga, or comic book. [...]

As I sit down to write this descriptive essay about myself, I am faced with the daunting task of trying to put into words who I am as a person. How do I capture the essence of my being in a few paragraphs? How do I convey my [...]

In conclusion, Edward Scissorhands is a complex and multi-dimensional character whose traits and experiences resonate deeply with audiences. Through his creativity, isolation, and innocence, Edward represents the power of [...]

Explanation of what creative writing encompasses Distinction from other forms of writing Various forms and examples of creative writing Explanation of each type Creative writing as a means to express [...]

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

Instructions Followed To The Letter
Deadlines Met At Every Stage
Unique And Plagiarism Free

University of Notre Dame

Notre Dame Philosophical Reviews

Home ›
Reviews ›

Nietzsche on Art and Life

Daniel Came (ed.), Nietzsche on Art and Life , Oxford University Press, 2014, 255pp., $74.00 (hbk), ISBN 9780199545964.

Reviewed by Matthew Meyer, The University of Scranton

This collection comes with high expectations. Not only has Came published important papers on the topic, [1] the contributors he has assembled include some of the leading figures in the field. With a number of substantive essays well worth engaging, the volume largely lives up to these expectations. However, it does omit some important aspects of Nietzsche's understanding of art and its capacity to affirm life, and so it seems to fall short of the promise, on the back cover, to discuss "all of the major themes of Nietzsche's aesthetics." In what follows, I explain the ways in which the volume advances our understanding of Nietzsche, engage in some critical analysis of specific claims put forth by the contributors, and identify the aspects of Nietzsche's aesthetics the volume neglects.

Came rightly notes that Nietzsche is not interested in art per se but rather in its relation to life and the potential role it can play in affirming life, and it is to these topics that the volume is dedicated (1). As such, it serves as a corrective to the tendency of Anglophone scholars to downplay the primacy of Nietzsche's "practical-existential orientation" (2) and to interpret his writings in isolation from his views on art (3). One upshot of Came's approach is that it reveals a deeper continuity between Nietzsche's early and later writings than some have claimed. Whereas Nietzsche's views on metaphysics and epistemology seem to undergo a process of maturation, his views on the role that art plays in the affirmation of life seem to remain more consistent throughout his productive career. As Ken Gemes and Chris Sykes note at the beginning of their essay, Came's own scholarship has shown that there is a thematic continuity between an early work like The Birth of Tragedy ( BT ) and Nietzsche's more canonical works like Beyond Good and Evil and On the Genealogy of Morality ( GM ) (80).

To be sure, the volume covers a broad range of themes. Whereas Sabina Lovibond discusses matters of taste and distance in The Gay Science , Beyond Good and Evil , and Twilight of the Idols , Came' himself addresses the relationship between ethical and aesthetic value across Nietzsche's oeuvre. Adrian del Caro explores romanticism and classicism through a comparison of Nietzsche's Thus Spoke Zarathustra with Goethe's Faust , and Stephen Mulhall examines the form of The Birth of Tragedy , presenting the work as a site for a "three-cornered conversation" between Aeschylus, Wagner, and Schopenhauer (108). Although I do have reservations about certain aspects of Mulhall's interpretation, such as his view that Socrates is a mask of Apollo, each of these essays sheds important light on Nietzsche's understanding of art and life, and therefore each makes a valuable contribution.

Christopher Raymond situates The Birth of Tragedy in a conversation about tragedy that dates back to Plato's Republic . Raymond rightly argues that the originality of The Birth of Tragedy is that Nietzsche responds to Plato's expulsion of the poets in the Republic not by showing that art meets the ethical and epistemic criteria that Plato establishes as grounds for their re-admittance -- this is what Aristotle and Schiller try to do -- but rather by rejecting these very criteria. As Raymond explains, Nietzsche argues that art is important not because it makes us ethically better or provides us with more knowledge, but because it enables us to affirm life once the Socratic quest for happiness -- as well as the moral, political, and philosophical project that arises from it -- is shown to be a baseless myth.

Another refreshing feature of the volume is the way in which a number of the contributors read Nietzsche in conversation with Schopenhauer, something that was more the exception than the rule only a few decades ago. Indeed, A. E. Denham argues that Nietzsche is even more indebted to Schopenhauer than is typically recognized. On the standard reading, Nietzsche rejects Schopenhauer's account of aesthetic experience. According to Denham, Nietzsche does reject the normative implications that Schopenhauer draws from aesthetic experience, but his understanding of aesthetic experience is nevertheless "continuous with Schopenhauer's own" (164). Although some might resist some of Denham's conclusions, the essay provides a detailed analysis of Schopenhauer's and Nietzsche's aesthetics that is well worth engaging.

Nietzsche's relationship to Schopenhauer also plays an important role in Ken Gemes and Chris Sykes' contribution, "Nietzsche's Illusion." However, the authors try to distance Nietzsche from Schopenhauer on a couple of points. On the one hand, they argue that the young Nietzsche "was never seriously wedded to Schopenhauer's metaphysics of the will as thing-in-itself" in The Birth of Tragedy (80). On the other hand, they claim that Nietzsche's primary concern was not the problem of suffering, as it was for Schopenhauer, but rather the meaninglessness of suffering and life (81). To address this problem, Nietzsche is said to follow Wagner, rather than Schopenhauer, in holding that illusion ( Wahn ), in the form of a "self-consciously constructed mythology," is needed to affirm life (81), and this, the authors argue, is a project Nietzsche pursues throughout his productive career.

Bernard Reginster's essay, "Art and Affirmation," also centers on the role that illusions, in particular beautiful illusions, play in Nietzsche's early project of life affirmation. Reginster, however, diverges from Gemes and Sykes' account on two points: first, he holds that the problem of suffering is Nietzsche's primary concern (15); second, he argues that there is a difference between Nietzsche's early and late works regarding the way in which beauty can affirm a life so characterized (14). According to Reginster, "the central message of The Birth of Tragedy is that the affirmation of life requires 'illusion [ Illusion ]', which allows us to 'forget' the displeasure caused by 'the weight and burden of existence'" (15). However, Nietzsche eventually comes to doubt the idea that beautiful illusions can underwrite a genuine affirmation (23). For a genuine affirmation, it is necessary to confront and affirm the terrifying and questionable aspects of existence. According to Reginster, the mature Nietzsche tries to resolve this issue through his concept of the will to power as the overcoming of resistance, one that makes suffering a constituent feature of happiness (26). Reginster ends by discussing further differences between Nietzsche's earlier and later understandings of beauty and artistic affirmation, claiming that, for the mature Nietzsche, tragedy incites us to engage with life and in creative activity rather than producing a deceptive and comforting view of life, as Nietzsche had claimed in his earlier works (34).

The focus on the relationship between artistic beauty, on the one hand, and truth, on the other hand, continues in Christopher Janaway's contribution. He begins by disputing the claims put forth by Reginster in his 2006 book, The Affirmation of Life , [2] and further defended in this volume [3] that affirmation in The Birth of Tragedy depends largely on beautiful illusions, so that there is a disparity between affirmation in Nietzsche's early and late works. According to Janaway, Reginster's 2006 account relies primarily on an Apollonian conception of art that affirms life through beautiful illusions (40). In contrast to Reginster, who follows Gemes and Sykes in arguing that the tragic itself is a form of illusion (see BT 18), [4] Janaway holds that Nietzsche endorses a Dionysian affirmation of Dionysian truth. Thus, Janaway claims that the satyr chorus of dithyrambic art allows one " to live with the truth by confronting it in an affirmative frame of mind, not to live in spite of the truth by veiling it over" (45). In the latter half of his essay, Janaway explores Nietzsche's views on the relationship between art and truth, correctly noting that Nietzsche's early critique of Socratism prefigures his later questioning of the will to truth (47).

Although Janaway rightly points to the way in which Dionysian art can affirm the truth without illusion, it is surprising that there is little discussion in the volume about two concepts that are crucial to Nietzsche's understanding of this phenomenon, namely, musical dissonance and play. Play is important for Nietzsche because it reveals the joy we can take in both creation and destruction and so enables us to affirm the ugly and disharmonic elements of the world. Although Gemes and Sykes refer to play in a passage they quote from Wagner, they do so to argue the larger point that Nietzsche follows Wagner in holding that Wahn is necessary to make life bearable. However, the point Wagner seems to be making is that art is a "life-saviour" not because it produces illusions, but rather because it shows life itself to be an illusion, and by showing life to be a " Wahn -picture," art allows us to experience life as a "game of play" (99).

Reginster also refers to play, but he argues that it is only possible "through a kind of deception or detachment" in that it requires us to identify exclusively with "primordial Oneness" and so to see ourselves "as other than we empirically are" (22). Reginster's argument, however, presupposes that our empirically individuated selves function as a standard of reality that art distorts by overcoming the principle of individuation, and this conflicts with the metaphysical picture Nietzsche sketches in the opening sections of The Birth of Tragedy . Although Gemes and Sykes have cast doubt on Nietzsche's commitment to the Schopenhauerian metaphysics employed in the work, Nietzsche also associates the concept of play with the anti-metaphysical, naturalized ontology he attributes to Heraclitus in Philosophy in the Tragic Age of the Greeks in which individuals, like commonsense things, lack any fundamental reality. Not only is there good reason to think the mature Nietzsche remains true to this Heraclitean ontology, scholars such as Günter Wohlfart have shown how the concept of play appears in Nietzsche's later works, [5] and it is for this reason that interpreters such as Eugen Fink and Lawrence Hinman have argued that play is central to Nietzsche's entire project. [6]

Nietzsche's discussion of musical dissonance in the penultimate section of The Birth of Tragedy may be even more important in this context for two reasons. First, it is free from the metaphysical baggage that Nietzsche initially associates with the concept of play. Second, it arguably prefigures Reginster's understanding of the will to power as the overcoming of resistance. The idea is that both musical dissonance and the willing of power combine pleasure and pain and so both seem to enable the affirmation of the ugly and disharmonic elements of existence ( BT 24). If this is right, one could argue that it was the experience of Wagner's Tristan chord that first revealed to Nietzsche how we can take pleasure in the pain of insatiable longing and so affirm a life that is essentially suffering.

Although there is no discussion of the Tristan chord, the volume does conclude with two contributions devoted exclusively to music. In the penultimate essay, Aaron Ridley emphasizes the central place that music has in Nietzsche's philosophy: "Music and conceptions of music run through and up and down Nietzsche's philosophy in a way that is true of no one else's" (220). Ridley first examines Nietzsche's own musical tastes, arguing that Nietzsche was a conservative on such matters (222). He then claims that Nietzsche was immersed in the Romantic spirit of the time insofar as he held that music is immediately related to the essence of life and so music is the most important of the arts (224). After explaining how Nietzsche saw his own philosophy as a sort of music and examining Nietzsche's eventual rejection of Wagner's Parsifal in favor of Bizet's Carmen , Ridley concludes by arguing that because Nietzsche saw in music the potential to " redeem the world" and so save us from the nihilism of modernity, it would not be wrong to say that, for him, "the 'fate of music' is intimately tied up with the fate of the world itself" (233).

In the final essay, Roger Scruton explores Nietzsche's relationship to Wagner, prefacing his discussion with the claim that Nietzsche's divorce from Wagner needs "to be discerned within a cloud of self-loathing" (236). After sketching the argument of The Birth of Tragedy , Scruton explains the philosophical differences that ultimately separated Nietzsche from Wagner. Whereas Wagner followed Schopenhauer in understanding redemption to be a form of renunciation, Nietzsche opposed this "sick" longing for death with a "healthy" affirmation of the self and life. Thus, the goal of Nietzsche's 1888 The Case of Wagner is "to reject Wagner's moral vision, and also to suggest that the attempt to build that vision into a sustained work of art leads to music that is fundamentally sick" (243).

Although Nietzsche is right, in Scruton's view, to assess music according to moral categories, he argues that Nietzsche fails to show that "the Wagnerian philosophy of redemption is either decadent in itself or aesthetically destructive" (243). Indeed, Scruton not only argues that Nietzsche fails to make this case but also responds to the insults Nietzsche hurls at Wagner with some insults of his own. Thus, Scruton claims that Nietzsche's own advocacy of "life" is "at best an excusable compensation for the invalid existence that the philosopher was obliged to lead, at worst a surrender to all that is most destructive in human nature" (248), and so Scruton concludes that it is "far more obviously a sham . . . than Wagner's post-Christian philosophy of redemption" (250).

Scruton's essay is certainly engaging. However, I find his ad hominem responses to Nietzsche a bit disappointing, perhaps even comical. This is because I read The Case of Wagner as a farce [7] and so part of a comic agon that Nietzsche enacts in his 1888 works, one that follows in the tradition of Aristophanic comedy of employing ad hominem insults to taunt artistic, political, and cultural rivals. [8] If this is right, then Scruton's own barbs only seem to continue the comic performance but in a way that is lost on Scruton. This is not to say that Nietzsche's final works lack a serious message or that his ideas should be immune to criticism. It is, however, to say that it would behoove readers to consider the possibility that Nietzsche's references to "jokes" and "pure malice" in the preface of The Case of Wagner are subtle hints that his critique of Wagner, like his critique of Christian morality, is part of his own Dionysian comedy ( GM Pref 7).

Even if I am wrong to read The Case of Wagner in this way, I am certainly not alone in highlighting the importance that laughter and comedy play in Nietzsche's later writings. For instance, Lawrence Hatab devotes the epilogue of his book on the eternal recurrence to highlighting "the force of comic laughter in Nietzsche's thought," [9] Christine Battersby has discussed Nietzsche's role as Hanswurst in his later writings, [10] and Nicholas More has recently argued that Ecce Homo is satire. [11] In contrast, the present volume contains only one footnote on comedy in Plato (57n.1) and two references to laughter: whereas Lovibond briefly discusses Nietzsche's hope that future philosophers will overcome the "disabling heaviness" of past philosophy (202), Reginster cites the all-important conclusion of the 1886 preface to The Birth of Tragedy in which Nietzsche calls upon higher men to learn the this-worldly comfort of laughter ( BT Pref 7) (22).

