Javascript required
Skip to content Skip to sidebar Skip to footer
Home / Which Step of Art Criticism Requires the Writer to Share What Value They Find in a Piece of Art?

Which Step of Art Criticism Requires the Writer to Share What Value They Find in a Piece of Art?

Discussion or evaluation of visual art

Art criticism is the word or evaluation of visual art.[1] [ii] [3] Art critics commonly criticize art in the context of aesthetics or the theory of beauty.[two] [iii] A goal of art criticism is the pursuit of a rational basis for fine art appreciation[1] [2] [three] merely it is questionable whether such criticism can transcend prevailing socio-political circumstances.[four]

The diversity of artistic movements has resulted in a division of fine art criticism into different disciplines which may each use different criteria for their judgements.[three] [5] The nearly common partition in the field of criticism is betwixt historical criticism and evaluation, a form of art history, and contemporary criticism of piece of work by living artists.[1] [two] [3]

Despite perceptions that art criticism is a much lower risk activity than making art, opinions of current art are always liable to drastic corrections with the passage of fourth dimension.[2] Critics of the past are ofttimes ridiculed for dismissing artists at present venerated (like the early work of the Impressionists).[iii] [6] [7] Some art movements themselves were named disparagingly by critics, with the proper noun afterwards adopted as a sort of badge of honour by the artists of the way (east.thousand., Impressionism, Cubism), with the original negative meaning forgotten.[6] [8] [ix]

Artists have often had an uneasy relationship with their critics. Artists usually need positive opinions from critics for their work to be viewed and purchased; unfortunately for the artists, but later generations may understand information technology.[two] [ten]

Fine art is an important part of beingness human and can exist constitute through all aspects of our lives, regardless of the civilisation or times. There are many different variables that determine i's judgment of art such as aesthetics, knowledge or perception. Art can be objective or subjective based on personal preference toward aesthetics and grade. It tin be based on the elements and principle of design and by social and cultural credence. Fine art is a basic human instinct with a various range of form and expression. Fine art tin stand alone with an instantaneous judgment or can be viewed with a deeper more educated noesis. Aesthetic, pragmatic, expressive, formalist, relativist, processional, fake, ritual, cognition, mimetic and postmodern theories are some of many theories to criticize and appreciate art. Art criticism and appreciation can be subjective based on personal preference toward aesthetics and class, or it can exist based on the elements and principle of pattern and by social and cultural acceptance.[ citation needed ]

Definition [edit]

Art criticism has many and ofttimes numerous subjective viewpoints which are virtually as varied equally there are people practising it.[2] [iii] It is difficult to come up by a more stable definition than the action being related to the word and interpretation of fine art and its value.[three] Depending on who is writing on the subject, "art criticism" itself may be obviated as a direct goal or it may include art history inside its framework.[iii] Regardless of definitional issues, fine art criticism can refer to the history of the craft in its essays and fine art history itself may use critical methods implicitly.[2] [3] [vii] Co-ordinate to art historian R. Siva Kumar, "The borders between art history and fine art criticism... are no more as firmly drawn as they once used to be. It perhaps began with art historians taking interest in modern art."[11]

Methodology [edit]

Art criticism includes a descriptive aspect,[3] where the piece of work of art is sufficiently translated into words so as to allow a case to be made.[2] [three] [7] [12] The evaluation of a work of art that follows the clarification (or is interspersed with it) depends equally much on the creative person'southward output equally on the experience of the critic.[2] [iii] [9] There is in an activity with such a marked subjective component a variety of ways in which it tin be pursued.[two] [3] [7] As extremes in a possible spectrum,[13] while some favour merely remarking on the immediate impressions acquired past an creative object,[2] [three] others prefer a more systematic arroyo calling on technical knowledge, favoured aesthetic theory and the known sociocultural context the artist is immersed in to discern their intent.[2] [three] [vii]

History [edit]

