1.

) Explain how the principles of art are used to organize the elements of
art.    cite categories on analyzing   how successful works of    art achieve unity by
using the   elements and principles of art. Differentiate how a design chart    can be
used to identify the elements and principles in a work of art.

The various ways the elements can be employed in art is through the principles of a
piece of art: harmony, variation, gradation, movement, emphasis, balance,
emphasis, rhythm, and proportion. We may compare this to authors, who need to do
more than merely pick and arrange words at random if they want to convey their
thoughts to others. The building blocks of art are comparable to language. The way
writers arrange those words is comparable to how artists use their principles. Writers
construct words, phrases, and paragraphs. They must then organize these into
meaningful sequences with care. The language must be structured such that readers
may comprehend and value its concepts. When all the components work together to
create the optimum outcome, the result is a unified design—a smart blending of
elements and concepts. Without this overarching unifying concept, the piece would
"break apart," or to the observer, look disjointed and muddled. The many
applications of each element by artists are therefore described by the principles of
art. Artists strive for harmony without monotony and variation without chaos while
working with any element. To create a seamless and integrated whole, the
components must mesh and cooperate.

The categories that can help you determine whether the artwork was able to achieve
unity first is through determining if the elements within the artwork are balanced
formally or informally. Another one, are contrasting elements used to direct the eye
to areas of emphasis. In addition to this, a category also of whether harmony is
achieved through the use of similar elements that are repeated throughout the piece
of art. Prior to this, you can also categorize of whether the art was able to achieve
variety to the composition through the use of different elements. Another one, do any
of the elements change gradually from one to another. Or are the elements arranged
to create a feeling of movement or rhythm. Lastly, is the presence of any one
element out of proportion to the other elements used in the art piece. Through these
categorizing and analyzing the answers to them, you will eventually be able to
determine if whether the artwork was able to create a profound unity between
various elements and principles.

The Design Chart can assist you in determining the many connections that
components and concepts in works of art may have. Asking the correct questions
about a piece of art is the first step towards figuring out how it was put together. You
may find these questions with the aid of the design chart. Start with any element,
then consider the chart to see how it is employed in a piece of art. You'll connect
each concept with the element in your queries. For instance, you may start analyzing
an artwork by focusing on its color. Then, referring to each principle in turn, you
would pose and then respond to inquiries regarding the work.

2.) Differentiate the processes of drawing and painting. Explain how artists find ideas
for   their artworks.

Two significant ways that artists make their thoughts and emotions evident are
through drawing and painting. You will be more equipped to detect and react to such
thoughts and feelings if you are familiar with the mediums and techniques used to
produce drawings and paintings. It will also assist you in giving voice to your own
thoughts and emotions.

Drawing is the technique of using lines, forms, values, and textures in one or more
colors to represent an item, scene, or form with decorative or symbolic meaning.
This procedure is passing a pointed object across a smooth surface, such as a
pencil, crayon, or stick of chalk, and leaving the markings of its passage. On the
other hand, one of the oldest and most significant visual arts is painting. A painting is
made by an artist by positioning the art components on a flat surface in ways that are
occasionally aesthetically pleasing, occasionally frightening, or occasionally thought
stimulating.
The ideas that painters choose to depict are frequently influenced by the period and
area in which they were born. Their personal experiences, the lives of others around
them, and the values and ideologies of their society all have an impact on them.
Artists have found inspiration for their paintings throughout history in both the
imagined world they create in their heads and the real reality of people, places, and
events that surround them. Some of the sources of their inspiration for ideas can
come from landscape, nature, people, still life, and historical subjects. Just like me,
as an architecture student, at times I drew inspiration and concepts on the things I
see around me, from my experiences, from people, and even from the other
architectural works of prominent architects in the history. Ideas are always
everywhere, and we just have to have the eyes to see it, a creative mind to envision
it, and hands to materialize it.

3.) Identify the materials and tools used in sculpture.  Name and describe the four
major techniques used to create sculpture.

