//WHAT IS ART PPT

WHAT IS ART

● Art covers many meanings including ability, process, and product.

● Art is the human capacity to make things of beauty and things that stir us; it
is creativity.
● Art encompasses acts such as drawing, painting, sculpting, designing
buildings, singing, dancing, and using the camera to create images or
memorable works.
● Art is the completed work- an etching, a sculpture, a structure, a musical
composition, choreography, or a tapestry.

THE STUDY OF ARTS

● “ Art is that which brings life in harmony with the beauty of the world.”
(Plato)
● “ Art is an attitude of spirit, a state of mind- one which demands its own
● satisfaction and fulfilling, a shaping of matter to new and more significant
form.” (John Dewey)
● “Art is the most intense mode of individualism that the world has known”
(Oscar Wilde)
● “ Art is not a thing – it is a way.” (Elbert Hubbard)

COMMON ESSENTIALS OF ART

● Art has to be human-made.

● Art must be creative, not imitative.
● Art must benefit and satisfy human beings.
● Art is expressed through a certain medium or material by which
● artists communicate themselves to their audiences.

THE SUBJECT OF ART IS THE MATTER TO BE DESCRIBED OR TO BE

PORTRAYED BY THE ARTIST. THIS MAY REFER TO ANY PERSON OBJECT,
SCENE, OR EVENT.

1. Representational Art or Objective Art depicts (represents) objects that are

commonly recognized by most people.
● Still Life
● Portraiture
● Landscapes, Seascapes, Moonscapes,Cityscapes
2. Non-representational Art or
● Non-objective Art is the kind of art without
● any reference to anything outside itself. It
● has no recognizable objects.
SOME FAMOUS ARTISTS

● Leonardo Da Vinci (Painting) Lisa Macuja – Elizalde (Dance)

● Vincent Van Gogh (Painting) Ishmael Bernal (Cinema)
● Michelangelo Buonarroti (Painting) Leandro Locsin (Architecture)
● Auguste Rodin (Sculpture) Nora Aunor (Cinema)
● Wolfgang Amadeus Mozart (Music)
● Martha Graham (Dance)
● Fernando Amorsolo (Painting)
● Guillermo Tolentino (Sculpture)

1. Three major categories of artwork:

● visual artworks (painting, mosaic, prints, photography,
● and digital arts
● practical artworks (sculpture and architecture)
● performing arts (dance, music, film/theatre, and literature)
2. Purpose
● recording appearance
● making the invisible visible
● communication
● delighting
3. The Viewer, Patron, or Critique
● Elite or the Patron
● Ordinary person
● Connoisseur
● Fellow artist
4. Impression of the Viewer, Patron, or Critique

//Modern Art MovementsPPT

Modern Art Movements

1. IMPRESSIONISM
● Impressionism was an art movement in France at the end of the 19th
century. The Impressionists were agroup of artists renowned for their
innovative painting techniques and approach to using color in art. Their
paintings became the most popular art form of the 20th century with the
public and collectors alike.
● The name "Impressionism" comes from a sarcastic review of Monet's
painting, ‘Impression, Sunrise’ (1873), written by Louis Leroy in the
satirical magazine ‘Le Charivari’
 ● Impressionism was a style of painting that used a more scientific analysis
of color to capture the effects of light in nature.
● The main artists associated with Impressionism were Claude Monet,
Pierre Auguste Renoir, Camille Pissarro, Edgar Degas, Alfred Sisley and
Henri Marie Raymond de Toulouse-Lautrec.
● The Impressionists painted with small strokes of pure colours mixed in the
eye of the spectator when viewed from a distance.
● The Impressionists were the first group of artists to embrace painting ‘en
plein air’; (painting outside).
● The Impressionists had to paint quickly to capture the atmosphere of a
particular time of day or the effects of different weather conditions on the
landscape.
● The speed of the Impressionists painting technique forced them to
sacrifice accurate lines and detail in favor of atmospheric effect.
● The subject most suited to the Impressionist technique was landscape, but
they also painted portraits, still life, and figure compositions.
● Impressionist compositions were strongly influenced by the development
of photography and the discovery of Japanese woodcuts.
● Impressionism is now seen as the first movement in modern art and had a
huge influence on the development of art in the 20th century.