Critiques of art likely originated with the origins of art itself, as evidenced by texts found in the works of Plato, Vitruvius or Augustine of Hippo among others, that contain early forms of art criticism.[3] Also, wealthy patrons have employed, at least since the start of Renaissance, intermediary art-evaluators to assistance them in the procurement of commissions and/or finished pieces.[14] [15]

Origins [edit]

Fine art criticism as a genre of writing, obtained its modernistic form in the 18th century.[three] The earliest utilise of the term art criticism was by the English painter Jonathan Richardson in his 1719 publication An Essay on the Whole Art of Criticism. In this work, he attempted to create an objective system for the ranking of works of art. Seven categories, including drawing, limerick, invention and colouring, were given a score from 0 to 18, which were combined to requite a last score. The term he introduced quickly caught on, particularly as the English middle class began to be more than discerning in their art acquisitions, as symbols of their flaunted social status.[16]

In France and England in the mid 1700s, public involvement in art began to become widespread, and art was regularly exhibited at the Salons in Paris and the Summertime Exhibitions of London. The beginning writers to acquire an individual reputation equally art critics in 18th-century France were Jean-Baptiste Dubos with his Réflexions critiques sur la poésie et sur la peinture (1718)[17] which garnered the acclamation of Voltaire for the sagacity of his approach to aesthetic theory;[18] and Étienne La Font de Saint-Yenne with Reflexions sur quelques causes de 50'état présent de la peinture en France who wrote about the Salon of 1746,[xix] commenting on the socioeconomic framework of the production of the then pop Baroque art style,[xx] which led to a perception of anti-monarchist sentiments in the text.[21]

The 18th-century French writer Denis Diderot greatly advanced the medium of art criticism. Diderot's "The Salon of 1765"[22] was one of the first real attempts to capture art in words.[23] According to fine art historian Thomas E. Crow, "When Diderot took up fine art criticism it was on the heels of the first generation of professional writers who made it their business to offer descriptions and judgments of contemporary painting and sculpture. The need for such commentary was a product of the similarly novel institution of regular, gratuitous, public exhibitions of the latest art".[24]

Meanwhile, in England an exhibition of the Guild of Arts in 1762 and after, in 1766, prompted a flurry of critical, though anonymous, pamphlets. Newspapers and periodicals of the period, such every bit the London Chronicle, began to carry columns for art criticism; a form that took off with the foundation of the Royal Academy in 1768. In the 1770s, the Morning time Chronicle became the first paper to systematically review the art featured at exhibitions.[xvi]

19th century [edit]

John Ruskin, the preeminent art critic of 19th century England.

From the 19th century onwards, art criticism became a more common vocation and even a profession,[3] developing at times formalised methods based on detail aesthetic theories.[2] [3] [5] [thirteen] In France, a rift emerged in the 1820s between the proponents of traditional neo-classical forms of art and the new romantic fashion. The Neoclassicists, under Étienne-Jean Delécluze defended the classical ideal and preferred carefully finished form in paintings. Romantics, such equally Stendhal, criticized the onetime styles as overly formulaic and devoid of any feeling. Instead, they championed the new expressive, Idealistic, and emotional nuances of Romantic art. A similar, though more muted, debate too occurred in England.[16]

One of the prominent critics in England at the time was William Hazlitt, a painter and essayist. He wrote well-nigh his deep pleasure in art and his belief that the arts could be used to improve mankind's generosity of spirit and knowledge of the earth around it. He was i of a ascent tide of English critics that began to abound uneasy with the increasingly abstract direction J. Grand. W. Turner's landscape art was moving in.[xvi]

One of the smashing critics of the 19th century was John Ruskin. In 1843 he published Modernistic Painters, which repeated concepts from "Mural and Portrait-Painting" in The Yankee (1829) by get-go American art critic John Neal[25] in its stardom between "things seen by the artist" and "things as they are."[26] Through painstaking analysis and attention to detail, Ruskin achieved what art historian East. H. Gombrich called "the most ambitious work of scientific art criticism ever attempted." Ruskin became renowned for his rich and flowing prose, and later in life he branched out to become an active and wide-ranging critic, publishing works on architecture and Renaissance art, including the Stones of Venice.

