N E W H AV E N H I G H S C H O O L F O R T H E A R T S

THEORI
ES OF
by Mr. Chris Vanderbuilt
ART
LESSON
OBJECTIV
ES
Understand the theories of the nature, functions, and
effects of art.
LET'S
In the next few sessions, we will be exploring different
theories, such as:

Representational theory: art as

APPRECI
representation

Expressive theory:
art as expression

ATE ART Formalist theory:

organic unity

TOGETH Aestheticism

Pragmatism

ER
 BEFORE WE
BEGIN, THINK
ABOUT THIS:
Why does art exist?
 REPRESENTATIONAL THEORY:
ART AS REPRESENTATION

• Art as portraying the visible forms of nature, from a • The artist opens our eyes to the world’s perceptual
schematic cave drawing of an animal to the evocation of qualities and configurations, to its beauties, uglinesses,
an entire landscape in sun or storm. and horrors.

• A representational artist may seek faithfulness to how • However, there is art that is not at all representational: music is seldom and very inessentially representational; painting and

things are. He or she may dwell selectively on the ugly sculpture can be abstract as well as figurative.

and defective, the unfulfilled; or on the ideal, the fully

realized potential.
EXPRESSIVE
THEORY: ART AS
EXPRESSION
• Art viewed as a representation or manifestation of the inner
state of the artist.

• Music expresses feelings, emotions, moods, their conflicts,

triumphs, defeats.

• A painted landscape may engage us as expressive of peace,

melancholy or menace.
 • The work of art viewed as an organic unity; i.e., a self-contained, self-

FORMALIST justifying entity

THEORY: • Art, it can be argued, is not a window upon the world: it is on the artwork
itself that appreciative attention must primarily be focused, particularly on

ORGANIC
its distinctive structure, its design, unity, form.

• Discrete episodes of expressive intensity are not enough: "Does the work

UNITY hang together?" is always a relevant and surely a vital question, a question
that shows the primacy of formal unity.

• Can formalism, then, constitute a single all-sufficient theory of art? Other

critics have argued that the theory has most plausibility with regard to
complex works of art, but has little power to illuminate in the case of
simple ones, where the concepts of synthesizing, interconnecting, mutual
modifying gain no hold.
BREAK
TIME
Examine the painting for 5 minutes and have a
discussion with the person right next to you. How
did the piece of art make you feel? What
elements did you notice first?
AESTHETICISM
• Late 19th century European movement based on the idea that art
exists for the sake of its beauty alone.

• The movement began in reaction to prevailing utilitarian social

philosophies and to what was perceived as the ugliness and
philistinism of the industrial age.

• Its philosophical foundations were laid in the 18th century by

Immanuel Kant, who postulated the autonomy of aesthetic standards
from morality, utility, or pleasure.

• The movement was popularized in France by Madame de Staël,

Théophile Gautier, and the philosopher Victor Cousin, who coined
the phrase l'art pour l'art ("art for art's sake") in 1818.
 • Art conceptualized in terms of its effects on its audience, to accomplish purposes
PRAGMATI such as the creation of specific shared experiences.

SM • As a means of enhancing experience and thought

• As a means of escape from, or consolation for, reality

• As a means of perceiving a higher, more perfect, or ideal reality

• As a source of pleasure or delight

• As a means of promoting cultural and historical community or continuity

• As instructive, didactic, or propagandistic

• As therapeutic; i.e., as healing or purgative

• As a means of communication
 Email Address
hello@reallygreatsite

ANY Mobile Number

QUESTION 123-456-7890

S?
Don't hesitate to reach out for
questions or clarifications
Consultation Hours
4 PM to 6 PM
 THANK
YOU!
References:
Hepburn, Ronald W. “THEORIES OF ART.” THEORIES OF ART- RONALD W, 30 Nov. 1999, users.rowan.edu/~clowney//Aesthetics/theories_of_art.htm.
Spiegel, Laurie. “Theories of Art.” Retiary, 1998, retiary.org/art_theories/theories_of_art.html.