2. POST- IMPRESSIONISM
● Post Impressionism was not a formal movement or style. The Post
Impressionists were a few independent artists at the end of the 19th
century who rebelled against the limitations of Impressionism. They
developed a range of personal styles that focused on the emotional,
structural, symbolic, and spiritual elements that they felt were missing from
Impressionism. Their combined contributions from the artistic roots of
modern art for the next eighty years.
● The Post Impressionists were a few independent artists at the end of the
19th century who rebelled against the limitations of Impressionism to
develop a range of personal styles that influenced the development of art
in the 20th century.
● The art of Paul Gauguin was a major influence in the development of
Fauvism.
● The art of Vincent Van Gogh was an influence on Expressionism in the
20th century.
● The art of Paul Cézanne was an influence on Cubism at the start of the
20th century.
 ● The analytical method of Seurat's Pointillism influenced those artists
who adopted more calculated approach to painting, particularly in the
development of abstract art.
3. CUBISM
● Cubism was a truly revolutionary style of modern art developed by Pablo
Picasso and Georges Braques. It was the first style of abstract art which
evolved at the beginning of the 20th century in response to a world that
was changing with unprecedented speed.
● Cubism was the first abstract style of modern art.
● A Cubist painting ignores the traditions of perspective drawing and shows
you many views of a subject at one time.
● The Cubists introduced collage into painting.
● The Cubists were influenced by art from other cultures, particularly African
masks.
● There are two distinct phases of the Cubist Style: Analytical Cubism (pre-
1912) and Synthetic Cubism (post-1912)
● Cubism influenced many other styles of modern art including Orphism,
Futurism, Vorticism, Suprematism, Constructivism, and Expressionism.

4. FAUVISM
● Fauvism was a style of painting developed in France at the beginning of
the 20th century by Henri Matisse and André Derain.
● The artists who painted in this style were known as ‘Les Fauves’
● The title ‘Les FauveS’(the wild beasts) came from a sarcastic remark by
the art critic Louis Vauxcelles.
● Les Fauves believed that color should be used to express the artist’s
feelings about a subject, rather that simply to describe what it looks like.
● Fauvist paintings have two main characteristics: simplified drawing and
exaggerated color.
● Les Fauves were a great influence on German Expressionism.
5. EXPRESSIONISM
● Expressionism is a term that embraces an early 20th century style of art,
music and literature that is charged with an emotional and spiritual vision
of the world.
● German Expressionism also drew inspiration from Fauvism, German
Gothic and ‘primitive art’.
● German Expressionism was divided into two factions: Die Brücke and Der
Blaue Reiter
● Die Brücke (The Bridge) was an artistic community of young Expressionist
artists in Dresden. Their aim was to overthrow the conservative traditions
 of German art. Their ‘bridge’ was the path to a new and better future for
German art.

● Der Blaue Reiter was a publication of essays on Expressionist art forms.