Some other dominating figure in 19th-century fine art criticism, was the French poet Charles Baudelaire, whose kickoff published work was his art review Salon of 1845,[27] which attracted immediate attention for its boldness.[28] Many of his critical opinions were novel in their fourth dimension,[28] including his championing of Eugène Delacroix.[29] When Édouard Manet'southward famous Olympia (1865), a portrait of a nude courtesan, provoked a scandal for its blatant realism,[30] Baudelaire worked privately to support his friend.[31] He claimed that "criticism should be fractional, impassioned, political— that is to say, formed from an sectional bespeak of view, merely also from a point of view that opens upwardly the greatest number of horizons". He tried to move the debate from the old binary positions of previous decades, declaring that "the true painter, will be he who tin can wring from contemporary life its ballsy aspect and brand u.s.a. see and understand, with colour or in drawing, how slap-up and poetic we are in our cravats and our polished boots".[16]

In 1877, John Ruskin derided Nocturne in Black and Gold: The Falling Rocket afterward the artist, James McNeill Whistler, showed it at Grosvenor Gallery:[32] "I take seen, and heard, much of Cockney impudence earlier now; but never expected to hear a coxcomb enquire ii hundred guineas for flinging a pot of pigment in the public'due south face."[33] This criticism provoked Whistler into suing the critic for libel.[34] [35] The ensuing court example proved to be a Pyrrhic victory for Whistler.[36] [37] [38]

Turn of the twentieth century [edit]

Self portrait of Roger Fry, described past the art historian Kenneth Clark equally "incomparably the greatest influence on taste since Ruskin... In then far as gustatory modality can exist changed past one man, it was inverse by Roger Fry".[39]

Towards the end of the 19th century a movement towards abstraction, equally opposed to specific content, began to gain footing in England, notably championed by the playwright Oscar Wilde. Past the early twentieth century these attitudes formally coalesced into a coherent philosophy, through the piece of work of Bloomsbury Grouping members Roger Fry and Clive Bong.[forty] [41] As an art historian in the 1890s, Fry became intrigued with the new modernist art and its shift abroad from traditional depiction. His 1910 exhibition of what he called post-Impressionist art attracted much criticism for its iconoclasm. He vigorously defended himself in a lecture, in which he argued that fine art had moved to endeavor to discover the language of pure imagination, rather than the staid and, to his mind, dishonest scientific capturing of landscape.[42] [43] Fry's argument proved to be very influential at the time, peculiarly among the progressive elite. Virginia Woolf remarked that: "in or about December 1910 [the date Fry gave his lecture] human being character changed."[xvi]

Independently, and at the same fourth dimension, Clive Bell argued in his 1914 book Art that all art piece of work has its item 'significant form', while the conventional bailiwick thing was essentially irrelevant. This work laid the foundations for the formalist approach to art.[5] In 1920, Fry argued that "information technology'southward notwithstanding to me if I stand for a Christ or a saucepan since it'southward the form, and not the object itself, that interests me." As well as being a proponent of formalism, he argued that the value of fine art lies in its ability to produce a distinctive artful experience in the viewer. an experience he called "aesthetic emotion". He defined it every bit that feel which is angry by significant course. He also suggested that the reason we experience artful emotion in response to the significant form of a work of art was that nosotros perceive that form as an expression of an experience the artist has. The artist's experience in plough, he suggested, was the experience of seeing ordinary objects in the world equally pure class: the experience i has when 1 sees something not as a ways to something else, just as an stop in itself.[44]