To conclude, this volume is an excellent collection of substantive essays by seasoned scholars on the topic of art and life in Nietzsche, and it marks an important step in reading Nietzsche's project through his "practical-existential orientation," rather than "the contemporary concerns of metaphysicians, epistemologists, and ethicists" (2). However, the focus on themes such as truth, illusion, value, and beauty and the relative neglect of topics such as musical dissonance, play, laughter, and comedy do leave one wondering if the treatment of Nietzsche on art and life offered in this volume is still not subtly guided and so constrained by the very sociological forces in Anglophone Nietzsche scholarship that Came rightly identifies and ultimately hopes to overcome.

[1] See, for instance: "The Aesthetic Justification of Existence," in A Companion to Nietzsche , ed. K. Ansell-Pearson, 41-57 (Oxford: Blackwell, 2006) and "The Themes of Affirmation and Illusion in The Birth of Tragedy and Beyond," in The Oxford Handbook of Nietzsche , ed. K. Gemes and J. Richardson, 209-225 (Oxford: Oxford University Press, 2013).

[2] Bernard Reginster, The Affirmation of Life: Nietzsche on Overcoming Nihilism (Cambridge, MA: Harvard University Press, 2006).

[3] However, Janaway does note that the more detailed reading of The Birth of Tragedy Reginster offers in the present volume reveals a good measure of agreement (41n.5).

[4] Came, "The Themes of Affirmation and Illusion," also appeals to the beginning of BT 18 to support this point (212), and eventually to conclude that, "the Dionysian too is itself inseparable from illusion" (223). For my part, I see how music and dance -- the Dionysian arts par excellence -- can create and even lend significance to illusions, but I do not see how music and dance themselves affirm life through illusions. Thus, I side with Janaway in thinking that the Dionysian arts of music and dance provide an illusion-free affirmation of Dionysian truth and so in holding that although tragedy does affirm life through illusions, it also affirms life through the intoxication ( Rausch ) and play that Nietzsche associates with the Dionysian arts.

[5] Günter Wohlfart, " Also Sprach Herakleitos " : Heraklits Fragment B 52 und Nietzsches Heraklit-Rezeption (Munich: Karl Alber Freiburg, 1991).

[6] Eugen Fink, Nietzsche's Philosophy , trans. G. Richter (London: Continuum, 2003) and Lawrence M. Hinman, "Nietzsche's Philosophy of Play," in Philosophy Today 18(2) (1974): 106-124.

[7] Nietzsche refers to the work as a " Farce " in a letter to Naumann on 7 September 1888 and a " Posse " in another letter to Naumann on 15 December 1888.

[8] Matthew Meyer, "The Comic Nature of Ecce Homo ," in The Journal of Nietzsche Studies 43(1) (2012): 32-43.

[9] Lawrence J. Hatab, Nietzsche's Life Sentence: Coming to Terms with Eternal Recurrence (London: Routledge, 2005), 155.

[10] Christine Battersby, "' Behold the Buffoon': Dada, Nietzsche's Ecce Homo and the Sublime ," in Nigel Llewellyn and Christine Riding (eds.), The Art of the Sublime , January 2013, accessed 17 December 2014.

[11] Nicholas More, Nietzsche's Last Laugh: Ecce Homo as Satire (Cambridge: Cambridge University Press, 2014).

Heilbrunn Timeline of Art History Essays

Vincent van gogh (1853–1890).

Road in Etten

Vincent van Gogh

Nursery on Schenkweg

Self-Portrait with a Straw Hat (obverse: The Potato Peeler)

The Potato Peeler (reverse: Self-Portrait with a Straw Hat)

Street in Saintes-Maries-de-la-Mer

The Flowering Orchard

Peasant Woman Cooking by a Fireplace

Wheat Field with Cypresses

Corridor in the Asylum

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)

Olive Trees

First Steps, after Millet

Department of European Paintings , The Metropolitan Museum of Art

October 2004 (originally published) March 2010 (last revised)

Vincent van Gogh, the eldest son of a Dutch Reformed minister and a bookseller’s daughter, pursued various vocations, including that of an art dealer and clergyman, before deciding to become an artist at the age of twenty-seven. Over the course of his decade-long career (1880–90), he produced nearly 900 paintings and more than 1,100 works on paper. Ironically, in 1890, he modestly assessed his artistic legacy as of “very secondary” importance.

Largely self-taught, Van Gogh gained his footing as an artist by zealously copying prints and studying nineteenth-century drawing manuals and lesson books, such as Charles Bargue’s Exercises au fusain and cours de dessin . He felt that it was necessary to master black and white before working with color, and first concentrated on learning the rudiments of figure drawing and rendering landscapes in correct perspective. In 1882, he moved from his parents’ home in Etten to the Hague, where he received some formal instruction from his cousin, Anton Mauve, a leading Hague School artist. That same year, he executed his first independent works in watercolor and ventured into oil painting; he also enjoyed his first earnings as an artist: his uncle, the art dealer Cornelis Marinus van Gogh, commissioned two sets of drawings of Hague townscapes for which Van Gogh chose to depict such everyday sites as views of the railway station, gasworks, and nursery gardens ( 1972.118.281 ).

Van Gogh’s admiration for the Barbizon artists, in particular Jean-François Millet, influenced his decision to paint rural life. In the winter of 1884–85, while living with his parents in Nuenen, he painted more than forty studies of peasant heads, which culminated in his first multifigured, large-scale composition ( The Potato Eaters , Van Gogh Museum, Amsterdam); in this gritty portrayal of a peasant family at mealtime, Van Gogh wrote that he sought to express that they “have tilled the earth themselves with the same hands they are putting in the dish.” Its dark palette and coarse application of paint typify works from the artist’s Nuenen period ( 67.187.70b ; 1984.393 ).

Interested in honing his skills as a figure painter, Van Gogh left the Netherlands in late 1885 to study at the Antwerp Academy in Belgium. Three months later, he departed for Paris, where he lived with his brother Theo, an art dealer with the firm of Boussod, Valadon et Cie, and for a time attended classes at Fernand Cormon’s studio. Van Gogh’s style underwent a major transformation during his two-year stay in Paris (February 1886–February 1888). There he saw the work of the Impressionists first-hand and also witnessed the latest innovations by the Neo-Impressionists Georges Seurat and Paul Signac. In response, Van Gogh lightened his palette and experimented with the broken brushstrokes of the Impressionists as well as the pointillist touch of the Neo-Impressionists, as evidenced in the handling of his Self-Portrait with a Straw Hat ( 67.187.70a ), which was painted in the summer of 1887 on the reverse of an earlier peasant study ( 67.187.70b ). In Paris, he executed more than twenty self-portraits that reflect his ongoing exploration of complementary color contrasts and a bolder style.

In February 1888, Van Gogh departed Paris for the south of France, hoping to establish a community of artists in Arles. Captivated by the clarity of light and the vibrant colors of the Provençal spring, Van Gogh produced fourteen paintings of orchards in less than a month, painting outdoors and varying his style and technique. The composition and calligraphic handling of The Flowering Orchard ( 56.13 ) suggest the influence of Japanese prints , which Van Gogh collected. The artist’s debt to ukiyo-e prints is also apparent in the reed pen drawings he made in Arles, distinguished by their great verve and linear invention ( 48.190.1 ). In August, he painted the still lifes Oleanders ( 62.24 ) and Shoes ( 1992.374 ); each work resonates with the artist’s personal symbolism. For Van Gogh, oleanders were joyous and life-affirming (much like the sunflower); he reinforced their significance with the compositional prominence accorded to Émile Zola’s 1884 novel La joie de vivre . The still life of unlaced shoes, which Van Gogh had apparently hung in Paul Gauguin ‘s “yellow room” at Arles, suggested, to Gauguin, the artist himself—he saw them as emblematic of Van Gogh’s itinerant existence.

Gauguin joined Van Gogh in Arles in October and abruptly departed in late December 1888, a move precipitated by Van Gogh’s breakdown, during which he cut off part of his left ear with a razor. Upon his return from the hospital in January, he resumed working on a portrait of the wife of the postmaster Joseph Roulin; although he painted all the members of the Roulin family, Van Gogh produced five versions of Madame Roulin as La Berceuse , shown holding the rope that rocks her newborn daughter’s cradle ( 1996.435 ). He envisioned her portrait as the central panel of a triptych, flanked by paintings of sunflowers. For Van Gogh, her image transcended portraiture, symbolically resonating as a modern Madonna; of its palette, which ranges from ocher to vermilion and malachite, Van Gogh expressed his desire that it “sing a lullaby with color,” underscoring the expressive role of color in his art.

Fearing another breakdown, Van Gogh voluntarily entered the asylum at nearby Saint-Rémy in May 1889, where, over the course of the next year, he painted some 150 canvases. His initial confinement to the grounds of the hospital is reflected in his imagery, from his depictions of its corridors ( 48.190.2 ) to the irises and lilacs of its walled garden, visible from the window of the spare room he was allotted to use as a studio. Venturing beyond the grounds of the hospital, he painted the surrounding countryside, devoting series to its olive groves ( 1998.325.1 ) and cypresses, which he saw as characteristic of Provence. In June, he produced two paintings of cypresses, rendered in thick, impastoed layers of paint ( 49.30 ; Cypresses , Kröller-Müller Museum, Otterlo), likening the form of a cypress to an Egyptian obelisk in a letter to his brother Theo. These evocative trees figure prominently in a landscape, produced the same month ( 1993.132 ). Van Gogh regarded this work, with its sun-drenched wheat field undulating in the wind, as one of his “best” summer canvases. At Saint-Rémy, he also painted copies of works by such artists as Delacroix, Rembrandt , and Millet, using black-and-white photographs and prints. In fall and winter 1889–90, he executed twenty-one copies after Millet ( 64.165.2 ); he described his copies as “interpretations” or “translations,” comparing his role as an artist to that of a musician playing music written by another composer. During his last week at the asylum, he extended his repertoire of still life by painting four bouquets of Irises ( 58.187 ) and Roses ( 1993.400.5 ) as a final series comparable to the sunflower decoration he made earlier in Arles.

After a year at Saint-Rémy, Van Gogh left, in May 1890, to settle in Auvers-sur-Oise, where he was near his brother Theo in Paris and under the care of Dr. Paul Gachet, a homeopathic physician and amateur painter. In just over two months, Van Gogh averaged a painting a day; however, on July 27, 1890, he shot himself in the chest in a wheat field; he died two days later. His artistic legacy is preserved in the paintings and drawings he left behind, as well as in his voluminous correspondence, primarily with Theo, which lays bare his working methods and artistic intentions and serves as a reminder of his brother’s pivotal role as a mainstay of support throughout his career.

By the time of his death in 1890, Van Gogh’s work had begun to attract critical attention. His paintings were featured at the Salon des Indépendants in Paris between 1888 and 1890 and with Les XX in Brussels in 1890. As Gauguin wrote to him, his recent works, on view at the Indépendants in Paris, were regarded by many artists as “the most remarkable” in the show; and one of his paintings sold from the 1890 exhibition in Brussels. In January 1890, the critic Albert Aurier published the first full-length article on Van Gogh, aligning his art with the nascent Symbolist movement and highlighting the originality and intensity of his artistic vision. By the outbreak of World War I, with the discovery of his genius by the Fauves and German Expressionists, Vincent van Gogh had already come to be regarded as a vanguard figure in the history of modern art.

Department of European Paintings. “Vincent van Gogh (1853–1890).” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/gogh/hd_gogh.htm (originally published October 2004, last revised March 2010)

Additional Essays by Department of European Paintings

Department of European Paintings. “ The Rediscovery of Classical Antiquity .” (October 2002)
Department of European Paintings. “ Architecture in Renaissance Italy .” (October 2002)
Department of European Paintings. “ Titian (ca. 1485/90?–1576) .” (October 2003)
Department of European Paintings. “ The Papacy and the Vatican Palace .” (October 2002)

Related Essays

Paul Gauguin (1848–1903)
Post-Impressionism
The Transformation of Landscape Painting in France
Vincent van Gogh (1853–1890): The Drawings
Art of the Pleasure Quarters and the Ukiyo-e Style
Childe Hassam (1859–1935)
Claude Monet (1840–1926)
Édouard Manet (1832–1883)
Frans Hals (1582/83–1666)
Georges Seurat (1859–1891) and Neo-Impressionism
Henri Matisse (1869–1954)
Impressionism: Art and Modernity
James McNeill Whistler (1834–1903)
Landscape Painting in the Netherlands
The Lure of Montmartre, 1880–1900
Mary Stevenson Cassatt (1844–1926)
The Nabis and Decorative Painting
Paul Cézanne (1839–1906)
Rembrandt (1606–1669): Paintings
Rembrandt van Rijn (1606–1669): Prints
Woodblock Prints in the Ukiyo-e Style

List of Rulers

List of Rulers of Europe
Central Europe and Low Countries, 1800–1900 A.D.
France, 1800–1900 A.D.
19th Century A.D.
20th Century A.D.
Agriculture
Barbizon School
Christianity
Floral Motif
French Literature / Poetry
Impressionism
Literature / Poetry
Low Countries
Modern and Contemporary Art
Neo-Impressionism
The Netherlands
Oil on Canvas
Plant Motif
Pointillism
Printmaking
Religious Art
Self-Portrait

Artist or Maker

Delacroix, Eugène
Gauguin, Paul
Millet, Jean-François
Seurat, Georges
Signac, Paul
Van Gogh, Vincent
Van Rijn, Rembrandt

Online Features

The Artist Project: “Sopheap Pich on Vincent van Gogh’s drawings”
Connections: “Clouds” by Keith Christiansen
Connections: “Dutch” by Merantine Hens

Entertainment
Environment
Information Science and Technology
Social Issues

Home Essay Samples

Essay Samples on Art

While it may seem easy to compose essays about art, it’s not really so because you have to offer background information in your introduction part and explain why some exhibition or a school of thought is important. This should go to your first paragraph because your purpose is to inspire your readers and provide enough background information. When you already have a prompt that must be followed, determine what kind of essay must be written. It can be a descriptive essay, which is great for a description of the works of art or photography. Some other cases may require working with an explanatory tone where you have to explain why an artist has chosen certain palettes or what has been an inspiration. See various free art essay examples below for inspiration. It also helps to learn how to structure your writing and implement quotes or footnotes that are used to highlight the images. Remember to focus on the ways how to cite images and multimedia elements, depending on the chosen style. Your writing should address every image that you have by checking twice with the grading rubric to ensure that you use the sources that may have already been specified.