The aim of Der Blaue Reiter exhibitions was to find the common creative
ground between these diverse art forms.
● After the various Expressionist groups disbanded, Expressionism spread
and evolved in the work of many individual artists across the world.
6. DADAISM
● Dadaism or Dada was a form of artistic anarchy born out of disgust for the
social, political, and cultural values of the time. It embraced elements of
art, music, poetry, theatre, dance, and politics.
● Dada was a form of artistic anarchy that challenged the social, political
and cultural values of the time.
● Dada embraced elements of art, music, poetry, theatre, dance and
politics.
● Dada aimed to create a climate in which art was unrestricted by
established values.
● Dada was anti-establishment and anti-art.
● The name 'Dada' means 'hobbyhorse' or the
exclamation "Yes-Yes".
● The Cabaret Voltaire in Zurich was the birthplace of Dada.
● After the war the Dadaists relocated to Berlin, Cologne, Hanover and New
York.
● The Dadaists published ‘manifestos’ and magazines to help communicate
their ideas.
● The Dadaists used techniques such as automatism, chance,
photomontage and assemblage.
● The Dadaists introduced the concept that an artwork could be a temporary
installation.
● The Dadaists expanded the boundaries and context of what was
considered acceptable as art.
● Several Dada exhibitions caused public outrage and were closed by the
authorities.
● Dada influenced the development of Surrealism, Action Painting, Pop Art,
Happenings, Installations and Conceptual Art.
● The main artists associated with Dada were Hugo Ball, Tristan Tzara,
Marcel Janco, Richard Huelsenbeck, Jean (Hans) Arp, Raoul Hausmann,
Hannah Höch, John Heartfield, Kurt Schwitters, Johannes Baargeld,
Johannes Baader, Max Ernst, George Grosz, Hans Richter, Francis
Picabia, Man Ray and Marcel Duchamp.
7. SURREALISM
● Surrealism was the 20 th -century art movement that explored the hidden
depths of the ‘unconscious mind’. The Surrealists rejected the rational
world as ‘it only allows for the consideration of those facts
relevant to our experience’.
● Surrealism was first defined by André Breton in the Surrealist Manifesto of
1924.
● Surrealism was greatly influenced by the writings of Sigmund Freud, the
founder of psychoanalysis.
● Surrealism was the 20th century art movement that sought to liberate
creativity from the limitations of rational thought.
● Surrealism explored the hidden depths of the ‘unconscious mind’.
● The Surrealists saw their historical ancestors in artists like Hieronymus
Bosch, Giuseppe Archimboldo, Goya, Henry Fuseli, Gustave Moreau,
Odilon Redon and genres such as Folk, Primitive, Ethnic and what we
now call ‘Outsider Art’.
● The most immediate influence of Surrealism was the Italian artist, Giorgio
de Chirico who developed a style of painting called ‘Pittura Metafisica’
(Metaphysical Art).
● Automatism was the first Surrealist technique to be developed and the
artworks created through this method are mostly abstract in form.
● Automatism was pioneered by André Masson and developed by Max
Ernst and Joan Miro.
● The interpretation of dreams was a source of inspiration for many
Surrealist artists.
● Salvador Dali was the master of hallucinatory dreamscapes.
● Dali’;s illusionistic realism could subvert your senses and open your mind
to the irrational.
● The juxtaposition of disassociated images was a technique that Max Ernst
and René Magritte employed to generate a Surrealist reaction in the mind
of the spectator.
● The main artists associated with what we now call the ‘Golden Age’ of
Surrealism comprise André
● Masson, Max Ernst, Joan Miro, Salvador Dali, and René Magritte.

8. POP ART
● Pop Art was a brash, young and fun art movement of the 1960’;s.
● Pop Art coincided with the globalization of Pop Music and youth culture.
● Pop Art included different styles of painting and sculpture but all had a
common interest in mass-media,
mass-production and mass-culture.
 ● Although Pop Art started in Britain, it is essentially an American
movement.
● Pop art was strongly influence by the ideas of the Dada movement.
● Pop Art in America was a reaction against Abstract Expressionism.
● The art of Jasper Johns and Robert Rauschenberg is seen as a bridge
between Abstract Expressionism
and Pop Art.
● The artist who personifies Pop Art more than any other is Andy Warhol.
● Warhol's paintings of Marilyn Monroe are the most famous icons of Pop
Art.
● Roy Lichtenstein developed an instantly recognizable style of Pop Art
inspired by the American comic
strip.
● Claes Oldenburg was the greatest sculptor of the Pop Art movement,
creating many large scale public
works.