Herbert Read was a champion of modern British artists such every bit Paul Nash, Ben Nicholson, Henry Moore and Barbara Hepworth and became associated with Nash'southward contemporary arts group Unit One. He focused on the modernism of Pablo Picasso and Georges Braque, and published an influential 1929 essay on the meaning of art in The Listener.[45] [46] [47] [48] He too edited the trend-setting Burlington Magazine (1933–38) and helped organise the London International Surrealist Exhibition in 1936.[49]

Since 1945 [edit]

As in the example of Baudelaire in the 19th century, the poet-as-critic miracle appeared once again in the 20th, when French poet Apollinaire became the champion of Cubism.[fifty] [51] After, French writer and hero of the Resistance André Malraux wrote extensively on fine art,[52] going well beyond the limits of his native Europe.[53] His conviction that the vanguard in Latin America lay in Mexican Muralism (Orozco, Rivera and Siqueiros)[ commendation needed ] changed subsequently his trip to Buenos Aires in 1958. Later on visiting the studios of several Argentine artists in the company of the immature Managing director of the Museum of Modern Art of Buenos Aires Rafael Squirru, Malraux alleged the new vanguard to lie in Argentina's new artistic movements.[ citation needed ] Squirru, a poet-critic who became Cultural Director of the OAS in Washington, D.C., during the 1960s, was the final to interview Edward Hopper before his expiry, contributing to a revival of interest in the American artist.[54]

In the 1940s there were not just few galleries (The Art of This Century) but also few critics who were willing to follow the work of the New York Vanguard.[55] In that location were as well a few artists with a literary background, among them Robert Motherwell and Barnett Newman who functioned as critics likewise.[56] [57] [58]

Although New York and the earth were unfamiliar with the New York avant-garde,[55] by the late 1940s near of the artists who have become household names today had their well established patron critics.[59] Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Yet, Marking Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann.[lx] [61] [62] [63] [64] [65] [66] Harold Rosenberg seemed to prefer the action painters such equally Willem de Kooning and Franz Kline.[67] [68] Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.[69]

The new critics elevated their protégés by casting other artists as "followers" or ignoring those who did not serve their promotional goal.[5] [70] As an example, in 1958, Marker Tobey "became the first American painter since Whistler (1895) to win top prize at the Biennale of Venice. New York'south two leading art magazines were not interested. Arts mentioned the celebrated event just in a news column and Art News (Managing editor: Thomas B. Hess) ignored it completely. The New York Times and Life printed characteristic manufactures".[71]

Barnett Newman, a late fellow member of the Uptown Group wrote catalogue forewords and reviews and by the late 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo testify was in 1948. Before long later on his first exhibition, Barnett Newman remarked in i of the Artists' Session at Studio 35: "We are in the process of making the world, to a certain extent, in our own image".[72] Utilizing his writing skills, Newman fought every footstep of the mode to reinforce his newly established paradigm as an artist and to promote his piece of work. An example is his letter to Sidney Janis on 9 April 1955:

It is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois club has involved the total rejection of it.[73]

The person thought to have had near to do with the promotion of this style was a New York Trotskyist, Clement Greenberg.[v] [59] Equally long time art critic for the Partisan Review and The Nation, he became an early and literate proponent of Abstract Expressionism.[v] Creative person Robert Motherwell, well-heeled, joined Greenberg in promoting a style that fit the political climate and the intellectual rebelliousness of the era.[74]

Clement Greenberg proclaimed Abstruse Expressionism and Jackson Pollock in detail as the prototype of aesthetic value. Greenberg supported Pollock's work on formalistic grounds as just the best painting of its day and the culmination of an art tradition going dorsum via Cubism and Cézanne to Monet, in which painting became ever "purer" and more than concentrated in what was "essential" to it, the making of marks on a apartment surface.[75]

Jackson Pollock's work has e'er polarised critics. Harold Rosenberg spoke of the transformation of painting into an existential drama in Pollock's work, in which "what was to go on the canvas was non a picture simply an outcome". "The big moment came when it was decided to pigment 'but to paint'. The gesture on the canvass was a gesture of liberation from value—political, aesthetic, moral."[76]