Sculpture may be created using any material that can be molded in three
dimensions. Certain materials have proven particularly useful because of their
structural, aesthetic, and practical qualities. The most significant of them are plaster,
stone, wood, metal, clay, and ivory. Stone has always been the main component of
colossal sculpture. There are practical reasons for this: stone is readily accessible
worldwide and can be purchased in huge blocks; several varieties of stone are very
resistant to the elements and thus appropriate for outside use. On the other hand,
the tools utilized in the field of sculpting have been developing ever since they first
appeared in prehistoric times. They have improved over time to offer more precision,
allowing artists to produce works with finer detail and a better overall outcome.
Currently, the most used instrument for cutting stone is a chisel. They have been
around since the dawn of time but have undoubtedly advanced tremendously since
then. In order for the artist to create the form they desire one bit at a time, chisels are
a manual instrument that are used to chip away at stone to remove little portions at a
time. Another one is the mallets and hammers. Working with stone requires the use
of hammers and mallets since they have the power to hit the material with a powerful
impact. As many of you are aware, hammers consist of a handle that directs the
impact and a metal head. On this modern time we have used diamond saw and
cutting blades as a way to create sculptures. Diamond saw and cutting blades are
made specifically for cutting different kinds of stone. They are manufactured
particularly using diamond particles, a substance renowned for its toughness and
abrasive properties. These characteristics enable them to cut swiftly and accurately.
The four major techniques in producing sculptures are modeling, carving, casting,
and assembly. In modeling technique, a soft, malleable substance is built up and
molded into a sculptural form during the process. The artist works with a substance
like clay, wax, or plaster. Modeling is referred to as an additive technique because
the sculptor continually adds more and more material to create a three-dimensional
object. On the other hand, in order to produce a sculpture, a form is carved or
chipped out of a mass of material. Carving is a subtractive method, as opposed to
modeling, which is an additive one. Up until the artwork is fully revealed, material is
removed. Over the ages, stone carving has not undergone much alteration. In fact,
even the tools have mostly remained unchanged since ancient times. Power tools
that can remove extra material and polish finished works are a benefit for
contemporary stone carvers. This quickens the carving process but does not make it
less difficult. Despite its toughness, stone can break, giving the artist little more than
the fragments of a dream in exchange for their many hours of labor. In casting, a
molten metal or other liquid substance is poured into a mold during casting to
harden. Using this technique, an original sculpture made of wax, clay, plaster, or
another material may be precisely replicated. The technique is still used in much the
same way as it has for hundreds of years. An unidentified Indian artist employed the
cire perdue, or "lost wax," technique well over a thousand years ago to produce the
beautiful sculpture of a Hindu divinity. Lastly we have assembly, the artist collects
and combines a range of unique materials during the assembling process to create a
three-dimensional work of art. Assembly, in contrast to the other sculpture-making
methods, is a contemporary method.
1.) What is meant by an artist’s personal style and what role does it play in the
historian’s efforts to identify artworks as representative of art movements? On what
does the art historian focus attention during interpretation?

 An individual's method of reproducing what they observe and expressing their
thoughts and emotions by employing the components and concepts of the arts is
what it meant by an artist’s personal style. Art styles define how a piece of work
appears. The way an artist presents their subject matter and communicates their
perspective is referred to as their style. The qualities that define the artwork, such as
the way the artist uses form, color, and composition, to mention just a few, are what
define its style. Examining how the artist uses the medium while taking into account
the approach or technique that the artist employs is another crucial element in
establishing the style of an artwork. The idea or guiding principle underlying the
artwork is another consideration when comparing art styles. The decisions artists
make as they put together their works of art determine all of these aesthetic
components.

A movement's artists are characterized by a common aesthetic. A style is a set of

qualities that an artistic piece of work possesses. This can indicate that they are
associated with the same movement in some cases, but not always. The idea of
"movements" in art is typically connected to a particular period of time in history. As
an illustration, there are still artists working today who embrace the ideas that helped
establish Impressionism in the 19th century. But as they are modern painters that
draw inspiration from the Impressionists, they are not actually a part of the historical
"Impressionist movement." The movement itself is still entrenched in its original
location on the chronology of art history, despite the fact that art forms from the past
can be revived. Each artist has a distinctive unique art style that is established over
the course of a lifetime. As an artist develops as a person and as an artist, their style
may shift and adapt. New artists frequently imitate (copy) the styles of artists they
find inspiring. This can be helpful at initially to get one's feet wet and will aid in the
development of understanding on how to produce various sorts of art. However, it is
crucial that aspiring artists concentrate on creating their own distinctive styles and
modes of expression. A person's own style typically develops as they gain
confidence via experience, increase their knowledge base, and become more skilled
with various medium.

Art historians are concerned with gathering information about works of art and the
artists who created them. Art history is not just about plotting and listing art
movement on a timeline jus to create art history itself. Art history is the study of
works of art taken into account within their historical context. Painting, sculpture, and
architecture are examples of visual arts whose significance was examined by art
historians at the time of creation. Establishing the authorial origins of artworks, or
learning who created a certain work of art, when, where, and why, is another goal of
art history. A significant aspect of art history is iconography. It involves examining the
symbolism of artistic creations. For instance, art historians analyze a painting's
significance and determine its visual components. What the works of art represented
at the time of their creation is of importance to art historians.