//Pictures and PaintingsPPT

Pictures and Paintings
What is it?
Pictures such as drawings, paintings, photographs, and prints differ primarily in the
technique of their execution. Two-dimensional, their subject might be a landscape,
seascape, portrait, religious picture, nonobjective (nonrepresentational) or abstract
picture, still life, or something else.
How is it Put Together?
Medium
Our technical level of identification and response entails detailed information, first of
all, relative to the medium used by the artist to execute the work.
Drawing
Drawing, considered the foundation of two-dimensional art, utilizes a wide variety of
materials traditionally divided into two groups: dry media and wet media.
Dry Media
Chalk. Chalk developed as a drawing medium by the middle of the sixteenth century.
Artists first used it in its natural state, derived from ocher hematite, white soapstone,
and black carbonaceous shale, placing it in a holder and sharpening it to a point.
Chalk, a fairly flexible medium, creates a wide variety of tonal areas with extremely
subtle transitions between areas.
Charcoal. Charcoal, a burnt wood product (preferably hardwood), like chalk, requires
paper with a relatively rough surface—tooth—for the medium to adhere. Charcoal has
a tendency to smudge easily, which dampened its early use as a drawing medium.
Graphite. Graphite, a form of carbon, like coal, and most familiar as pencil lead, can
be manufactured in various degrees of hardness. The harder the lead, the lighter and
more delicate its mark,
Pastel. Pastel, essentially a chalk medium in which colored pigment and a non-greasy
binder have been combined, typically comes in sticks about the diameter of a finger
and with a myriad hardness: soft, medium, hard.
Liquid Media
Pen and Ink. Pen and ink comprise a fairly flexible medium compared to graphite, for
example. Although linear, pen and ink give the artist the possibility of variation in line
and texture.
Wash and Brush. Ink, diluted with water and applied with a brush, creates a wash
similar in characteristics to watercolor. Difficult to control, wash and brush yields
effects nearly impossible to achieve in any other medium.
Painting
Like drawing media, painting media each have their own particular characteristics; to
a great extent, this dictates what the artist can or cannot achieve as an end result.
Oils
Oils, perhaps the most popular of the painting media since their development near the
beginning of the fifteenth century, gain their popularity principally from the great variety
of opportunities they give the painter.
Watercolor
Watercolor is a broad category that includes any color medium that uses water as a
thinner. The term, however, has traditionally referred to a transparent paint usually
applied to paper. Because watercolors are transparent, artists must be very careful to
control them.
Tempera
Tempera, an opaque watercolor medium, spans recorded history. Employed by the
ancient Egyptians, it still finds use today. Tempera comprises ground pigments and
their color binders such as gum or glue but is best known as egg tempera.
Acrylics
Acrylics, in contrast with tempera, constitute modern synthetic products. Most
acrylics are water-soluble (they dissolve in water), and use an acrylic polymer as a
binding agent. Acrylics offer artists a wide range of possibilities in both color and
technique. Either opaque or transparent, depending on dilution, acrylics dry fast, and
thin, and are resistant to cracking under temperature and humidity extremes.
Fresco
Fresco, a wall painting technique, uses pigments suspended in water and applied to
fresh wet plaster. Michelangelo’s Sistine Chapel frescoes are the best-known
examples of this technique.
Mixed Media
Of course, artists may choose to use a single medium such as those just noted, or they
may choose to combine various media in order to create works that allow the artist to
transcend the limits of a single medium,

Printmaking Overview: Printmaking encompasses three primary categories based on

the printing surface: relief printing, intaglio, and planographic processes.

· Relief Printing: Techniques like woodcut, wood engraving, collograph,

and linoleum cut involve carving a raised image onto the printing surface.
When inked, the image is transferred by pressing paper onto it, resulting in a
reversed image.
· Intaglio: This category includes methods such as etching, aquatint, line
engraving, and drypoint. Intaglio involves incising grooves into a metal plate,
and ink is transferred from these grooves onto paper.
· Planographic Processes: Lithography (stone printing) and serigraphy
(silkscreen) are part of this category, where printing is done from a flat
surface. Lithography relies on the principle that water and grease repel each
other, while serigraphy uses stencils to apply ink through a mesh.
· Issue Numbers: Each print is numbered, often appearing as a fraction
(e.g., 36/100). The denominator indicates the total prints produced, while the
numerator shows the print's position in the series. Single numbers (e.g., 500)
indicate the total prints. The issue number can impact a print's price but isn't
the sole determinant of value.

Relief Printing: In relief printing, inked raised surfaces transfer images onto paper,
creating a reversed image. Woodcut and wood engraving are traditional techniques,
with woodcut utilizing the plank of the grain and wood engraving cutting into the butt of
the grain.

Intaglio: Intaglio processes transfer ink from grooves cut into a metal plate. Line
engraving, etching, drypoint, and aquatint are examples.

· Line Engraving: Involves cutting grooves into a metal plate with sharp
tools, requiring precise control.
· Etchings: The artist exposes the plate to an acid bath, with areas covered
by a wax-like ground protected. Longer exposure produces deeper etches.
· Drypoint: It creates fuzzy lines with burrs, unlike the sharp lines of line
engraving.
· Aquatint: Used for creating solid areas of nonlinear tone and gradations of
tone. Resin is applied to the plate, heated, and then immersed in acid.

Planographic Processes: Planographic processes involve printing from a flat surface.

 · Lithography: Based on the principle that water and grease repel each
other. Artists draw on a smooth stone with grease, treat it with chemicals, and
then apply ink, which adheres only to the greasy areas.
· Serigraphy (Silkscreen): Uses a mesh screen to apply ink through
stencils. Suitable for achieving large, uniform color areas.
· Monotype: A unique impression created by applying ink to a flat surface
and transferring it to paper, resulting in one-time images.