One of the almost vocal critics of Abstract Expressionism at the time was New York Times art critic John Canaday.[77] Meyer Schapiro and Leo Steinberg were besides important postwar fine art historians who voiced support for Abstract Expressionism.[78] [79] During the early on to mid sixties younger art critics Michael Fried, Rosalind Krauss and Robert Hughes added considerable insights into the critical dialectic that continues to grow around Abstract Expressionism.[80] [81] [82]

Feminist fine art criticism [edit]

Feminist fine art criticism emerged in the 1970s from the wider feminist motility as the critical examination of both visual representations of women in art and art produced past women.[83] Information technology continues to be a major field of art criticism.

Today [edit]

Art critics today work non only in impress media and in specialist art magazines too equally newspapers. Art critics appear also on the net, Goggle box, and radio, likewise as in museums and galleries.[i] [84] Many are also employed in universities or as art educators for museums. Fine art critics curate exhibitions and are ofttimes employed to write exhibition catalogues.[one] [2] Art critics have their own organisation, a UNESCO non-governmental organisation, called the International Association of Art Critics which has effectually 76 national sections and a political non-aligned section for refugees and exiles.[85]

Fine art blogs [edit]

Since the early on 21st century, online art critical websites and fine art blogs have cropped up around the earth to add together their voices to the art world.[86] [87] Many of these writers utilise social media resources like Facebook, Twitter, Tumblr and Google+ to introduce readers to their opinions nearly art criticism.

See also [edit]

  • Art history
  • Art critic
  • Documenta 12 magazines (gimmicky examples of art criticism)

References [edit]