2.) Explain how both the art criticism operations and the art history operations can be
used to examine a work of art.

The humanities, the third-largest scientific branch, which has distinct goals and
approaches from the other two, the analytic-empirical and the normative sciences,
include art history and art criticism in a broader sense. The humanities derive their
fundamental methodological tools from the hermeneutical tradition in order to
understand and interpret human behavior and intellectual works. Their primary
analytical category is understanding, which aims to give these activities or works of
art meaning through a form of subjective transfer. In contrast to the analytical
sciences' nomological method and the normative sciences' regulative-deontological
approach, the humanities have an explicit value focus in their research of historical
periods and cultural meanings.

The study, comprehension, and interpretation of artworks are the goals of the
intellectual pursuits of art history and art criticism. They differ fundamentally not only
in terms of the age of their objects but also in terms of their goals: the art critic is
more interested in contemporary art, which he studies, interprets, and critically
evaluates. The art historian, on the other hand, studies historical works of art and
builds systems on them using hermeneutical methods. In this regard, the work of the
art critic serves as a crucial resource and a fundamental foundation for upcoming
historians. 

The understanding and interpretation of artworks, which is the central theme of

historical and critical literature, heavily rely on the author's observation, experience,
and intuition. Art historians try legitimate and intersubjective interpretations that will
eventually be evaluated by the larger hermeneutical community while adhering,
however conscientiously, to their chosen methodologies and standards. They often
adopt a scientific technique to build systems and ideas, and they employ precise,
objective language to express their results. On the other hand, many art reviewers
assess works of art using their personal aesthetic preferences as criteria.

3.) When you examine a work of art, should you begin with the art criticism
operations or the art history operations?   What kinds of information   must you have
before you can make a final judgment about a work of art?   Why is it impossible to
say judgments in art are always final?

You will start by utilizing your understanding of art criticism to extract information
from the artwork when you are analyzing a piece of art. After that, you'll consult art
history to learn more about the piece and the person who made it. You may reach a
conclusion about the piece of art by fusing data from both art history and art
criticism. A piece of art's examination and appraisal can be referred to as art
criticism. This area of academic study has a long history of association with poetry.
The prominence of poetry and art criticism was about equal at the start of the 20th
century. It was widely acknowledged and praised that art critics were just as
"important" as poets. Though the practice of criticism in the visual arts was much
later to develop, it still had very high esteem in both intellectual and artistic circles.
Harsh language, detailed analysis, and critical evaluation of works of contemporary
art have become ingrained in the realm of contemporary art. It has been impossible
to conceive modern art without critics since long-term interpretive analysis and
aesthetic judgements have dominated the language of art criticism.
Combine what you learned from aesthetics and art criticism with what you learned
from art history before you can create a final judgement of the work of art. Serious
art critics and historians look into methodologies and corrective principles to not only
verify the accuracy of their writings but also to curb the subjective elements that
come from unreliable and unique expressions. They systematically maintain the
consistency of their theories' logic while interpreting the works in light of the totality of
the knowledge they have regarding them and their time period, exploring and
revealing their connections, and integrating them into a historical, theoretical, and
cultural system. Finally, they judge them either directly or indirectly by the words they
use, which expose their unspoken personal judgments.
When we analyze and create interpretation to a work of art, we cannot always say
that our judgement is final because these interpretations and conclusion are always
subject to us as we personally derive them based on what we already known. We all
learn and grow over time thus, our knowledge on how we have interpreted and
critique an artwork within the past must always constantly change when we move
through time. More to that, the knowledge of art continues to always change
especially though the movements within time and periods thereby, judgement could
never be an absolute one as what we had known about art at the present time might
change and be revolutionized in the upcoming future times.
1.) During which art history operation does the historian attempt to discover the
qualities of an artwork that determine its artistic style?

Visual analysis is a method used by art historians to explain and comprehend this
phenomenon. Often referred to as formal analysis, this usually consists of two parts:
a description of the visual elements of a work and an examination of their
consequences. This is because it concentrates on form rather than subject matter or
historical context. Art historians use a predefined vocabulary and set of ideas to
methodically describe visual qualities. These include elements like format, scale,
composition, and viewpoint; how the human figure and surrounding space are
handled; and how form, line, color, light, and texture are used.

Formal analysis often highlights specific elements that contribute to the overall
impression of the work when describing visual aspects. A dominant linear form, for
instance, may imply power if it is straight and vertical, elegance or sensuality if it is
sinuous, or steadiness and calmness if it is long and horizontal. Sharp contrasts
between light and dark may give an image a forceful, dramatic effect, while soft
lighting might imply tenderness or closeness. In the past, formal analysis attempted
to characterize these effects by presuming there was some basic degree of
universality in the human reaction to visual form. Even though the approach is now
recognized as being more arbitrary, it is still respected as a critical exercise and way
of delving into the visual experience, particularly in basic art history classes.