Photography: Photography captures and sometimes alters reality through images. It

can simplify or amplify reality.

· Art Photography: Artists like Ansel Adams and Alfred Stieglitz viewed
photography as interpretive art, emphasizing clarity, sharpness, and tonality.
· Postmodern Photography: Postmodern photographers sought to replace
traditional painting as a way to capture the immediacy of life, using
photography to represent the world more accurately.

Notable Photographers:

· Thomas Joshua Cooper: Creates unique images using a painterly

process, manipulating selenium and gold to achieve distinctive tonal qualities.
· Man Ray: Known for photograms, which involve placing objects directly
onto photographic paper and exposing them to light.
· James Casebere: Builds tabletop models, photographs them, and
explores social and architectural themes through manipulated images.

Documentary Photography: Documentary photography is a genre of photography

that aims to chronicle real-life events, people, and social issues. It often seeks to inform,
educate, and create awareness about various subjects. Dorothea Lange, mentioned in
your text, is one of the most renowned documentary photographers, known for her
compelling portraits of the American Great Depression.

● Migrant Mother, Nipomo, California: This iconic photograph by

Dorothea Lange is a poignant portrayal of Florence Thompson, a mother
struggling during the Great Depression. It is a powerful example of how
photography can capture the human condition and bring attention to social
issues.
● Photography for Social Change: Documentary photography, especially
during the Great Depression, played a crucial role in raising awareness
about poverty, unemployment, and the plight of marginalized communities.
It often relied on capturing candid moments to convey the reality of the
subjects.
● Social Impact: Lange's work, including her photographs of California's
migrant workers, was instrumental in drawing attention to the struggles of
 the poor. Her images, accompanied by captions in the subjects' own
words, helped in the establishment of migrant worker camps to alleviate
suffering.

Photographic Techniques: Photography has a rich history of technological

advancements and creative techniques.

● Camera Obscura: The term "camera" originates from "camera obscura,"

which means "dark room" in Latin. It was an early device used by artists to
project and copy nature accurately by allowing light through a small hole
to project an image onto a surface inside a darkened room.
● Daguerreotype: Invented by Louis Jacques Mandé Daguerre, this early
photographic process produced positive images on metal plates. It played
a significant role in the early history of photography.
● Calotype: William Henry Fox Talbot developed the calotype process,
which allowed for the creation of negative images on paper coated with
light-sensitive chemicals. This process facilitated the production of multiple
prints from a single negative.
● Wet-Plate Collodion Process: Introduced by Frederick Archer, this
process involved coating a glass plate with a light-sensitive chemical
solution and producing images within a short span. It became the standard
photographic process in the mid-19th century.
● Color Photography: In the 1950s and 1960s, color photography gained
popularity due to its availability and affordability. The invention of the
Polaroid camera further contributed to the spread of color photography.
● Digital Photography: In the early 21st century, digital technology
revolutionized photography. It allowed for greater control over images,
large-scale printing, and creative manipulation, rendering film obsolete in
many contexts.

Composition: Composition is a fundamental aspect of visual art, and it involves

arranging the elements within an artwork to create meaning and impact.

Elements
Line
The basic building block of a visual design is a line. To most of us, a line is a thin
mark:_____. In two-dimensional art, the line is defined by its three physical
characteristics: (1) a linear form in which length dominates over width, (2) a color edge,
and (3) an implication of continued direction.
Form
Form relates closely to the line in both definition and effect. The form comprises the
shape of an object within the composition, and shape often is used as a synonym for
form.
Color
Color constitutes an additional aspect of the composition of an artwork. We can
approach color in many ways. We could begin with color as electromagnetic energy; we
could discuss the psychology of color perception; and/or we could approach color in
terms of how artists use it.
● Hue. Hue is a specific color with a measurable wavelength. The visible
range of the color spectrum or range of colors we can actually distinguish
extends from violet on one end to red on the other.
● Value. Value, sometimes called key, is the relationship of blacks to whites
and grays. The range of possibilities from black to white forms the value
scale, which has black at one end, white at the other, and medium gray in
the middle.
● Intensity. Intensity, sometimes called chroma and saturation, comprises
the
degree of purity of a hue. Every hue has its own value; that is, in its pure
state, each hue falls somewhere on the value scale.