  1. ^ a b c d e "Art Criticism". Comprehensive Art Educational activity. North Texas Plant For Educators on the Visual Arts. Retrieved 12 December 2013.
  2. ^ a b c d eastward f g h i j k l m n o Gemtou, Eleni (2010). "Subjectivity in Art History and Fine art Criticism" (PDF). Rupkatha Journal on Interdisciplinary Studies in Humanities. 2 (1): 2–xiii. doi:10.21659/rupkatha.v2n1.02 . Retrieved 12 December 2013.
  3. ^ a b c d e f chiliad h i j k 50 m n o p q r south t Elkins, James (1996). "Art Criticism". In Jane Turner (ed.). Grove Lexicon of Art. Oxford University Press.
  4. ^ Kaplan, Marty. "The curious case of criticism." Jewish Periodical. 23 January 2014.
  5. ^ a b c d e f Tekiner, Deniz (2006). "Formalist Art Criticism and the Politics of Meaning". Social Justice. 33 (2 (104) – Fine art, Power, and Social Alter): 31–44. JSTOR 29768369.
  6. ^ a b Rewald, John (1973). The History of Impressionism (fourth, Revised Ed.). New York: The Museum of Modern Art. p. 323 ISBN 0-87070-360-9
  7. ^ a b c d due east Ackerman, James S. (Winter 1960). "Art History and the Bug of Criticism". Daedalus. 89 (1 – The Visual Arts Today): 253–263. JSTOR 20026565.
  8. ^ Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford Academy Press
  9. ^ a b Fishman, Solomon (1963). The Interpretation of Art: Essays on the Art Criticism of John Ruskin, Walter Pater, Clive Bell, Robert Fry, and Herbert Read. University of California Printing. p. 6.
  10. ^ Seenan, Gerard (twenty April 2004). "Painting past ridiculed just popular creative person sells for £744,800". The Guardian . Retrieved 12 December 2013.
  11. ^ "Humanities surreptitious » All the Shared Experiences of the Lived Globe".
  12. ^ Fishman, Solomon (1963). The Estimation of Art: Essays on the Art Criticism of John Ruskin, Walter Pater, Clive Bell, Robert Fry, and Herbert Read. University of California Printing. p. 3.
  13. ^ a b Fishman, Solomon (1963). The Interpretation of Art: Essays on the Art Criticism of John Ruskin, Walter Pater, Clive Bong, Robert Fry, and Herbert Read. University of California Press. p. 5.
  14. ^ Gilbert, Creighton E. (Summer 1998). "What Did the Renaissance Patron Buy?" (PDF). Renaissance Quarterly. The University of Chicago Press on behalf of the Renaissance Social club of America. 51 (2): 392–450. doi:10.2307/2901572. JSTOR 2901572. Retrieved xiv December 2013.
  15. ^ Nagel, Alexander (2003). "Art as Gift: Liberal Art and Religious Reform in the Renaissance" (PDF). Negotiating the Gift: Pre-Modern Figurations of Substitution. pp. 319–360. Retrieved 14 Dec 2013.
  16. ^ a b c d e f "A History of Fine art Criticism" (PDF) . Retrieved 16 Dec 2013.
  17. ^ Dubos, Jean-Baptiste (1732). Réflexions critiques sur la poésie et sur la peinture (in French) (tertiary ed.). Utrecht: Due east. Neaulme.
  18. ^ Voltaire (1874). Charles Louandre (ed.). Le Siècle de Louis XIV (in French). Paris: Charpentier et Cie, Libraires-Éditeurs. p. 581. Retrieved 10 December 2013.
  19. ^ La Font de Saint-Yenne, Étienne (1747). Reflexions sur quelques causes de l'état présent de la peinture en France : avec un examen des principaux ouvrages exposés au Louvre le mois d'août 1746 (in French). The Hague: Jean Neaulme.
  20. ^ Saisselin, Rémy K. (1992). The Enlightenment Against the Baroque: Economics and Aesthetics in the Eighteenth Century. Berkeley: University of California Press. pp. 49–l. Retrieved 10 December 2013.
  21. ^ Walter, Nancy Paige Ryan (1995). From Armida to Cornelia: Women and Representation in Prerevolutionary France (MA). Texas Tech University. p. 11. Retrieved 10 December 2013.
  22. ^ Diderot, Denis (1795). François Buisson (ed.). Essais sur la peinture (in French). Paris: François Buisson. pp. 118–407. Retrieved 10 December 2013.
  23. ^ Morley, John (1911). "Diderot, Denis". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. viii (11th ed.). Cambridge University Press. p. 205.