What Does Creativity Mean to You

Creativity, an intricate tapestry of imagination and innovation, holds a unique significance for each individual. It is a concept that transcends the boundaries of convention, sparking curiosity and igniting the flames of inspiration. In this essay, we embark on a journey to unearth the meaning...

Censorship of Art and Artists: The Complex Discourse

The intersection of creativity and expression often finds itself entangled in a contentious debate: the censorship of art and artists. This complex issue has sparked discussions across societies and cultures, raising questions about freedom of speech, cultural preservation, and the power dynamics between creators and...

Why I Want to Study Architecture: the Power of Design

The world around us is a tapestry of structures, spaces, and designs that shape our lives and experiences. From towering skyscrapers to quaint houses, every architectural marvel carries a story and a vision. The allure of architecture, with its blend of artistic expression, technical precision,...

Architecture

The Impact of Technology on Art: A Modern Renaissance

Introduction The influence of technology on art is an evolving narrative that reflects the symbiotic relationship between human creativity and innovative tools. From the early use of simple tools to create cave paintings to the digital art technologies of today, the integration of technology in...

Art History
Impact of Technology
Renaissance

Exploring Feminist Literary Criticism: Unveiling Mona Lisa Smile

Introduction Self-assessment and criticism help us improve our skills and the ways in which we communicate our ideas and perspectives with others. In this feminist literary criticism essay, I will be critiquing and analysis of the movie Mona Lisa Smile. Firstly, I will explain why...

Literary Criticism

Stressed out with your paper?

Consider using writing assistance:

100% unique papers
3 hrs deadline option

Frida Kahlo: Exploring Her Biography Through the Film 'Frida'

In the 2002 film “Frida” directed by Julie Taymor, illustrates the life of Frida Kahlo based on the book Frida: A Biography of Frida Kahlo by Hayden Herrera. Who is Frida Kahlo? Her biography in this essay is explored with the help of the film...

Film Analysis
Frida Kahlo

Debate Surrounding Graphic Novel and Relation to Literature

Introduction In the past years, the noise about graphic novels has been constantly increasing. A graphic novel is basically a novel in comic-strip format, a book made up of comics’ content. However, they are not the same as comics. Unlike comic books, graphic novels are...

Graphic Novel
Visual Arts

Depicting Trauma: Symbolism in Graphic Novels

Introduction I must confess that I never read a graphic novel prior to this course. I think I’ve developed and expressed my opinion of graphic novels frequently over the course of the semester, and I think I would be remiss if I did not close...

Understanding Graphic Novels: Context and Analysis for Reading

Introduction Graphic novels are stories illustrated in comic form but have the length of a novel. “The term graphic novel was invented in 1970 however, the time of its origin is not concluded yet” (“Levitz”). Graphic novels have been debated for decades since some readers...

Jhene Aiko: Exploring the Artistry and Emotions in her Music

The artist I have chosen to write about is Jhene Aiko who is categorized in the R&B and Hip-Hop genre. Jhene Aiko is a popular singer who writes her music under the influence of cannibis, under the influence of therapeutic instruments and while having a...

Famous Person
Music Industry

The Joy of Painting: Exploring the Life and Legacy of Bob Ross

Who is Bob Ross, or rather, who was he? During the 80s and 90s, he was an artist who specialized in painting, hosting an instructional painting show on PBS called The Joy of Painting. Though Bob Ross has long since passed on, one will find...

The Uniqueness of Australian Artwork: Exploring Artists' Perceptions

Australian artists provide a unique way of displaying the Australian landscape. John Olsen is one of these artists, who uses symbolism to create a sense of movement. This is conveyed through his spontaneous linear line work as seen in Onkaparinga Hill, blue wren and fox...

Artistic World of Peter Doig: an Insight Into His Life and Work

Peter Doig is a contemporary Scottish artist I found that peaked my interest from his art work to his personal life. I’d like to start off by giving a brief background of the artist seeing that a lot of his work is landscapes from where...

Contemporary Art

Being an Artist: My Passion, Place of Freedom and Courage

I remember constantly wondering if there was a way that I could make my life meaningful or if it even had meaning. I was just a thirteen year old starting to figure out her own self. My life revolved around wanting to please the people...

About Myself

Sculpture From Dura Europas: the Head of a Bearded God

One of the artworks in the Yale art gallery is the Head of a Bearded God. This sculpture of bearded man that looks old and wise. This piece has curly hair, bushy eyebrows, and very wide/big eyes. The piece is is classified as a sculpture,...

Kashimiri Papier Mache Art: a Unique Dying Art Form

Kashmir has been wrought in conflict and upheaval for decades now, but its wonderful valleys give us a unique gift of native craftsmanship – Papier Mache art. Kashmir’s rich cultural past is often overlooked due to its troublesome political past. Its handicrafts and shawls (from...

The Art of the Meddah: Exploring Turkish Forms of Storytelling

Culture is the conglomeration of the beliefs and art forms of societiesm across places, along a long-time frame. And quite evidently, the Republic of Turkey has an extremely long history and a resultantly rich diversity in its culture. Throughout its history, the Turkish land was...

The Way Technologies Transform Already Existing Art Forms

Compelling games are not the consequences of accidents, any more than are riveting novels, movies, or music. Creators for all these medias draw on well-established set of strategies and techniques to create a particular emotional experience. Musicians, for example, may create tension through reiteration and...

How Shemistry Influenced the History and Presentation of Art

Chemistry is everywhere in our life. Of course, chemistry is also closely related to art. There are many forms of art, such as oil painting, gouache, watercolor and so on. These painting forms are inseparable from products such as pigments and watercolors, which are based...

Critical Understanding of the Sculptural Art of Alexander Calder

Calder was an American sculptor from Pennsylvania. His father, Alexander Stirling Calder was a sculptor and his mother a painter. Him and his family were constantly on the move around the country throughout Calder’s childhood due to his dads work. And through this Calder was...

Discussion on the Relationship Between Intelligence and Creativity

The relationship between intelligence and creativity has been subjected to research for many years. Unfortunately, there is yet no consensus on how these constructs are related. The connection between intelligence and creativity is that they are functions of the brain that handle data to determine...

Intelligence

Do Schools Kill Creativity: the Issues of Music Education

In the TEDx video entitled, 'Do schools kill creativity?' Sir Ken Robinson discusses what he believes to be the main problem with our education system, providing a series of funny anecdotes and facts appropriate for his argument. After watching this video about 'Do schools kill...

Creative and Critical Thinking: Combining the Achievements of Thought

Creative, one word that can be interpreted in many ways whether in thoughts which is include ways of thinking and actions and also in verbal form. Critical, on the other side refers to the ability to analyse information objectively and make a reasoned judgment. It...

Critical Thinking

Culture, Art and Creativity: the Way They Are Related

Art is a reflection of your thinking, your ideas, and your surroundings, the artist adopts his or her surroundings and then by using their imagination, outside thinking and their perspective they present a new face of it in front of the world. Art and creativity...

Cultural Anthropology

Accessing the World of Theatre: Musicals and Music Theatre

Goodwin (2019) states music theatre is a type of stage performance using music from various forms such as ballets, operas, cabarets, and contemporary music. Musical theatre uses different techniques (e.g. music, dance, songs, acting as well as spoken dialogue) to tell a story to the...

Drawing for Architecture: A Key to Understanding Complex Designs

Architecture the word from Latin is called “architectura” originally from the Greek “arkhitekton”. Architectural drawing has never been taken for granted. All things we design and sketch are from our thinking to our hands. Therefore, drawings are the main development to architectural projects. When designing,...

Architecture: Bridging Vision into Reality

Architecture can be defined in various ways, but if I were to define it, I would simply use these following words, ‘Architecture is an abstract language that bridges a vision into reality.’ I think everyone would agree that architecture is best paired with great effort...

Interior Design

The Development of Nationalism & Regionalism in Australian Architecture

Introduction From the 1880s, “nationalism” and “regionalism” had been started to be two of the keywords on the Australian development of architecture. These two words point toward the nation’s sake of rejecting foreign architectural approaches and seeking of the local architectural characteristics in Australia. During...

Modern Architecture

Architecture: A Means to Improve People's Quality of Life

Introduction “Architecture is about finding imaginative, creative solutions to improving people’s quality of life.” - Alejandro Aravena Architecture was born approach back in the prehistoric age, once the first man determined to come back up with shelters made up of twigs and bones. architecture isn't...

Quality of Life

Architecture and its Role in Nation Building: A Critical Review

Brief introduction on architecture and how its spaces are perceived The universal definition of architecture as a synthesis of ‘art’ and ‘science’ is inadequate in the present democratic, globalized, and information world of the 21st century. Many modern good-looking buildings with sound structures have been...

Romanticism Paintings Analysis: The Raft of Medusa and Liberty Leading the People

I will be focusing on romanticism that is based on emotions and sublimity. I will be displaying the features of romantic art by analysing two paintings from the 19th century. These are The Raft of Medusa by Theodore Gericault (1819; Louvre Museum, Paris), oil on...

Romanticism

The Ideas Behind The Persistence of Memory and Pillars of Society

George Grosz, Pillars of Society (1926) George Grosz was born in Berlin on July 26, 1893, he studied at Dresden Art Academy and began his career as a cartoonist. He later joined a Dada movement in 1917. And he was a famous figure in Neue...

Salvador Dali

The Persistence of Memory, Starry Night and Analysis of Other Paintings

Dreams are something that everyone is or was able to have at one point in their life. Dreams are defined as, 'a series of thoughts, images, and sensations occurring in a person's mind during sleep.' Many artists create their artworks from their dreams or other...

Vincent Van Gogh

The System Of Education: If I Could Change The World

If I could change the world, I would completely change the system of education. It hasn't changed for hundreds of years, and the current system was designed in the Industrial Age. This means, that children in school have to obey every order and do only...

Importance of Education

Expressive Art: Is Graffiti Art Or Vandalism

Throughout time graffiti has received both overwhelming support and intense backlash. Some view it as a form of expressive art while others consider it a complete destruction of property. However, despite the amount of differentiation, charisma and personality graffiti can bring into cities, it is...

Why Is Art Important For Human

Art is not a necessary part of survival. So why does it matter? Oftentimes art is overlooked and viewed as an unimportant skill or ability to have. However, art has many qualities that one can benefit from. It is a stress reliever that allows people...

The Doll`s House" By H. Ibsen: Nora Helmer Character Analysis

Nora Helmer is a good wife and mother. She does all she can for her family, especially her husband. Considering all the things she does, and the lengths she went to to make sure her husband could regain his health, it was not enough in...

A Doll's House

Why Is Graffiti Are Not Vandalism

Why is graffiti art not vandalism? According to the Mural Arts Philadelphia website, the village’s first legitimate effort to eradicate graffiti started with the form of the Anti-Graffiti Network in the 1980s. Some people assay that its vandalism, and some assay that its artifice. Park...

My Take On Comedy: From Tartuffe To Sylvia And Cards Against Humanity

Defining comedy is extremely difficult. When something happens that makes you laugh, whether that is in a play or in real life, it’s difficult to pin down why you laughed, to begin with. I find myself defining comedy as a series of events that went...

Attitudes Towards Consumerism in Contemporary Art

In this essay I will be using information gathered from my own personal research, studio research and relevant topics discussed throughout the lectures. Whilst also, considering social, economic, and cultural factors. I will be discussing and analyzing attitudes towards consumerism in Contemporary Art. Built from...

Consumerism

One of the Most Common Forms of Theatre

Throughout this essay the focus of various practitioners will be explored thoroughly from the paths of life they took and how they became so successful, to the impact that their work had on other practitioners and in general the industry itself. The industry of theatre...

The Practice of Art Forgery and Monet's Aesthetic Flaws

A forgery is a work that is not genuine to its proclaimed origins, however, is presented as a genuine article, and is so acting with the intention to deceive. The practice of art forgery is as well established and mature as the practice of creating...

Claude Monet

Visual Verbal Essay on Wilfred Owen and Franz Marc

This essay explores two artists, Franz Marc, Brett Whitely and two of their artworks depicting animal scenes. Franz Marc’s ‘Tiger’, ‘Blue Horse 1’ and Brett Whitley’s Giraffe and Hyena. These four artworks will be compared and contrasted using the structural and the subjective frame. In...

Wilfred Owen

The Role of Creative Industries in the United Kingdom

In this essay I will go over and talk about the creative industries and the role they play in the United Kingdom, I will look at the history and the development of the Creative Industries and their sectors. I will then look at the wider...

Great Britain

African Art: West African Sculpting

West African sculpting greatly influenced us today because lots o people still do it like when Pablo Picasso recreated the style of west African art he created it like they would some real some supernatural and exaggerated on some body parts after Pablo Picasso shared...

African Art

Caravaggio's Sacrifice of Isaac by Abraham Due to Divine Intervention

First of all, there are several juxtapositions present throughout the painting. For example, there is a dichotomous relationship between the cold sensuality in the foreground and the pastoral beauty in the background. Secondly, Caravaggio manages to convey the sensational struggle present between the unconditional loyalty...

Greetings From the 1970s Contemporary Photography

The term contemporary refers to things happening in the same period of or in the style of the present or recent times so when referring to contemporary photography that is only basic modern 21st-century pictures or videos.. Over the past years, something called 'the medium'...

Photography

Claude Monet and Modern Art Today

“Claude Monet” was a famous French painter who used to catch his everyday life's best minutes on canvas. “Claude Monet” was born on 14 November 1840 and His father was a businessman and his mother was a singer. He is one of the most praised...

The World’s Wife Borrowed From Other Texts

It is often that literature, whether being a poem or a book, often provides a voice for those who lack one. The work by Carol Ann Duffy is an accumulation of poems titled 'The World's Wife', first published in 1999 and the present works through...