Mass (Space)
Only three-dimensional objects have mass— that is, take up space and have density.
However, two-dimensional objects give the illusion of mass, relative only to the other
objects in the picture.
Texture
The texture of a picture is its apparent roughness or smoothness. Texture
ranges from the smoothness of a glossy photo to the three-dimensionality of
impasto, a painting technique with pigment applied thickly with a palette knife
to raise areas from the canvas.
Principles
Repetition
Probably the essence of any design is repetition: how the basic elements in the picture
repeat or alternate. In discussing repetition, let’s consider three terms: rhythm, harmony,
and variation.
Rhythm. Rhythm is the recurrence of elements in a composition. In other words, rhythm
is the repetition of lines, shapes, and objects in a picture.
Harmony. Harmony is the logic of repetition. Harmonious relationships
employ components that appear to join naturally and comfortably as in Zhu Da’s (Bada
Shanren) Lotus.
Variation. Variation is the relationship of repeated items to each other, like theme and
variation in music.
Balance
The concept of balance employs certain innate judgments. Looking at composition, we
almost intuitively understand if it does or does not appear balanced. Most individuals
have this sense.
Symmetry. The most mechanical method of achieving balance employs symmetry, or,
specifically, bilateral symmetry, the balancing of like forms, mass, and colors on
opposite sides of the vertical axis of a picture. Symmetry has measurable precision.
Asymmetry. Asymmetrical balance, sometimes referred to as psychological balance,
results from careful placement of unlike items, as in Julie Roberts’s Ann and Margo
Frank.
Unity
With a few exceptions, we can say that artists strive for a sense of self- contained
completeness in their artworks. Thus, an important characteristic in a work of art
constitutes the means by which unity is achieved.
Focal Area
When we look at a picture for the first time, our eye moves around it, pausing briefly at
those areas that seem of the greatest visual appeal. These are focal areas.
Other Factors
Perspective
Artists use perspective as a tool to indicate spatial relationships of objects in a picture.
Based on the perceptual phenomenon that causes objects farther away from us to
appear smaller, perspective indicates the spatial relationship between the objects in the
foreground and objects in the background.
Linear Perspective
Linear perspective employs the phenomenon we perceive when standing on railroad
tracks and watching the two rails apparently come together at the horizon.
Atmospheric Perspective
Atmospheric perspective indicates distance through the use of light and atmosphere.
For example, the mountains in the background of Raphael’s The Alba Madonna appear
to be distant because of their size.
Shifting Perspective
Shifting perspective appears especially in Chinese landscapes and results from
additional factors of culture and convention.
Content
We can regard the treatment of content as ranging from naturalism to stylization. This
includes such concepts as abstract, representational of what we observe around us in
favor of an image that, while perhaps not lifelike, better speaks to the underlying truth of
human existence than mere lifelikeness does.
Chiaroscuro
Chiaroscuro (sometimes called modeling; in Italian “light and shade”) is the
device used by artists to make their forms appear plastic or three- dimensional. The
problem of making two-dimensional objects appear three- dimensional rests heavily on
an artist’s ability to render highlight and shadow effects.
How Does it Stimulate the Senses?
We do not touch pictures, so we cannot feel their roughness or their smoothness, their
coolness or ,their warmth. We cannot hear pictures, and we cannot smell them. So,
when we conclude that a picture affects our senses in a particular way, we are
responding and nonobjective.
Contrasts
We refer to the colors of an artist’s palette as warm or cool depending on which end of
the color spectrum they fall. Reds, oranges, and yellows comprise warm colors: the
colors of the sun, which call to mind our primary source of heat. So
Dynamics
Although pictures do not contain motion, they can effectively stimulate a sense of
movement and activity. They also can create a sense of stable solidity.
Trompe l’oeilx
Trompe l’oeil (trawmp LYUH), or “trick the eye,” gives the artist a varied set of stimuli by
which to affect our sensory response. It represents a form of illusionist painting that
attempts to show an object as existing in three dimensions at the surface of a painting,
accounting also for the point of view of the observer;
Juxtaposition
We can also receive sense stimuli from the results of juxtaposing curved and straight
engineering because of its structural qualities. It has an artistic interest because of its
psychological qualities.
Content
Content, which involves any or all of the characteristics we have discussed, gives an
artist a powerful device for affecting both sensory responses and more intense,
subjective responses. Lifelikeness or nonobjectivity can stimulate individuals, and it
would seem logical for individuals to respond intellectually to nonobjective pictures
because the subject matter should be neutral, with no inherent expressive stimuli.