  24. ^ Crow, Thomas E. (1995). "Introduction". In Denis Diderot (ed.). Diderot on Art, Volume I: The Salon of 1765 and Notes on Painting. Yale University Press. p. x.
  25. ^ Dickson, Harold Edward (1943). Observations on American Art: Selections from the Writings of John Neal (1793-1876). Country College, Pennsylvania: Pennsylvania Country Higher. p. nine. OCLC 775870.
  26. ^ Orestano, Francesca (2012). "Affiliate 6: John Neal, the Rising of the Critick, and the Rise of American Art". In Watts, Edward; Carlson, David J. (eds.). John Neal and Nineteenth Century American Literature and Culture. Lewisburg, Pennsylvania: Bucknell University Press. pp. 137–138. ISBN978-1-61148-420-five.
  27. ^ Baudelaire, Charles (1868). "Salon de 1845". Curiosités esthétiques: Salon 1845–1859. M. Lévy. pp. 5–76. Retrieved 10 Dec 2013.
  28. ^ a b Chisholm, Hugh, ed. (1911). "Baudelaire, Charles Pierre". Encyclopædia Britannica. Vol. iii (11th ed.). Cambridge Academy Press. p. 537.
  29. ^ Richardson, Joanna (1994). Baudelaire. New York: St. Martin's Press. p. 110. ISBN0-312-11476-1. OCLC 30736784.
  30. ^ "Édouard Manet's Olympia by Beth Harris and Steven Zucker". Smarthistory. Khan University. Retrieved xi February 2013.
  31. ^ Hyslop, Lois Boe (1980). Baudelaire, Man of His Time. Yale University Press. p. 51. ISBN0-300-02513-0.
  32. ^ Merrill, Linda, Later Whistler: The Artist and His Influence on American Painting. Metropolis: Publisher, 2003. p. 112
  33. ^ Ronald Anderson and Anne Koval, James McNeill Whistler: Beyond the Myth, Carroll & Graf, New York, 1994, p. 215
  34. ^ Stuttaford, Genevieve. "Nonfiction – the Aesthetic Movement by Lionel Lambourne." Vol. 243. (1996).
  35. ^ Ronald Anderson and Anne Koval, James McNeill Whistler: Across the Myth, Carroll & Graf, New York, 1994, p. 216
  36. ^ Whistler, James Abbott McNeill. WebMuseumn, Paris
  37. ^ Prideaux, Tom. The Earth of Whistler. New York: Time-Life Books, 1970. p. 123
  38. ^ Peters, Lisa Due north. (1998). James McNeil Whistler. New Line Books. pp. 51–52 ISBN 1-880908-70-0.
  39. ^ IAN CHILVERS. "Fry, Roger." The Concise Oxford Lexicon of Fine art and Artists. 2003. Encyclopedia.com. nine March 2009 <http://world wide web.encyclopedia.com>.Retrieved [ permanent dead link ] 9 March 2009
  40. ^ "Annal Journeys: Bloomsbury Biographies: Roger Fry, as art critic | Tate". Archive Journeys. Tate. Retrieved ten December 2013.
  41. ^ "Annal Journeys: Bloomsbury Group Profiles | Tate". Archive Journeys. Tate. Retrieved 10 December 2013.
  42. ^ "Archive Journeys: Bloomsbury Biographies: Roger Fry, ideas | Tate". Archive Journeys. Tate. Retrieved ten Dec 2013.
  43. ^ "Archive Journeys: Bloomsbury Biographies: Roger Fry, mod art | Tate". Archive Journeys. Tate. Retrieved ten December 2013.
  44. ^ Clive Bell (2010). Art. General Books LLC. ISBN9781770451858.
  45. ^ Overton, Tom (2009). "Paul Nash (1889–1946)". Venice Biennale. British Council. Archived from the original on 15 December 2013. Retrieved 11 December 2013.
  46. ^ Overton, Tom (2009). "Ben Nicholson (1894–1982)". Venice Biennale. British Council. Archived from the original on 15 December 2013. Retrieved 11 December 2013.
  47. ^ Overton, Tom (2009). "Henry Moore (1898–1986)". Venice Biennale. British Council. Archived from the original on 15 December 2013. Retrieved 11 December 2013.
  48. ^ Overton, Tom (2009). "Barbara Hepworth (1903–1975)". Venice Biennale. British Council. Archived from the original on 15 December 2013. Retrieved eleven December 2013.
  49. ^ "A History of Art Criticism" (PDF) . Retrieved 17 December 2012.
  50. ^ Conley, Katharine (Jump 2005). "The Cubist Painters by Guillaume Apollinaire; Peter Read". French Forum. 30 (2): 139–141. doi:10.1353/frf.2005.0030. JSTOR 40552391. S2CID 191632519.