Drama (Play Genre)

Typography: From Billboards to Street Signs

Typography is everywhere we look, in the books we read on the websites we visit even in everyday life, from billboards to street signs, product packaging and even on your mobile phone. It is the art and technique of designing and arranging type. Today the...

Advertising

Rebellious Aspect to Monet’s Personality

Claude Monet is an artist who continues to be adored and held in high esteem even to this day. There may be many who perhaps are not familiar with the name, yet still at least recognise one piece of his work. His paintings are a...

Edgar Degas and His Way of Critics

Mary Cassatt was born in 1844. She was born in what is now known as Pittsburgh, Pennsylvania and died on June 14, 1926 at her French home right outside of Paris. Mary was raised in Philadelphia where she spent her childhood with a social privilege...

Edgar Degas
Impressionism

The Principles of Art: Movement, Unity, Harmony, Variety

If you were to ask someone “what is art essay”, the majority of people in the world would think of art and immediately their mind would shoot to a painting. The truth is, art is so much more than just a painting. There are thousands...

Art Movement

Fairy Tale Black Swan Is a Story of a Ballerina

“Black Swan” is not the fairy tale of “swan lake” but a story of a ballerina, Nina. The story begins with the change of the company, the old lead dancer Beth is about to leave. The stage needs a new lead dancer who can act...

The Book Caesar's Commentarii de Bello Calico

One may call war a side effect of human civilization. Nevertheless, it is in a war that people show their best virtues: courage, loyalty, strength, perseverance, and honesty. Nothing is surprising in the fact that texts on this subject have existed since the writing appeared....

Comparing Two Great Pieces by Pablo Picasso and by Francisco Goya

Today I will be comparing and contrasting two great pieces called “GUERNICA” by Pablo Picasso and “THE THIRD OF MAY” by Francisco Goya.The “GUERNICA” by Pablo Picasso was hard to understand at first but the longer you look at it you understand it is a...

Pablo Picasso

Black Swan is About Destructive Nature of Ballet

Nina Portman is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica who exerts a suffocating control over her life. When artistic director...

The Development of Islamic Art

Islamic art is created not only for the Muslim faith, but it consists of artworks such as textiles, architecture, paintings and drawings that were produced in the regions that were once ruled by Muslim empires. Artists from various disciplines take part in collaborative projects and...

History of Islam
Islamic Art

Role of Cultural and Religious Pluralism

Cultural pluralism is a term used when smaller groups within a larger society maintain their own unique cultural identities. Migration is a key process that makes significant contribution to the growth of urbanism. Often immigrants belonging to particular region, language, religion ,tribe etc tend to...

Art and Religion
Religious Pluralism

John Berger: Understanding His Artwork

John Berger is a remarkable man who enlighten us with his knowledge using one of his brilliant essays “Ways of Seeing.” Berger has concurred the ability to fully understand any artwork and to recognize what is visible before him. He clarifies that there is a...

John Berger

America’s Contemporary Multimedia Artist Jeff Koons

Jeff Koons is one of America’s most popular contemporary multimedia artists, who believes that art can change lives, give vastness and expand your parameters. Koons was born in York, Pennsylvania in 1955. He studied at the Maryland Institute College of Art in Baltimore and the...

American Culture

The Sistine Chapel Ceiling by Michelangelo

The Sistine Chapel Ceiling (Italian: Volta Della Cappella Sistina), painted by Michelangelo somewhere in the range of 1508 and 1512, is a foundation work of High Renaissance craftsmanship. The Creation of Adam' is one of the nine ceiling boards in the Sistine Chapel portraying scenes...

Michelangelo

History of Medieval And Byzantine Art Movements

A painting wealthy in color typical for St.George on a rearing white horse, shown against a rocky landscape, slaying the winged monster as it appears before him. An angel crowns St.George with a martyr’s crown, symbolizing the triumph of good over evil. The tower on...

Byzantine Empire

The Power Of Photography: Capturing Emotions With Camera

Photographs help people preserve memories with its technology, but what is actually happening is much more interesting when thought about in more depth. A moment in time is captured forever, so long as the photograph is kept in good shape. It is the closest people...

Jackson Pollock as an Influential America Artist

The painter Jackson Pollock was an influential America painter and a key person to the abstract expressionist movement. He was born in Cody , Wyoming in 1912 and he was the youngest of 5 brothers. He grew up in Arizona and Chico, California he moved...

Jackson Pollock

The Girl Who Loved Caravaggio by Belle Ami

The Girl Who Loved Caravaggio by Belle Ami is a romantic suspense thriller and the second book in the Out of Time series. High on the success of finding a centuries-old Leonardo da Vinci painting, Angela Renatus, and her fiance Alex Caine are on a...

The Portrayal of the Culture of Death and Afterlife in Art

Throughout history, different cultures dealt with the concept of death and afterlife according to their beliefs, and developed different perspectives about what happens after the body dies. These ideas were often reflected in their art, literature, and their lifestyle as well. Most cultures produce art...

Art Nouveau and Modernist Movements in Art

Art Nouveau is originated in England. William Morris collaborated with other artists so Art Nouveau was created. It has a wide range of different decorative arts, like architectural, painting, graphic art, and jewelry. It was most popular during the 1890s. Its popularity came to a...

Art Nouveau
William Morris

The Famous Michelangelo Merisi Da Caravaggio

The famous Michelangelo Merisi da Caravaggio produced original paintings, criticizing those who imitated other artists creative styles. He even accused the great Giovanni Baglione and Guido Reni for imitating his uniquely developed techniques. Caravaggio was the building block for modern art and followed by many....

Art of Theatre and French Figure Joan of Arc

Bernard Shaw (1856-1950) is an irish playwright, critic, and political activist. His influence on Western theatre started from the 1880s till after his death. He won the Nobel Prize in literature in 1925 becoming the leading dramatist of his generation. Shaw's first play to bring...

Joan of Arc

The Beauty and Skill of Ansel Adams’ Photography

Ansel Adams was born in San Francisco, California on February 20, 1902. As a child, Adams had many freedoms and lots of energy. He was an unattractive child, with big dark circles under his eyes, a crooked nose, and large ears. He was often teased...

Ansel Adams

Holi Festival and Vibrant Celebration of Colors

Holi is a very vibrant celebration of colors. We have to wait for a whole year. So we can enjoy the festival of color. Although, Holi is fun and joyous. It's also immensely damaging to your skin. The colors are not extracted from flowers but...

Holi Festival

The Struggle of the Graphic Designers and Social Media

Graphic designers relied heavily on word-of-mouth for their works to become popular and to be seen by the public, it was close to impossible to grow an organic dedicated fanbase to follow your work, nowadays with the rise of the internet and social media, you...

Graphic Design

Some Interesting Facts About Salvador Dali

Salvador Dali was one of the most, if not the most celebrated artist of the 20th century. His art is iconic, his personality, eccentric, his fashion sense, interesting, his style, unique, his showmanship, unforgettable. All these combined to make him an interesting human and a...

Salvador Dali's Biography: Main Topics

Salvador Dali was born on May 11, 1904 in Figueres, Catalonia, Spain. His father was an atheist lawyer who was very strict in Dali’s upbringing. Dali’s mother, on the other hand, was loving and encouraged him to be artistic. He has an older brother named...

Caravaggio’s Artwork Judith Beheading Holofernes

For this essay, you needed to decide on a painting, Sculpture and other selected types of art work by which ever artist that created them before the 1900’s.Select a topic out of the selection given to do research about the topic and art work to...

William Morris: Arts and Crafts Movement

William Morris was a famous artists who mainly focused on his wallpaper and fabric designs. While he was mainly known for his art, even today, he had many other notable careers and accomplishments, One of them being that he founded the Arts and crafts movement....

Breaking The Parametr In Red Wheelbarrow: Analysis

The most conspicuous element of modernist poetry is the invention and experimentation of new forms of representation. It featured movements such as imagism and symbolism and moved consciously away from naturalism and realism. Ezra Pound was one of the first to delve into this new...

The Importance Of Paying Attention To Detail In Architecture

The architectural detailing process of a project is a long process that includes a lot of steps and patterns to consider. The designing issue is not consecutive for making a theoretical plan for the entire structure, the detailing, and construction of a building. It is...

Depiction Of Revolution In Les Miserables And Musical Theatre

This essay will deliberate the framework of genre, and investigate Musical Theatre, a genre within performing arts. What is Genre? Genre has been around for centuries, it commenced with the Greek philosophers Aristotle and Plato, they created a classification system that would separate literature into...

Les Miserables

The Concepts Of Love And Hate With Loyalty In "Romeo And Juliet"

Loyalty is a virtue that most people strive for as seen in the play, The Tragedy of Romeo and Juliet by William Shakespeare, which is about two feuding families, the Montagues and the Capulets. Romeo, a Montague and Juliet, a Capulet fall in love. Throughout...

Romeo and Juliet
William Shakespeare

Romeo And Juliet: The Decision Between Choice And Fate

“God gave us free will, and we may choose to exercise it in ways that end up hurting other people”-Francis Collins. Romeo and Juliet is a tragic play written by Shakespeare, that follows the lives of two star-crossed lovers. The setting of Romeo and Juliet...

Societal Views On Graffiti: Street Art Or Vandalism

When you think of graffiti what’s the first thing that comes to mind? Vandalism or street art? Most would say vandalism, but what makes the distinction between the two? The intention of the piece. There’s a difference between defiling the back of a building and...

Portrayal Of Love And Hate In Shakespeare's Romeo And Juliet

Shakespeare’s exploration of themes through tragic conventions make the play, Romeo and Juliet, of enduring relevance to modern audiences. Shakespeare’s Romeo and Juliet (1595) captures audiences through the thrill of lovers from feuding families racing together to their tragic demises. This play explores themes understood...

Graffiti And Street Art As An Act Of Vandalism

It is difficult to apply a single definition to what is considered Art. Whether it can or should be defined has been constantly debated. “The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy....

Passionate Pursuit: Being Passionate About Art

Different pieces of artwork inspire people all around the world. Artists use a wide variety of techniques to make their work unique. While creating new pieces of art, it is common to look at other artists' work for inspiration. While evaluating their artwork you can...

Andy Warhol's Album Artwork: Don't Judge A Book By Its Cover

As the saying goes, don't judge a book by its cover, or in this case an album, but sometimes it cannot be helped. Custom packaging is an extremely important with any kind of product but despite this album cover art has not always been used...

Andy Warhol

The Role Of Other Characters In Death Of Romeo And Juliet

Romeo and Juliet is such a tragic love story. It is sad that their lives ended, but that doesn’t mean their love for eachother did; their love may still live on with them in the after life. There are many characters who had a role...

The Presentation Of Love In Romeo And Juliet

Romeo and Juliet is a play written by Shakespeare in the 1500’s. It tells us the tragedy of two young lovers named Romeo and Juliet who fall in love at first sight but can never be together due to their two families conflict which ends...

The Importance Of Different Types Of Love In Romeo And Juliet

Romeo and Juliet is a play written by William Shakespeare during the 16th century that mainly follows the themes of love and tragedy. The intense passion the two lovers from both households have for one another causes the deaths of their friends, family and themselves....

The Use Of Hyperbole And Symbolism In "The Doll's House"

A Doll's House delves into the lives of a young couple living in Victorian era Norway. The play follows Nora through her journey, from her previously unexamined life of domestic, wifely comfort, to questioning the very foundation of everything she used to believe in. Having...

Realism In A Doll's House Play

Realism as a literary movement emerged in the late nineteenth century and extended to the twentieth century, the most important factors that led to the emergence of the period of realism is the horrors that happened to people after the World War, which made the...

20th Century Art: Representational Abstract Art

One of the most influential and significant periods in the history of the arts is the 20th century. It was a period that consisted of many rapid and radical artistic changes that gave birth to endless ideas, possibilities, experiences, and visions. Not only were ideas,...

Abstract Art

The Opposite Concepts Of Realism Versus Idealism

Introduction When comparing realism and idealism, the concepts must be understood historically, theoretically and practically. In this essay, a number of steps will be taken to present a thorough overview of the two schools of thought. Firstly, the epistemological and metaphysical questions of philosophy will...

The Abstract Art And Pop Art Artists And Movements

Pop art emerged in the mid 1950s in Britain, then later in the 1950s in the United States of America. Pop art still influences designers and artists to this day, was against abstract expressionists, pop artists saw abstract artists as intense. The art was a...

Romanticism & Realism: Changing Landscapes

In my essay I will be looking at the contrast between romanticism and photo-realism, how light controls the image and how photographers are able to control how the picture will look like, by the time of day, the angle and being able to change the...

Romantic Era

The Abstract Art And Expressionism In World War 2

In World War 2, many countries were destroyed by Hitler and his army. There were allies which were the U.S., Britain, France, USSR, Australia, Belgium, Brazil, Canada, China, Denmark, Greece, Netherlands, New Zealand, Norway, Poland, South Africa, and Yugoslavia and the axis powers, which were...

Coriolanus: Plutarch's And William Shakespeare's Versions

Two of the greatest contributors to the “Struggle of the Orders” between Plebeians and Patricians were the Patricians’ fears of Plebeian power overshadowing their influence on Roman politics, as well as the issues of grain pricing and distribution. Plutarch’s “Coriolanus” within his Parallel Lives work...

The Definition Of Fate And Free Will In Macbeth

Throughout time, it has been believed that fate has the power to forge one’s destiny. On the other hand though, I believe these choices can defy fate and that fate only manipulates one's mind into choosing their own path. In the play Macbeth, Shakespeare messes...

Reality Of Romanticism And Realism Under The Umbrella Of Gothic Genre

Two of the most common genres of writing that is found in literature belongs to either the Romanticism movement or the Realist/Naturalism movement. While these two movements might seem like they are related to each other, they are very opposite from one another in the...