2.) What is an art movement?  Where do historians turn to learn how time and place
may have influenced an artist?   What two factors help determine a work’s success
to an art historian?

An art movement is a trend or a certain aesthetic that a group of artists embrace and
adhere to for a predetermined amount of time, which might be anything from a few
months to several years or even decades. It also refers to the act of a big group of
contemporaneous artists collectively adopting a certain, distinctive form or style of art
that can be distinguished from modern techniques and styles. Then, this technique
grows to be very well-liked and starts to characterize an entire generation of artists.
The 19th century in France is when art trends first emerged. The established art
forms and practices, which had persisted for centuries with minimal modification,
were drastically altered by the industrial revolution and the 1840s. The birth of art
movements as we know them now was influenced by a variety of reasons.
photography's just developed but quickly gaining trends, journalism's developing
appeal, and its rebellious spirit. The anti-romantic movement's emergence and
following rise in Germany, as well as the shifting political landscapes of Europe, were
all at their height. These cultural factors combined to create the first recognized art
trend, known as realism.

Art historians are able to determine the time and place that had influenced the
prominent works of art of various artist through history books, biographies, articles
and public reviews. When the individual motives of the persons who created a work
are taken into account, analysis of function becomes more complicated. This covers
patrons who commissioned works as well as artists for a large portion of history, as
well as advisors who sometimes acted on the patron's behalf. The motives of such
actors can serve as prospective settings for comprehending their purpose and
appearance when they can be positively or theoretically determined. With
complicated works, this can quickly lead to interpretive difficulties. Think of
Michelangelo's well-known ceiling frescoes in the Sistine Chapel as an illustration. Is
it preferable to understand these extremely original paintings in terms of the chapel's
role as a significant ritual location in the Vatican palace, Michelangelo's concerns,
the concerns of the patron, Pope Julius II, or one or more of Julius's counselors at
the papal court? The context materials pertinent to each are so broad and varied that
there is no one way to understand them, therefore the answer is probably some mix
of these.

Expression of new style or technique and examples of the artists full developed style
are the two factors which help to determine a work’s success to an art historian. One
illustration of these factors is how Helen's analysis of Hassam's painting comes to an
end when she decides on its historical importance. Because they are the first
examples of a new style or method, certain artworks are valued more highly. As a
result, they influence succeeding artists. Other creations are prized because they are
outstanding illustrations of a great artist's fully formed style. Given that Hassam's
artwork was completed in 1917, it was created at the height of his artistic
development. It persuasively exhibits the artist's perfect mastery of the Impressionist
movement to capture the appearance and feel of a current event as viewed in a
fleeting glimpse. Hassam distinguished himself as one of America's leading
Impressionist artists with works like these. Therefore, it is not unexpected that Helen
rates Hassam's artwork as successful. Helen's analysis of Hassam's painting serves
as an example of how the four art history operations, or processes, may be used to
learn a lot about a piece of art.
1.) Identify the four steps in the process of art criticism.  Where do critics turn
to find out more about a work after they have examined it using the
art criticism operations?

The four steps in the process of art criticism are describing, analyzing, interpreting,
and evaluating. Describing is the first step of art criticism wherein you are to critique
a work of art based on what you visually see as what it is. To describe ana artwork
you might ask what is the name of the artist who created the artwork? What kind of
artwork is it, what medium is it? What is the name of the artwork? When was the
artwork created? And many other questions for evaluation that solely depend on how
you physically see the artwork itself. Analyzing on the other hand is where you are to
mentally separate the parts or elements, thinking in terms of textures, shapes, forms,
light, dark or bright, dull colors, types of lines, and sensory qualities. In this step
consider the most significant art principles that were used in the artwork. Describe
how the artist used them to organize the elements. On the other hand, an
interpretation tries to explain the meaning of the work. Based on what you know so
far about the artwork, what do you believe the artist was attempting to say? Lastly,
after careful observation, analysis, and interpretation of an artwork, you are ready to
make your own judgment. This is your personal evaluation based on the
understandings of the works.