Best topics on Art

1. What Does Creativity Mean to You

2. Censorship of Art and Artists: The Complex Discourse

3. Why I Want to Study Architecture: the Power of Design

4. The Impact of Technology on Art: A Modern Renaissance

5. Exploring Feminist Literary Criticism: Unveiling Mona Lisa Smile

6. Frida Kahlo: Exploring Her Biography Through the Film ‘Frida’

7. Debate Surrounding Graphic Novel and Relation to Literature

8. Depicting Trauma: Symbolism in Graphic Novels

9. Understanding Graphic Novels: Context and Analysis for Reading

10. Jhene Aiko: Exploring the Artistry and Emotions in her Music

11. The Joy of Painting: Exploring the Life and Legacy of Bob Ross

12. The Uniqueness of Australian Artwork: Exploring Artists’ Perceptions

13. Artistic World of Peter Doig: an Insight Into His Life and Work

14. Being an Artist: My Passion, Place of Freedom and Courage

15. Sculpture From Dura Europas: the Head of a Bearded God

Jean-Michel Basquiat

Need writing help?

You can always rely on us no matter what type of paper you need

*No hidden charges

100% Unique Essays

Absolutely Confidential

Money Back Guarantee

By clicking “Send Essay”, you agree to our Terms of service and Privacy statement. We will occasionally send you account related emails

You can also get a UNIQUE essay on this or any other topic

Thank you! We’ll contact you as soon as possible.

This love of beauty is Taste. The creation of beauty is Art.

W as never form and never face So sweet to SEYD as only grace Which did not slumber like a stone But hovered gleaming and was gone. Beauty chased he everywhere, In flame, in storm, in clouds of air. He smote the lake to feed his eye With the beryl beam of the broken wave; He flung in pebbles well to hear The moment's music which they gave. Oft pealed for him a lofty tone From nodding pole and belting zone. He heard a voice none else could hear From centred and from errant sphere. The quaking earth did quake in rhyme, Seas ebbed and flowed in epic chime. In dens of passion, and pits of wo, He saw strong Eros struggling through, To sun the dark and solve the curse, And beam to the bounds of the universe. While thus to love he gave his days In loyal worship, scorning praise, How spread their lures for him, in vain, Thieving Ambition and paltering Gain! He thought it happier to be dead, To die for Beauty, than live for bread.

T he spiral tendency of vegetation infects education also. Our books approach very slowly the things we most wish to know. What a parade we make of our science, and how far off, and at arm's length, it is from its objects! Our botany is all names, not powers: poets and romancers talk of herbs of grace and healing; but what does the botanist know of the virtues of his weeds? The geologist lays bare the strata, and can tell them all on his fingers: but does he know what effect passes into the man who builds his house in them? what effect on the race that inhabits a granite shelf? what on the inhabitants of marl and of alluvium?

We should go to the ornithologist with a new feeling, if he could teach us what the social birds say, when they sit in the autumn council, talking together in the trees. The want of sympathy makes his record a dull dictionary. His result is a dead bird. The bird is not in its ounces and inches, but in its relations to Nature; and the skin or skeleton you show me, is no more a heron, than a heap of ashes or a bottle of gases into which his body has been reduced, is Dante or Washington. The naturalist is led from the road by the whole distance of his fancied advance. The boy had juster views when he gazed at the shells on the beach, or the flowers in the meadow, unable to call them by their names, than the man in the pride of his nomenclature. Astrology interested us, for it tied man to the system. Instead of an isolated beggar, the farthest star felt him, and he felt the star. However rash and however falsified by pretenders and traders in it, the hint was true and divine, the soul's avowal of its large relations, and, that climate, century, remote natures, as well as near, are part of its biography. Chemistry takes to pieces, but it does not construct. Alchemy which sought to transmute one element into another, to prolong life, to arm with power, — that was in the right direction. All our science lacks a human side. The tenant is more than the house. Bugs and stamens and spores, on which we lavish so many years, are not finalities, and man, when his powers unfold in order, will take Nature along with him, and emit light into all her recesses. The human heart concerns us more than the poring into microscopes, and is larger than can be measured by the pompous figures of the astronomer.

We are just so frivolous and skeptical. Men hold themselves cheap and vile: and yet a man is a fagot of thunderbolts. All the elements pour through his system: he is the flood of the flood, and fire of the fire; he feels the antipodes and the pole, as drops of his blood: they are the extension of his personality. His duties are measured by that instrument he is; and a right and perfect man would be felt to the centre of the Copernican system. 'Tis curious that we only believe as deep as we live. We do not think heroes can exert any more awful power than that surface-play which amuses us. A deep man believes in miracles, waits for them, believes in magic, believes that the orator will decompose his adversary; believes that the evil eye can wither, that the heart's blessing can heal; that love can exalt talent; can overcome all odds. From a great heart secret magnetisms flow incessantly to draw great events. But we prize very humble utilities, a prudent husband, a good son, a voter, a citizen, and deprecate any romance of character; and perhaps reckon only his money value, — his intellect, his affection, as a sort of bill of exchange, easily convertible into fine chambers, pictures, music, and wine.

Never lose an opportunity of seeing anything beautiful

The motive of science was the extension of man, on all sides, into Nature, till his hands should touch the stars, his eyes see through the earth, his ears understand the language of beast and bird, and the sense of the wind; and, through his sympathy, heaven and earth should talk with him. But that is not our science. These geologies, chemistries, astronomies, seem to make wise, but they leave us where they found us. The invention is of use to the inventor, of questionable help to any other. The formulas of science are like the papers in your pocket-book, of no value to any but the owner. Science in England, in America, is jealous of theory, hates the name of love and moral purpose. There's a revenge for this inhumanity. What manner of man does science make? The boy is not attracted. He says, I do not wish to be such a kind of man as my professor is. The collector has dried all the plants in his herbal, but he has lost weight and humor. He has got all snakes and lizards in his phials, but science has done for him also, and has put the man into a bottle. Our reliance on the physician is a kind of despair of ourselves. The clergy have bronchitis, which does not seem a certificate of spiritual health. Macready thought it came of the falsetto of their voicing. An Indian prince, Tisso, one day riding in the forest, saw a herd of elk sporting. "See how happy," he said, "these browsing elks are! Why should not priests, lodged and fed comfortably in the temples, also amuse themselves?" Returning home, he imparted this reflection to the king. The king, on the next day, conferred the sovereignty on him, saying, "Prince, administer this empire for seven days: at the termination of that period, I shall put thee to death." At the end of the seventh day, the king inquired, "From what cause hast thou become so emaciated?" He answered, "From the horror of death." The monarch rejoined: "Live, my child, and be wise. Thou hast ceased to take recreation, saying to thyself, in seven days I shall be put to death. These priests in the temple incessantly meditate on death; how can they enter into healthful diversions?" But the men of science or the doctors or the clergy are not victims of their pursuits, more than others. The miller, the lawyer, and the merchant, dedicate themselves to their own details, and do not come out men of more force. Have they divination, grand aims, hospitality of soul, and the equality to any event, which we demand in man, or only the reactions of the mill, of the wares, of the chicane?

No object really interests us but man, and in man only his superiorities; and, though we are aware of a perfect law in Nature, it has fascination for us only through its relation to him, or, as it is rooted in the mind. At the birth of Winckelmann, more than a hundred years ago, side by side with this arid, departmental, post mortem science, rose an enthusiasm in the study of Beauty; and perhaps some sparks from it may yet light a conflagration in the other. Knowledge of men, knowledge of manners , the power of form, and our sensibility to personal influence, never go out of fashion. These are facts of a science which we study without book, whose teachers and subjects are always near us.

So inveterate is our habit of criticism, that much of our knowledge in this direction belongs to the chapter of pathology. The crowd in the street oftener furnishes degradations than angels or redeemers: but they all prove the transparency. Every spirit makes its house; and we can give a shrewd guess from the house to the inhabitant. But not less does Nature furnish us with every sign of grace and goodness. The delicious faces of children, the beauty of school-girls, "the sweet seriousness of sixteen," the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort us through life, — we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.

Beauty is the form under which the intellect prefers to study the world. All privilege is that of beauty; for there are many beauties; as, of general nature, of the human face and form, of manners , of brain, or method, moral beauty, or beauty of the soul.

The ancients believed that a genius or demon took possession at birth of each mortal, to guide him; that these genii were sometimes seen as a flame of fire partly immersed in the bodies which they governed; — on an evil man, resting on his head; in a good man, mixed with his substance. They thought the same genius, at the death of its ward, entered a new-born child, and they pretended to guess the pilot, by the sailing of the ship. We recognize obscurely the same fact, though we give it our own names. We say, that every man is entitled to be valued by his best moment. We measure our friends so. We know, they have intervals of folly, whereof we take no heed, but wait the reappearings of the genius, which are sure and beautiful. On the other side, everybody knows people who appear beridden, and who, with all degrees of ability, never impress us with the air of free agency. They know it too, and peep with their eyes to see if you detect their sad plight. We fancy, could we pronounce the solving word, and disenchant them, the cloud would roll up, the little rider would be discovered and unseated, and they would regain their freedom. The remedy seems never to be far off, since the first step into thought lifts this mountain of necessity. Thought is the pent air-ball which can rive the planet, and the beauty which certain objects have for him, is the friendly fire which expands the thought, and acquaints the prisoner that liberty and power await him.

The question of Beauty takes us out of surfaces, to thinking of the foundations of things. Goethe said, "The beautiful is a manifestation of secret laws of Nature, which, but for this appearance, had been forever concealed from us." And the working of this deep instinct makes all the excitement — much of it superficial and absurd enough — about works of art, which leads armies of vain travellers every year to Italy, Greece, and Egypt. Every man values every acquisition he makes in the science of beauty, above his possessions. The most useful man in the most useful world, so long as only commodity was served, would remain unsatisfied. But, as fast as he sees beauty, life acquires a very high value.

I am warned by the ill fate of many philosophers not to attempt a definition of Beauty. I will rather enumerate a few of its qualities. We ascribe beauty to that which is simple; which has no superfluous parts; which exactly answers its end; which stands related to all things; which is the mean of many extremes. It is the most enduring quality, and the most ascending quality. We say, love is blind, and the figure of Cupid is drawn with a bandage round his eyes. Blind: — yes, because he does not see what he does not like; but the sharpest-sighted hunter in the universe is Love, for finding what he seeks, and only that; and the mythologists tell us, that Vulcan was painted lame, and Cupid blind, to call attention to the fact, that one was all limbs, and the other, all eyes. In the true mythology, Love is an immortal child, and Beauty leads him as a guide: nor can we express a deeper sense than when we say, Beauty is the pilot of the young soul.

Beyond their sensuous delight, the forms and colors of Nature have a new charm for us in our perception, that not one ornament was added for ornament, but is a sign of some better health, or more excellent action. Elegance of form in bird or beast, or in the human figure, marks some excellence of structure: or beauty is only an invitation from what belongs to us. 'Tis a law of botany, that in plants, the same virtues follow the same forms. It is a rule of largest application, true in a plant, true in a loaf of bread, that in the construction of any fabric or organism, any real increase of fitness to its end, is an increase of beauty.

The lesson taught by the study of Greek and of Gothic art, of antique and of Pre-Raphaelite painting, was worth all the research, — namely, that all beauty must be organic; that outside embellishment is deformity. It is the soundness of the bones that ultimates itself in a peach-bloom complexion: health of constitution that makes the sparkle and the power of the eye. 'Tis the adjustment of the size and of the joining of the sockets of the skeleton, that gives grace of outline and the finer grace of movement. The cat and the deer cannot move or sit inelegantly. The dancing-master can never teach a badly built man to walk well. The tint of the flower proceeds from its root, and the lustres of the sea-shell begin with its existence. Hence our taste in building rejects paint, and all shifts, and shows the original grain of the wood: refuses pilasters and columns that support nothing, and allows the real supporters of the house honestly to show themselves. Every necessary or organic action pleases the beholder. A man leading a horse to water, a farmer sowing seed, the labors of haymakers in the field, the carpenter building a ship, the smith at his forge, or, whatever useful labor, is becoming to the wise eye. But if it is done to be seen, it is mean. How beautiful are ships on the sea! but ships in the theatre, — or ships kept for picturesque effect on Virginia Water, by George IV., and men hired to stand in fitting costumes at a penny an hour! — What a difference in effect between a battalion of troops marching to action, and one of our independent companies on a holiday! In the midst of a military show, and a festal procession gay with banners, I saw a boy seize an old tin pan that lay rusting under a wall, and poising it on the top of a stick, he set it turning, and made it describe the most elegant imaginable curves, and drew away attention from the decorated procession by this startling beauty.

Another text from the mythologists. The Greeks fabled that Venus was born of the foam of the sea. Nothing interests us which is stark or bounded, but only what streams with life, what is in act or endeavor to reach somewhat beyond. The pleasure a palace or a temple gives the eye, is, that an order and method has been communicated to stones, so that they speak and geometrize, become tender or sublime with expression. Beauty is the moment of transition, as if the form were just ready to flow into other forms. Any fixedness, heaping, or concentration on one feature, — a long nose, a sharp chin, a hump-back, — is the reverse of the flowing, and therefore deformed. Beautiful as is the symmetry of any form, if the form can move, we seek a more excellent symmetry. The interruption of equilibrium stimulates the eye to desire the restoration of symmetry, and to watch the steps through which it is attained. This is the charm of running water, sea-waves, the flight of birds, and the locomotion of animals. This is the theory of dancing, to recover continually in changes the lost equilibrium, not by abrupt and angular, but by gradual and curving movements. I have been told by persons of experience in matters of taste, that the fashions follow a law of gradation, and are never arbitrary. The new mode is always only a step onward in the same direction as the last mode; and a cultivated eye is prepared for and predicts the new fashion. This fact suggests the reason of all mistakes and offence in our own modes. It is necessary in music, when you strike a discord, to let down the ear by an intermediate note or two to the accord again: and many a good experiment, born of good sense, and destined to succeed, fails, only because it is offensively sudden. I suppose, the Parisian milliner who dresses the world from her imperious boudoir will know how to reconcile the Bloomer costume to the eye of mankind, and make it triumphant over Punch himself, by interposing the just gradations. I need not say, how wide the same law ranges; and how much it can be hoped to effect. All that is a little harshly claimed by progressive parties, may easily come to be conceded without question, if this rule be observed. Thus the circumstances may be easily imagined, in which woman may speak, vote, argue causes, legislate, and drive a coach, and all the most naturally in the world, if only it come by degrees. To this streaming or flowing belongs the beauty that all circular movement has; as, the circulation of waters, the circulation of the blood, the periodical motion of planets, the annual wave of vegetation, the action and reaction of Nature: and, if we follow it out, this demand in our thought for an ever-onward action, is the argument for the immortality.

One more text from the mythologists is to the same purpose, — Beauty rides on a lion . Beauty rests on necessities. The line of beauty is the result of perfect economy. The cell of the bee is built at that angle which gives the most strength with the least wax; the bone or the quill of the bird gives the most alar strength, with the least weight. "It is the purgation of superfluities," said Michel Angelo. There is not a particle to spare in natural structures. There is a compelling reason in the uses of the plant, for every novelty of color or form: and our art saves material, by more skilful arrangement, and reaches beauty by taking every superfluous ounce that can be spared from a wall, and keeping all its strength in the poetry of columns. In rhetoric, this art of omission is a chief secret of power, and, in general, it is proof of high culture, to say the greatest matters in the simplest way.

Veracity first of all, and forever. Rien de beau que le vrai . In all design, art lies in making your object prominent, but there is a prior art in choosing objects that are prominent. The fine arts have nothing casual, but spring from the instincts of the nations that created them.

Beauty is the quality which makes to endure. In a house that I know, I have noticed a block of spermaceti lying about closets and mantel-pieces, for twenty years together, simply because the tallow-man gave it the form of a rabbit; and, I suppose, it may continue to be lugged about unchanged for a century. Let an artist scrawl a few lines or figures on the back of a letter, and that scrap of paper is rescued from danger, is put in portfolio, is framed and glazed, and, in proportion to the beauty of the lines drawn, will be kept for centuries. Burns writes a copy of verses, and sends them to a newspaper, and the human race take charge of them that they shall not perish.

It is one of the blessings of old friends that you can afford to be stupid with them.

As the flute is heard farther than the cart, see how surely a beautiful form strikes the fancy of men, and is copied and reproduced without end. How many copies are there of the Belvedere Apollo, the Venus, the Psyche, the Warwick Vase, the Parthenon, and the Temple of Vesta? These are objects of tenderness to all. In our cities, an ugly building is soon removed, and is never repeated, but any beautiful building is copied and improved upon, so that all masons and carpenters work to repeat and preserve the agreeable forms, whilst the ugly ones die out.

The felicities of design in art, or in works of Nature, are shadows or forerunners of that beauty which reaches its perfection in the human form. All men are its lovers. Wherever it goes, it creates joy and hilarity, and everything is permitted to it. It reaches its height in woman. "To Eve," say the Mahometans, "God gave two thirds of all beauty." A beautiful woman is a practical poet, taming her savage mate, planting tenderness, hope, and eloquence , in all whom she approaches. Some favors of condition must go with it, since a certain serenity is essential, but we love its reproofs and superiorities. Nature wishes that woman should attract man, yet she often cunningly moulds into her face a little sarcasm, which seems to say, 'Yes, I am willing to attract, but to attract a little better kind of a man than any I yet behold.' French memoires of the fifteenth century celebrate the name of Pauline de Viguiere, a virtuous and accomplished maiden, who so fired the enthusiasm of her contemporaries, by her enchanting form, that the citizens of her native city of Toulouse obtained the aid of the civil authorities to compel her to appear publicly on the balcony at least twice a week, and, as often as she showed herself, the crowd was dangerous to life. Not less, in England, in the last century, was the fame of the Gunnings, of whom, Elizabeth married the Duke of Hamilton; and Maria, the Earl of Coventry. Walpole says, "the concourse was so great, when the Duchess of Hamilton was presented at court, on Friday, that even the noble crowd in the drawing-room clambered on chairs and tables to look at her. There are mobs at their doors to see them get into their chairs, and people go early to get places at the theatres, when it is known they will be there." "Such crowds," he adds, elsewhere, "flock to see the Duchess of Hamilton, that seven hundred people sat up all night, in and about an inn, in Yorkshire, to see her get into her post-chaise next morning."

But why need we console ourselves with the fames of Helen of Argos, or Corinna, or Pauline of Toulouse, or the Duchess of Hamilton? We all know this magic very well, or can divine it. It does not hurt weak eyes to look into beautiful eyes never so long. Women stand related to beautiful Nature around us, and the enamored youth mixes their form with moon and stars, with woods and waters, and the pomp of summer. They heal us of awkwardness by their words and looks. We observe their intellectual influence on the most serious student. They refine and clear his mind; teach him to put a pleasing method into what is dry and difficult. We talk to them, and wish to be listened to; we fear to fatigue them, and acquire a facility of expression which passes from conversation into habit of style.

That Beauty is the normal state, is shown by the perpetual effort of Nature to attain it. Mirabeau had an ugly face on a handsome ground; and we see faces every day which have a good type, but have been marred in the casting: a proof that we are all entitled to beauty, should have been beautiful, if our ancestors had kept the laws, — as every lily and every rose is well. But our bodies do not fit us, but caricature and satirize us. Thus, short legs, which constrain us to short, mincing steps, are a kind of personal insult and contumely to the owner; and long stilts, again, put him at perpetual disadvantage, and force him to stoop to the general level of mankind. Martial ridicules a gentleman of his day whose countenance resembled the face of a swimmer seen under water. Saadi describes a schoolmaster "so ugly and crabbed, that a sight of him would derange the ecstasies of the orthodox." Faces are rarely true to any ideal type, but are a record in sculpture of a thousand anecdotes of whim and folly. Portrait painters say that most faces and forms are irregular and unsymmetrical; have one eye blue, and one gray; the nose not straight; and one shoulder higher than another; the hair unequally distributed, etc. The man is physically as well as metaphysically a thing of shreds and patches, borrowed unequally from good and bad ancestors, and a misfit from the start.

A beautiful person, among the Greeks, was thought to betray by this sign some secret favor of the immortal gods: and we can pardon pride, when a woman possesses such a figure, that wherever she stands, or moves, or leaves a shadow on the wall, or sits for a portrait to the artist, she confers a favor on the world. And yet — it is not beauty that inspires the deepest passion. Beauty without grace is the hook without the bait. Beauty, without expression, tires. Abbe Menage said of the President Le Bailleul, "that he was fit for nothing but to sit for his portrait." A Greek epigram intimates that the force of love is not shown by the courting of beauty, but when the like desire is inflamed for one who is ill-favored. And petulant old gentlemen, who have chanced to suffer some intolerable weariness from pretty people, or who have seen cut flowers to some profusion, or who see, after a world of pains have been successfully taken for the costume, how the least mistake in sentiment takes all the beauty out of your clothes, — affirm, that the secret of ugliness consists not in irregularity, but in being uninteresting.

We love any forms, however ugly, from which great qualities shine. If command, eloquence , art, or invention, exist in the most deformed person, all the accidents that usually displease, please, and raise esteem and wonder higher. The great orator was an emaciated, insignificant person, but he was all brain. Cardinal De Retz says of De Bouillon, "With the physiognomy of an ox, he had the perspicacity of an eagle." It was said of Hooke, the friend of Newton, "he is the most, and promises the least, of any man in England." "Since I am so ugly," said Du Guesclin, "it behooves that I be bold." Sir Philip Sidney, the darling of mankind, Ben Jonson tells us, "was no pleasant man in countenance, his face being spoiled with pimples, and of high blood, and long." Those who have ruled human destinies, like planets, for thousands of years, were not handsome men. If a man can raise a small city to be a great kingdom, can make bread cheap, can irrigate deserts, can join oceans by canals, can subdue steam, can organize victory, can lead the opinions of mankind, can enlarge knowledge, 'tis no matter whether his nose is parallel to his spine, as it ought to be, or whether he has a nose at all; whether his legs are straight, or whether his legs are amputated; his deformities will come to be reckoned ornamental, and advantageous on the whole. This is the triumph of expression, degrading beauty, charming us with a power so fine and friendly and intoxicating, that it makes admired persons insipid, and the thought of passing our lives with them insupportable. There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineaments loses its power, it is because a more delicious beauty has appeared; that an interior and durable form has been disclosed. Still, Beauty rides on her lion, as before. Still, "it was for beauty that the world was made." The lives of the Italian artists, who established a despotism of genius amidst the dukes and kings and mobs of their stormy epoch, prove how loyal men in all times are to a finer brain, a finer method, than their own. If a man can cut such a head on his stone gate-post as shall draw and keep a crowd about it all day, by its beauty, good nature, and inscrutable meaning; — if a man can build a plain cottage with such symmetry, as to make all the fine palaces look cheap and vulgar; can take such advantage of Nature, that all her powers serve him; making use of geometry, instead of expense; tapping a mountain for his water-jet; causing the sun and moon to seem only the decorations of his estate; this is still the legitimate dominion of beauty.

The radiance of the human form, though sometimes astonishing, is only a burst of beauty for a few years or a few months, at the perfection of youth, and in most, rapidly declines. But we remain lovers of it, only transferring our interest to interior excellence. And it is not only admirable in singular and salient talents, but also in the world of manners .

But the sovereign attribute remains to be noted. Things are pretty, graceful, rich, elegant, handsome, but, until they speak to the imagination, not yet beautiful. This is the reason why beauty is still escaping out of all analysis. It is not yet possessed, it cannot be handled. Proclus says, "it swims on the light of forms." It is properly not in the form, but in the mind. It instantly deserts possession, and flies to an object in the horizon. If I could put my hand on the north star, would it be as beautiful? The sea is lovely, but when we bathe in it, the beauty forsakes all the near water. For the imagination and senses cannot be gratified at the same time. Wordsworth rightly speaks of "a light that never was on sea or land," meaning, that it was supplied by the observer, and the Welsh bard warns his countrywomen, that

— "half of their charms with Cadwallon shall die."

The new virtue which constitutes a thing beautiful, is a certain cosmical quality, or, a power to suggest relation to the whole world, and so lift the object out of a pitiful individuality. Every natural feature, — sea, sky, rainbow, flowers, musical tone, — has in it somewhat which is not private, but universal, speaks of that central benefit which is the soul of Nature, and thereby is beautiful. And, in chosen men and women, I find somewhat in form, speech, and manners , which is not of their person and family, but of a humane, catholic, and spiritual character, and we love them as the sky. They have a largeness of suggestion, and their face and manners carry a certain grandeur, like time and justice.

The feat of the imagination is in showing the convertibility of every thing into every other thing. Facts which had never before left their stark common sense, suddenly figure as Eleusinian mysteries. My boots and chair and candlestick are fairies in disguise, meteors and constellations. All the facts in Nature are nouns of the intellect, and make the grammar of the eternal language. Every word has a double, treble, or centuple use and meaning. What! has my stove and pepper-pot a false bottom! I cry you mercy, good shoe-box! I did not know you were a jewel-case. Chaff and dust begin to sparkle, and are clothed about with immortality. And there is a joy in perceiving the representative or symbolic character of a fact, which no bare fact or event can ever give. There are no days in life so memorable as those which vibrated to some stroke of the imagination.

The poets are quite right in decking their mistresses with the spoils of the landscape, flower-gardens, gems, rainbows, flushes of morning, and stars of night, since all beauty points at identity, and whatsoever thing does not express to me the sea and sky, day and night, is somewhat forbidden and wrong. Into every beautiful object, there enters somewhat immeasurable and divine, and just as much into form bounded by outlines, like mountains on the horizon, as into tones of music, or depths of space. Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.

The laws of this translation we do not know, or why one feature or gesture enchants, why one word or syllable intoxicates, but the fact is familiar that the fine touch of the eye, or a grace of manners , or a phrase of poetry, plants wings at our shoulders; as if the Divinity, in his approaches, lifts away mountains of obstruction, and deigns to draw a truer line, which the mind knows and owns. This is that haughty force of beauty, " vis superba formae ," which the poets praise, — under calm and precise outline, the immeasurable and divine: Beauty hiding all wisdom and power in its calm sky.

All high beauty has a moral element in it, and I find the antique sculpture as ethical as Marcus Antoninus: and the beauty ever in proportion to the depth of thought. Gross and obscure natures, however decorated, seem impure shambles; but character gives splendor to youth, and awe to wrinkled skin and gray hairs. An adorer of truth we cannot choose but obey, and the woman who has shared with us the moral sentiment, — her locks must appear to us sublime. Thus there is a climbing scale of culture, from the first agreeable sensation which a sparkling gem or a scarlet stain affords the eye, up through fair outlines and details of the landscape, features of the human face and form, signs and tokens of thought and character in manners , up to the ineffable mysteries of the intellect. Wherever we begin, thither our steps tend: an ascent from the joy of a horse in his trappings, up to the perception of Newton, that the globe on which we ride is only a larger apple falling from a larger tree; up to the perception of Plato, that globe and universe are rude and early expressions of an all-dissolving Unity, — the first stair on the scale to the temple of the Mind.

The only way to have a friend is to be one.

What did Ralph Waldo Emerson say about beauty?

Content is coming very soon

Where did Emerson find beauty?

Ralph Waldo Emerson left the ministry to pursue a career in writing and public speaking. Emerson became one of America's best known and best-loved 19th-century figures. More About Emerson

Quick Links

Self-reliance.