Critics turn to art history and external clues-facts and information about the work and
the artist who created it in order to find out more about a work after they have
examined it using the art criticism operations. External clues include details and
information about the artwork and the creator, such as their names, where and when
they were created, and the creative movement they represent. This information may
be discovered in historical sources as well as in the works of other critics, and
although while it's probably previously known to the critic to some extent, it should
only be taken into consideration after a thorough investigation. Additionally, only
Internal Clues—those that may be located in the work itself—should be taken into
account when doing an analysis. To guarantee that the critic produces an unbiased
analysis, it is essential to disregard external indications, and doing so involves
deliberate effort.

 2.)  name and discuss three major   aesthetic theories. Explain how

statements of like and dislike differ from judgments about artworks. Discuss
how the process of art   criticism can be used to examine nonobjective
artworks.

The three major aesthetic theories are Imitationalism, Formalism, and

Emotionalism. "The aesthetic theory known as imitationalism applies to artworks that
look realistic.  These artworks contain recognizable, realistic looking objects and
scenes that closely imitate what we see in the real world.  The primary purpose of
imitationalist art is to portray the subject matter as realistically as possible.   An
imitationalist artwork is judged as good if it accomplishes this to a high degree.  If the
primary purpose of the artwork is to show us how something looks in real life, then it
belongs in this category. (Imitational artworks are sometimes referred to as
"representational" because they represent what we see in the real world. Formalism
describes the critical position that the most important aspect of a work of art is
its form – the way it is made and its purely visual aspects – rather than
its narrative content or its relationship to the visible world. In painting therefore, a
formalist critic would focus exclusively on the qualities of color, brushwork, form, line
and composition. Formalism as a critical stance came into being in response
to impressionism and post-impressionism in which unprecedented emphasis was
placed on the purely visual aspects of the work. In 1890 the post-impressionist
painter and writer on art, Maurice Denis, published a manifesto titled Definition of
Neo-Traditionism where he emphasized that aesthetic pleasure was to be found in
the painting itself not its subject. This became one of the most widely quoted texts in
the history of modern art. Emotionalism theory is an aesthetic and critical theory of
art. This theory highlights the significant qualities of an artwork, because the most
essential thing about a work of art is the vivid communication of a strong feeling of
moods, feelings, and ideas the artist wants the viewer to see the message contained
within the artwork, and also the empathy, expressionism, formalism, imitationalism,
kitsch, sentimentality of the viewers

Like and dislike statement is far different form a judgement when it comes to works
of art. Making well-considered decisions is a key component of judgment. Keep in
mind that judgment is not an opinion expressed out of like or disliking. Instead, you
are required to assess a work's success or failure on your own. Additionally, you
need to be ready to provide solid justifications for your conclusions. The aesthetic
traits discovered during description, analysis, and interpretation should be the
subject of judgment questions. These aesthetic features serve as the foundation for
a thoughtful judgment and provide you the proof you need to support it. Meanwhile a
like/dislike statement is an emotional statement that doesn't require a good reason to
support the statement being made. Meaning to say, it is not reliable enough process
of giving your interpretation and analysis of a work of art. Such statements are very
subjective which should not be the main source of creating our judgement as we say.
Any artwork that includes no overt allusion to reality is considered nonobjective art.
The usage of the components and principles of art is of utmost significance to the
artists who produce these works. Use the same method you would for a realistic
piece of art while examining non-objective artwork. The description is where the sole
distinction is made. This activity should start with an inventory of the art components
because there is no distinguishable subject matter to identify. It is impossible the
literal qualities of a nonobjective art as it has no realistic representation. On the other
way, in order to examine such artwork is through its design quality which focuses
more on the elements.

3.) When examining an artwork, for what kinds of questions does a critic seek
answers?   Why is judgment such an important step in the art criticism
process? Why is no single theory of art adequate when examining and judging
different works of art?   

 What is seen in the artwork? How is the artwork designed? What does it mean? and
is it a successful work of art? are just a few of the questions an art critic might seek
to answer. These questions will lead the critics of art in order to critically examine the
works of art. Art criticism likely originated with the origins of art itself, as evidenced
by texts found in the works of Plato, Vitruvius or St. Augustine among others. It can
be broadly defined as a discussion and interpretation of art and its value, in the
pursuit of a rational basis for art appreciation

Judgement is an important step in art criticism because making and defending a

judgment with good reasons demonstrates that a viewer understands and
appreciates the work of art. Judging a piece of work means giving it rank in relation
to other works and of course considering a very important aspect of the visual arts;
its originality.
A single theory of art can only emphasize certain qualities in a work, but not all the
qualities in a work. When we try to examine and analyze an artwork we have to be
objective enough and look at each angle of the work of art itself an not just on certain
qualities. We have to look at each quality of an art and that can only be done through
leveraging various theories. Creating judgment only though one theory would only be
considered as unreliable as that doesn’t critically examine the work of art intently and
extensively.