Address at Divinity College
English Traits
Representative Men
The American Scholar
The Conduct of Life
Essays: First Series
Essays: Second Series
Nature: Addresses/Lectures
Lectures / Biographies
Letters and Social Aims

Early Emerson Poems

Uncollected Prose
Government of Children

Emerson Quotes

"Every man has his own courage, and is betrayed because he seeks in himself the courage of other persons." – Ralph Waldo Emerson

“Do not go where the path may lead, go instead where there is no path and leave a trail.” – Ralph Waldo Emerson

“The purpose of life is not to be happy. It is to be useful, to be honorable, to be compassionate, to have it make some difference that you have lived and lived well.” – Ralph Waldo Emerson

Emerson's Essays

Research the collective works of Ralph Waldo Emerson. Read More Essay

Emerson's most famous work that can truly change your life. Check it out

America's best known and best-loved poems. More Poems

Architecture and Design
Asian and Pacific Studies
Business and Economics
Classical and Ancient Near Eastern Studies
Computer Sciences
Cultural Studies
Engineering
General Interest
Geosciences
Industrial Chemistry
Islamic and Middle Eastern Studies
Jewish Studies
Library and Information Science, Book Studies
Life Sciences
Linguistics and Semiotics
Literary Studies
Materials Sciences
Mathematics
Social Sciences
Sports and Recreation
Theology and Religion
Publish your article
The role of authors
Promoting your article
Abstracting & indexing
Publishing Ethics
Why publish with De Gruyter
How to publish with De Gruyter
Our book series
Our subject areas
Your digital product at De Gruyter
Contribute to our reference works
Product information
Tools & resources
Product Information
Promotional Materials
Orders and Inquiries
FAQ for Library Suppliers and Book Sellers
Repository Policy
Free access policy
Open Access agreements
Database portals
For Authors
Customer service
People + Culture
Journal Management
How to join us
Working at De Gruyter
Mission & Vision
De Gruyter Foundation
De Gruyter Ebound
Our Responsibility
Partner publishers

Your purchase has been completed. Your documents are now available to view.

Essays on the Blurring of Art and Life

Expanded edition.

Allan Kaprow
Edited by: Jeff Kelley
X / Twitter

Please login or register with De Gruyter to order this product.

Language: English
Publisher: University of California Press
Edition: Expanded Edition, Reprint 2020
Main content: 297
Keywords: allan kaprow ; performance art ; art criticism ; 60s ; pop art ; jackson pollock ; experimental art ; counter culture ; performative art ; avant garde ; abstract art ; artist ; art ; media ; political art ; formalism ; art movements ; art scene ; art world ; dramatic theory ; arts ; visual arts ; art theory ; nonfiction ; new york ; art and design ; art history ; embodiment ; concentration
Published: November 15, 2023
ISBN: 9780520930841

Essay on Being An Artist

Students are often asked to write an essay on Being An Artist in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Being An Artist

Understanding artists.

Artists are people who create art. Art can be paintings, music, dance, or any other form of creative expression. Artists use their skills and imagination to create something beautiful or meaningful.

The Creative Process

Being an artist is not just about creating art. It’s about the process of coming up with new ideas and turning them into reality. Artists often spend a lot of time thinking and experimenting before they create their final piece of art.

The Artist’s Journey

Being an artist can be challenging. Artists often face criticism and rejection. But they keep creating because they love what they do. They are driven by their passion for art and their desire to express themselves.

The Joy of Art

Despite the challenges, being an artist can be very rewarding. There’s joy in creating something from nothing. And there’s even greater joy when others appreciate your work. Being an artist is about sharing your vision and touching people’s hearts.

250 Words Essay on Being An Artist

What is an artist, the life of an artist.

Being an artist is not just a job, it’s a way of life. Artists put their heart and soul into their work. They spend a lot of time thinking about new ideas. They also practice a lot to improve their skills. Artists often work alone, but they also share their work with others. They want to make people feel something when they see or hear their art.

Challenges Faced by Artists

Being an artist can be hard. Artists can face many challenges. Sometimes, they may not have enough money to buy supplies. Other times, people might not like their work. But artists keep going because they love what they do. They know that it takes time and effort to create great art.

Why Being an Artist is Rewarding

Despite the challenges, being an artist is very rewarding. Artists get to express their feelings and ideas in a unique way. They can inspire others with their work. When people appreciate an artist’s work, it brings them a lot of joy. Artists also feel proud when they see their skills improve over time.

In conclusion, being an artist is a special kind of life. It can be hard, but it is also very rewarding. Artists use their creativity to make the world a more beautiful place.

500 Words Essay on Being An Artist

An artist is a person who uses their imagination and skill to create something beautiful or meaningful. They may use different materials, like paint, clay, or even digital tools. Some artists make paintings or sculptures, while others write music, dance, or act in plays. Every artist is unique and has their own way of expressing ideas and emotions.

The Journey of Becoming an Artist

Being an artist can be challenging. Sometimes, it’s hard to come up with new ideas or to make your art look exactly the way you want it to. Artists often face criticism, which can be tough to handle. They also need to find ways to support themselves financially, which can be difficult if they are just starting out or if their art is not widely known.

The Rewards of Being an Artist

Despite these challenges, being an artist can also be very rewarding. There is a great joy in creating something that is truly your own. Artists often say that they feel most alive when they are making art. They also get to connect with other people in a deep and meaningful way, by sharing their art and the ideas and emotions it represents.

Artists and Society

In conclusion, being an artist is about much more than just making art. It’s about expressing oneself, facing challenges, and connecting with others. It’s a journey of self-discovery, creativity, and passion. And while it can be hard at times, it can also be a deeply fulfilling way to live one’s life.

That’s it! I hope the essay helped you.

Happy studying!

Persuasion and the Art of Photography

By Levi Sim , Utah State University Photographer

The most consistent thing about my job is persuasion. I am constantly persuading people to let me make a photo, put them in a photo, or do something for a photo.

For instance, let me persuade you that being a photographer isn’t an exclusive club.

Photography is the technical art, which is marvelous. Even if you don’t have an artistic bone in your body, you can follow the rules and make a decent photograph. I hope you do, and I hope you claim the title “Photographer.” Nobody criticizes a runner for not being an Olympian, and no one criticizes an equestrian for not competing in rodeos. Being a photographer doesn’t mean you’re a pro who only makes amazing pictures, and it doesn’t mean you have to use expensive tools. Being a photographer only means you make pictures that matter to you.

I make pictures that matter to me — I just don’t have time for anything else. I make pictures that are used to persuade my fellow humans to spend their money and time to go to school at USU. And you better believe I believe in it. My degree, which is not in photography, has offered opportunities I couldn’t otherwise find. I’ve seen the impact of a degree in my life and the power of education around the world. Persuading people to pursue it is worthwhile.

That’s why I make pictures of students in foam hats at football games. I’ve been paid to photograph a lot of things in the last 15 years as a full-time photographer. From soccer jerseys and cadavers to the Ritz Carlton in Hong Kong. However, none of those pictures have had the impact of my photos for USU. As the University marketing photographer, I truly have the best job in the USU system.

Persuasion in photography should be based in love, or, at least in genuineness. Perhaps the best lesson I’ve learned as a photographer is that I can take pictures for my benefit, or I can make pictures for your benefit.

You’ve noticed that I say, “make” pictures and not “take” pictures. When I take a picture, it’s for me and it’s not generous and it’s one-sided. It feels like taking something. I understand why people may feel that their soul has been taken. These are the kinds of pictures I’ve made with hired models at a workshop or when doing candid street photography or when rushing someone through a photo booth. They may be cool pictures, but they were transactional, and I may have been the only one to benefit.

Working together to make a picture, though, is cooperative. These make my best photos, my best memories, and my best friends. But they all require some degree of persuasion to make the best picture. And I’ve got all kinds of stories about them.

I’ve made roughly 2,000 headshots in the four years I’ve worked full-time for USU. These portraits represent the person, which to me is a big responsibility. I value the trust people put in me to do that work and I have a specific system that helps me show the subject’s personality.

But I have to persuade them to stand just so with their hands holding a plate of cookies and their head stuck out like a turtle while saying “bumpin-boogie-burgers.” I believe they allow me to coax them into this because they can see that I’m taking this photo seriously. I triple check their hair, the clasp placement on a necklace, the crinkle in the collar under a tie. For me it’s never “just” a headshot, and the genuine value I put on it appears to come through in my actions, and the results are often “the best photo I’ve ever had.”

Many times, I’m the one who needs persuading. It’s easy to go make pictures of students studying, or to make a simple portrait of a researcher. But if I can persuade myself to go a little beyond the basics, seek creativity, then I can make a picture that is worth a thousand words and that might cause someone to stop and linger a little longer. That’s always my goal for this magazine, and my shoot for this issue with the Kite Sisters typifies the experience.

I was in Provo, exhausted from teaching at a photography conference all week and my appointment with the Kites was quickly approaching. I was tempted to keep it simple. Lexie offered her lovely office for the shoot (it’s at the big red university, which shall not be named), and I knew I could make a pretty picture there. But my photography idol, Joe McNally, always says that photography is writing with light, so why settle for ‘pretty’ when there’s a whole dictionary. With the right inspiration, I could overcome my exhaustion and make something worth looking at.

I thought about body image stereotypes and how to visualize that. I couldn’t find a store with thousands of Barbie Dolls on the shelf, though I found the next best thing in Salt Lake City. I would have to make a stop on my way home to suss it out, and it would be simpler to just use the spot by her office. Fortunately, the idea persuaded me to detour on my way home.

No one was at the industrial building off 33rd South, but I called the number in the window and briefly explained my idea to my new best friend, Shelby, when she answered. She thought it would be a fun use of the building and said she’d be right there to show me around. It was better than I could have imagined. I made plans to light the room, figured out what tools I would need to shape the lights, where to place the subjects, etc. I was getting excited.

As I was leaving, I got Lexie on the phone and she happily described her office building, which sounds lovely. I said, “We could do it there. Or I just got permission to shoot in a mannequin warehouse. Wanna come?” (Page 44). Now take a look at Raegan’s story about the promise of outer space and try to imagine all the places my mind went while brainstorming that one (Page 58).

In other magazine issues, I’ve persuaded subjects to stand in frozen ponds, pose with a giant cabbage, drip a milkshake all over their hands, reveal their secret identities, meet old classmates at their high school, cradle coyote brains, balance cookie boxes on their partner’s head, put an astronaut in their mind, twirl through a theater, and meet me before dawn on Mount St. Helens.

If you’ve seen a brochure from USU, a viewbook, a poster, a lawn sign on campus, or a post on our social media, there’s a good chance I made the photo. Plus, I direct or make most of the pictures in this magazine. There are signs in the airport and billboards on highways around the state with my photos on them. Seeing my work in print is gratifying, and it’s all intended to persuade people to come here for school.

You’re reading this, so you’re likely affiliated with USU in some way and know what a great place it is. My job is to translate the culture of being a student into photographs, and to do it for each of our 30 campuses throughout the state. Each photograph requires a team: marketing managers for each campus, graphic designers, administrators, advisors, mentors, teachers, and students who come as models. We work to show students having fun, working hard, and becoming a person with more opportunities. Hopefully, non-students are persuaded to see themselves in these pictures as a student and a graduate.

Each year, my team photographs every graduating student throughout the state. That’s 19 ceremonies at six campuses. I personally attended 17 ceremonies this year. At our Statewide Campuses, the results of a degree or certificate are most apparent, and I’m moved each time a mother, father, or grandparent walks across the stage. You’d be inspired by the number of mothers graduating with their daughters. Go to the Southwest region’s commencement next year for a great time and a great party.

Chelsey is one of those inspiring grads. She has been in marketing photos for the Moab campus throughout her time studying nursing. She graduated this year, and she did it while working and raising two young kiddos to appreciate the outdoors.

Livi also graduated this year with a certificate in welding. She’s a powerhouse of endless enthusiasm and energy. Her family, including her grandchildren and her grandmother who is over 100 years old, attended graduation this year. She’s a welder now and is already planning to further her education.

Among my favorite pictures to make are students engaged in research. USU is an R1 institution, which means we do a whole mess of research, and undergrads assist in much of it. I hope that showing undergrads engaged in meaningful, hands-on research will persuade people to come here. It shows that college doesn’t mean sitting in classrooms. Rather, it means applying learning and doing meaningful work as a student.

Waking up before dawn at the Price campus is a great way to make pictures of meaningful fieldwork in action. First, I joined a team of undergrad, graduate, and post-graduate students who followed Utah Division of Wildlife Resources scientists to capture mule deer and record all kinds of useful information from them. The deer were captured by a team of helicopter wranglers and deposited nearby where body measurements and pregnancy status were recorded. Then, they were fitted with GPS collars and birth trackers before being released. I was amazed at how efficiently the team used ultrasound, swabbed for viruses, and took all kinds of samples. They even let me join in the science, and I became intimately acquainted with those wild deer. Let me reiterate that we gathered all kinds of samples.

Another day, we woke even earlier to search out known sage grouse leks. The birds mate in the same places year after year, which makes it simple to count them and capture individuals for tagging. It’s astounding that undergrads get these opportunities. In fact, all these experiences photographing students at work has persuaded me to begin pursuing a masters degree in natural resources. I hope my example will persuade my kids that a degree is worth pursuing.

Persuasion is the art of photography, and I love it. I love that I can help people want to come to school, and that I can help people have a great photo. I have exactly one photo of myself from college, and giving the students and teachers I photograph all the pictures we make together is a joy. Pushing myself to make the best photo keeps me on my toes and keeps me loving my job — which is the best job at USU. Another time I’ll tell you more about the work of photography and what it takes to make a mannequin warehouse photographable. For now, I hope I’ve persuaded you to go out and make some photos that matter to you.

Review overview

USU Grad Student Examining How Megacarcasses Impact the Ecosystem

Finding Home A World Away

Aggie Ice Cream from Cow to Cone: The Making of an Icon

No comments, post a comment cancel reply.

Save my name, email, and website in this browser for the next time I comment.

Website Inauguration Function.
Vocational Placement Cell Inauguration
Media Coverage.
Certificate & Recommendations
Privacy Policy
Science Project Metric
Social Studies 8 Class
Computer Fundamentals
Introduction to C++
Programming Methodology
Programming in C++
Data structures
Boolean Algebra
Object Oriented Concepts
Database Management Systems
Open Source Software
Operating System
PHP Tutorials
Earth Science
Physical Science
Sets & Functions
Coordinate Geometry
Mathematical Reasoning
Statics and Probability
Accountancy
Business Studies
Political Science
English (Sr. Secondary)

Hindi (Sr. Secondary)

Punjab (Sr. Secondary)
Accountancy and Auditing
Air Conditioning and Refrigeration Technology
Automobile Technology
Electrical Technology
Electronics Technology
Hotel Management and Catering Technology
IT Application
Marketing and Salesmanship
Office Secretaryship
Stenography
Hindi Essays
English Essays

Letter Writing

Shorthand Dictation

English Essay on “The Art of Living” Complete Essay, Paragraph, Speech for Class 10, Class 12 and Graduation and other classes.

The Art of Living

The human body is a residence of the soul. Mind and intellect are the faculties of the soul through with it get itself manifested in the form of various activities. Thus, we can think a man consists of a body, an intellect, a mind. A man is a ruler of all these things called the soul. Hence a meaningful living—is that way of life in which the mind and soul are developed. The art of livings fully awakens our soul. An awakened soul brings the perfection of the physical body, intellect, and mind.

The art of living means principles of living. Some principles of living are objective and some are subjective. For example, to do one’s duty sincerely is an objective principle. But “eat, drink and be merry” is a subjective principle. Another fact of life is that in one’s lifetime, a person has to endure moments of agony, pain, and short moments of happiness.

Modern man lives life with the advancement of science and technology. Life has become more complex. The natural flavor of life has given way to artificiality. His desires have increased so much that it has become very difficult to fulfill them. In the mad race desires, he has forgotten the natural ways of living. The aim of life has become hoarding of luxury articles.

The art of living is spoiled right from childhood. Children are unable to enjoy their childhood because of the pressure of homework. They have to get up early in the morning and they hardly find any time to take proper care of their health. Most of them suffer from dental cavities, abdominal pain, and headache.

When children return home from school, they are alone because their parents are busy either in their office or in their business. Now children are tempted to see cheap TV programs. It makes their eye-sight weak and pollutes their young minds. In their meals, breakfast and fruits are generally missing. It affects their performance in school. Some of the children experience depression also. The water and environmental pollution further contribute to the suffering of the child.

Once the child is out of school or college, he starts a journey to secure a job. His degrees do not help him to get a job. The system of education does not help the boy to start a trade. The Nepotism and bribery enable less competent people to secure a job. This adds to his frustration and life seems to be empty to him.

Under these circumstances, what can the art of living offer to him? The art of living will teach him not to be disheartened. He should have patience and faith in himself and in the Almighty. Be prepared to start life with small beginning. Dignified labor and bread earned by hard work are always sweet. It is nourishing to the body and the soul.

The best wisdom lies in living life fully and completely. You must bear in mind high ideals for the future For a common man, the art of living lies in the healthy development of the body, mind, intellect, and soul.

About evirtualguru_ajaygour

Quick Links

Popular Tags

Visitors question & answer.

Jayprakash on Hindi Essay on “Aitihasik Sthal ki Yatra” , ”ऐतिहासिक स्थल की यात्रा” Complete Hindi Essay for Class 10, Class 12 and Graduation and other classes.
Diksha on Official Letter Example “Write a letter to Superintendent of Police for theft of your bicycle. ” Complete Official Letter for all classes.
Anchal Sharma on Write a letter to the Postmaster complaining against the Postman of your locality.
rrrr on Hindi Essay on “Pratahkal ki Sair” , ”प्रातःकाल की सैर ” Complete Hindi Essay for Class 10, Class 12 and Graduation and other classes.
Mihir on CBSE ASL “Listening Test Worksheet” (ASL) 2017 for Class 11, Listening Test Audio Script 1

Download Our Educational Android Apps

Latest Desk

Contemporary Indian Women-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
Privatisation: Strengths and Weaknesses-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
Greater political power alone will not improve women’s plight-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
Casteism and Electoral Politics in India-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
Wither Indian Democracy?-English Essay, Paragraph, Speech for Class 9, 10, 11 and 12 Students.
Do Not Put Off till Tomorrow What You Can Do Today, Complete English Essay, Paragraph, Speech for Class 9, 10, 11, 12, Graduation and Competitive Examination.
Shabd Shakti Ki Paribhasha aur Udahran | शब्द शक्ति की परिभाषा और उदाहरण
Shabd Gun Ki Paribhasha aur Udahran | शब्द गुण की परिभाषा और उदाहरण
Example Letter regarding election victory.
Example Letter regarding the award of a Ph.D.
Example Letter regarding the birth of a child.
Example Letter regarding going abroad.
Letter regarding the publishing of a Novel.

Vocational Edu.

English Shorthand Dictation “East and Dwellings” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines.
English Shorthand Dictation “Haryana General Sales Tax Act” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.
English Shorthand Dictation “Deal with Export of Goods” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.
English Shorthand Dictation “Interpreting a State Law” 80 and 100 wpm Legal Matters Dictation 500 Words with Outlines meaning.

IMAGES

⇉Importance of Art in our life Essay Example
The Importance of Art in Daily Life Free Essay Example
Art and Human Life (500 Words)
Function and Importance of Arts in our Life Essay
Amazing Essay On Art And Life ~ Thatsnotus
Importance Of Art In Human Life Essay

VIDEO

Ielts essay: Art subjects

COMMENTS

Essay On Art in English for Students
Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers. Share with friends. Previous.
Essay on Art And Life
500 Words Essay on Art And Life Introduction. Art is a form of human expression that reflects our thoughts, feelings, and ideas. It is a mirror that reflects life. It can be in the form of paintings, sculptures, music, dance, and many more. Life, on the other hand, is a journey filled with experiences. Art and life are intertwined in a ...
Exploring How Art Impacts Our Lives: [Essay Example], 671 words
Published: Aug 31, 2023. Art, an extraordinary medium of human expression, has the remarkable ability to deeply influence our lives in ways that resonate far beyond the canvas or stage. The impact of art is pervasive, touching every aspect of our existence and shaping our perceptions of the world around us.
Essay on Art Is Life
This essay is a reminder of how art is intertwined with our lives. It is not separate or distant from us; it is a part of us. It is a reflection of who we are and what we feel, think, and dream. Art is not just life; it is the soul of life. It is the color, the rhythm, the melody, the story of life.
How Art Makes Us More Human: Why Being Creative is So Important in Life
The benefits of creating art. Creating art can be an immensely rewarding experience that has both psychological and physical benefits. It can provide a sense of purpose, satisfaction, and accomplishment. Art can also help reduce stress, build self-confidence, and improve problem solving skills.
An Essay on The Importance of Art in Daily Life
Artists place images, forms, colors, ideas, down in such a way that can be communicated with you the viewer. When you read the work it will serve your understanding in a multitude of vibrant ways. It will begin to make sense, in some cases a perverse kind of sense. An artist will take you on a trip around his work.
The Value of Art
The value of creating. At its most basic level, the act of creating is rewarding in itself. Children draw for the joy of it before they can speak, and creating pictures, sculptures and writing is both a valuable means of communicating ideas and simply fun. Creating is instinctive in humans, for the pleasure of exercising creativity.
Art and Sense of Life
A sense of life is not infallible. But a sense of life is the source of art, the psychological mechanism which enables man to create a realm such as art. The emotion involved in art is not an emotion in the ordinary meaning of the term. It is experienced more as a "sense" or a "feel," but it has two characteristics pertaining to ...
Essays About Art: Top 5 Examples and 9 Prompts
8. Conduct a Visual Analysis of an Artwork. Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay. 9. Art Period or Artist History.
Art, Its Functions and Purposes Essay (Critical Writing)
Also, the purpose of art is to manage emotions, so its function is to help with relaxation or fun. Sometimes a protest is expressed through art, but art cannot be used directly as a political goal; it can only criticize any elements of political activity. Works of art are sometimes used for propaganda purposes to gradually change the tastes and ...
"Without Art Mankind Could Not Exist": Leo Tolstoy's Essay What is Art
Tolstoy's theory has a lot of charming aspects. He believes that art is a means of communicating emotion, with the aim of promoting mutual understanding. By gaining awareness of each other's feelings we can successfully practice empathy and ultimately unite to further mankind's collective well-being.
My Experience with Art Essay
My Experience with Art Essay. Art has always been a significant part of my life, influencing me in ways I never thought possible. From a young age, I was drawn to the beauty and creativity that art has to offer, and as I grew older, I found myself seeking out art in all its forms. Whether it be through painting, sculpture, music, or dance, art ...
Why Appreciating Art is So Important For People
Appreciating and Admiring Art. Art is not meant to be overlooked. People need to appreciate it, admire it, and be inspired by it as it can teach us many things that we can't even imagine. Art is meant to be looked at for what it is, as it tells us who we are and what we can become in the eyes of the beholder. Art can stimulate thought and reason.
Nietzsche on Art and Life
Nietzsche on Art and Life. Daniel Came (ed.), Nietzsche on Art and Life, Oxford University Press, 2014, 255pp., $74.00 (hbk), ISBN 9780199545964. This collection comes with high expectations. Not only has Came published important papers on the topic, [1] the contributors he has assembled include some of the leading figures in the field.
This Artwork Changed My Life
About the Series. Artsy and Elephant have come together to present "This Artwork Changed My Life," a creative collaboration that shares stories of life-changing encounters with art. In each essay, the writer recalls how an artwork impacted them personally—be that through shifting their perspective, opening their eyes, or setting their ...
Vincent van Gogh (1853-1890)
Related Essays. Japonisme; Paul Gauguin (1848-1903) Post-Impressionism; The Transformation of Landscape Painting in France; Vincent van Gogh (1853-1890): The Drawings; Art of the Pleasure Quarters and the Ukiyo-e Style; Childe Hassam (1859-1935) Claude Monet (1840-1926) Édouard Manet (1832-1883) Fauvism; Frans Hals (1582/83-1666)
My LIFE is art. ART is my life.
Art can and does mean so much more. Art may be a way to explore your world or your imagination. In this way, life is art. Art may inspire a beginning painter to take steps into learning a new medium, or an accomplished artist to experiment with a new technique. Art is teaching, art is learning. Art can be exciting, empowering, and an expression ...
Art makes society: an introductory visual essay
Abstract. In this visual essay that serves as an introduction to the set of articles presented in this issue, we illustrate four ways that art makes society. We adopt a stance informed by recent perspectives on material culture, moving away from thinking about art purely in aesthetic terms, instead asking how art objects have significance in ...
Art Essay Examples for College Students
Visual Verbal Essay on Wilfred Owen and Franz Marc. This essay explores two artists, Franz Marc, Brett Whitely and two of their artworks depicting animal scenes. Franz Marc's 'Tiger', 'Blue Horse 1' and Brett Whitley's Giraffe and Hyena.
Beauty
Throughout the essay, Emerson draws on examples from nature, art, and human experience to illustrate the many different forms that beauty can take. Ultimately, "Beauty" offers a profound and inspiring reflection on the importance of aesthetic experience in human life.
Essays on the Blurring of Art and Life
Allan Kaprow's "happenings" and "environments" were the precursors to contemporary performance art, and his essays are some of the most thoughtful, provocative, and influential of his generation. His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A ...
Essay on Being An Artist
250 Words Essay on Being An Artist What is an Artist? An artist is a person who uses their creativity to make things. They can create paintings, music, sculptures, and many other forms of art. Artists use their minds and hands to bring ideas to life. The Life of an Artist. Being an artist is not just a job, it's a way of life.
Persuasion and the Art of Photography
Photography is the technical art, which is marvelous. Even if you don't have an artistic bone in your body, you can follow the rules and make a decent photograph. I hope you do, and I hope you claim the title "Photographer." Nobody criticizes a runner for not being an Olympian, and no one criticizes an equestrian for not competing in rodeos.
English Essay on "The Art of Living" Complete Essay ...
Life has become more complex. The natural flavor of life has given way to artificiality. His desires have increased so much that it has become very difficult to fulfill them. In the mad race desires, he has forgotten the natural ways of living. The aim of life has become hoarding of luxury articles. The art of living is spoiled right from ...

Essay on Art

What is Art?

Importance of Art

Conclusion of the Essay on Art

FAQ of Essay on Art

Customize your course in 30 seconds

Leave a Reply Cancel reply

Download the App

How Art Makes Us More Human: Why Being Creative is So Important in Life

Recent Posts

The Value of Art Why should we care about art?

The value of creating

Material value

Historical value

Religious value

Patriotic value

Symbolic value

Societal value

Advanced Composition Techniques

Categorizing Art

What is Artistic Composition?

Art and Sense of Life

About the Author

Related Materials

Buy The Book: The Romantic Manifesto

Objectivism’s View of Art and Its Role in Man’s Life

Ayn Rand: A Writer’s Life

Essays About Art: Top 5 Examples and 9 Prompts

1. Why Have There Been No Great Women Artists? by Linda Nochlin

9 Prompts on Essays About Art

Art, Its Functions and Purposes Essay (Critical Writing)

“Without Art Mankind Could Not Exist”: Leo Tolstoy’s Essay What is Art

Who was Tolstoy?

Get the latest articles delivered to your inbox

Art Based On Beauty And Taste

Theories that Justify the Canon

What is Art?

Art in the Extended and Limited Sense of the Word

Real and Counterfeit Art

Emotional Infectiousness

The Religious Perception of Art

Theodor Adorno on the Essay: An Antidote to Modernity

Frequently Read Together

Timeline of Ancient Greek Art & Sculpture

My Experience with Art Essay

Cite this Essay

Related Essays

Still can’t find what you need?

Related Essays on Creativity

Related Topics

Get Your Personalized Essay in 3 Hours or Less!

Nietzsche on Art and Life

Heilbrunn Timeline of Art History Essays

Road in Etten

Nursery on Schenkweg

Self-Portrait with a Straw Hat (obverse: The Potato Peeler)

The Potato Peeler (reverse: Self-Portrait with a Straw Hat)

Street in Saintes-Maries-de-la-Mer

The Flowering Orchard

Peasant Woman Cooking by a Fireplace

Wheat Field with Cypresses

Corridor in the Asylum

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930)

Olive Trees

First Steps, after Millet

Further Reading

Additional Essays by Department of European Paintings

Related Essays

List of Rulers

Artist or Maker

Online Features

Essay Samples on Art

What Does Creativity Mean to You

Censorship of Art and Artists: The Complex Discourse

Why I Want to Study Architecture: the Power of Design

The Impact of Technology on Art: A Modern Renaissance

Exploring Feminist Literary Criticism: Unveiling Mona Lisa Smile

Frida Kahlo: Exploring Her Biography Through the Film 'Frida'

Debate Surrounding Graphic Novel and Relation to Literature