  51. ^ Mathews, Timothy (Summertime 1988). "Apollinaire and Cubism?" (PDF). Style. 22 (2): 275–298. Archived from the original (PDF) on thirteen September 2012. Retrieved xi December 2013.
  52. ^ Allan, Derek (2009). Art and the Human Adventure, André Malraux's Theory of Art. Rodopi.
  53. ^ Hudek, Antony (2012). "The Song Turn". Journal of Conservation and Museum Studies. x (1): 64–65. doi:x.5334/jcms.1011210.
  54. ^ Levin, Gail (1998). Edward Hopper : an intimate biography. Berkeley: University of California Press.
  55. ^ a b Wolf, Justin. "The Art Story: Gallery – The Art of This Century Gallery". The Art Story. The Art Story Foundation. Retrieved 12 December 2013.
  56. ^ Archives of American Fine art. "Oral history interview with Robert Motherwell, 1971 November. 24-1974 May 1 – Oral Histories | Athenaeum of American Fine art, Smithsonian Institution". Aaa.si.edu. Retrieved 7 Dec 2011.
  57. ^ "Robert Motherwell". Tate. Retrieved 12 December 2013.
  58. ^ The Barnett Newman Foundation website: Chronology of the Artist'due south Life folio
  59. ^ a b "Painters in Postwar New York Metropolis". Oxford Art Online. Oxford Academy Press. Retrieved 12 December 2013.
  60. ^ Wolf, Justin. "Abstract Expressionism". The Art Story. The Fine art Story Foundation. Retrieved 12 December 2013.
  61. ^ Jackson Pollock, Mural (1943) Academy of Iowa Museum of Art, Iowa City.
  62. ^ Greenberg, Cloudless (1955). "American-Blazon Painting". Partisan Review: 58.
  63. ^ "American Abstract Expressionism: Painting Action and Colorfields". Color Vision & Fine art. webexhibits.org. Retrieved 12 December 2013.
  64. ^ "Chronology". The Barnett Newman Foundation. Retrieved 12 December 2013.
  65. ^ "Special Exhibitions – Adolph Gottlieb". The Jewish Museum. Archived from the original on thirteen August 2011. Retrieved 12 December 2013.
  66. ^ "Hans Hofmann: Biography". The Estate of Hans Hofmann. Archived from the original on 29 January 2013. Retrieved 12 December 2013.
  67. ^ Stevens, Mark; Annalyn Swan (8 November 2004). "When de Kooning Was Male monarch". New York.
  68. ^ Wolf, Justin. "Harold Rosenberg". The Art Story. The Art Story Foundation. Retrieved 12 Dec 2013.
  69. ^ Wolf, Justin. "Thomas B. Hess". The Fine art Story. The Art Story Foundation. Retrieved 12 December 2013.
  70. ^ Thomas B. Hess, "Willem de Kooning", George Braziller, Inc. New York, 1959 p.:xiii
  71. ^ Marker Tobey. Arno Press. 1980. ISBN9780405128936.
  72. ^ Barnett Newman Selected Writings and Interviews, (ed.) by John P. O'Neill, pgs.: 240–241, University of California Press, 1990
  73. ^ Barnett Newman Selected Writings Interviews, (ed.) by John P. O'Neill, p.: 201, University of California Press, 1990.
  74. ^ Glueck, Grace (18 July 1991). "Robert Motherwell, Master of Abstract, Dies". The New York Times . Retrieved 12 December 2013.
  75. ^ Clement Greenberg, Art and Civilisation Critical essays, ("The Crunch of the Easel Picture"), Beacon Press, 1961 pp.:154–157
  76. ^ Harold Rosenberg, The Tradition of the New, Chapter 2, "The American Action Painter", Da Capo Press, 1959 pp.:23–39
  77. ^ Wolf, Justin. "John Canaday". The Art Story. The Art Story Foundation. Retrieved 12 December 2013.
  78. ^ Solomon, Deborah (14 Baronial 1994). "A Critic Turns 90; Meyer Schapiro". The New York Times . Retrieved 12 Dec 2013.
  79. ^ McGuire, Kristi (15 March 2011). "Remembering Leo Steinberg (1920–2011)". The Chicago Blog. University of Chicago Press. Retrieved 12 December 2013.
  80. ^ Wolf, Justin. "Michael Fried". The Art Story. The Fine art Story Foundation. Retrieved 12 December 2013.
  81. ^ Wolf, Justin. "Rosalind Krauss". The Art Story. The Fine art Story Foundation. Retrieved 12 December 2013.
  82. ^ Wolf, Justin. "Robert Hughes". The Art Story. The Art Story Foundation. Retrieved 12 Dec 2013.
  83. ^ Deepwell, Katie (September 2012). "12 Step Guide to Feminist Art, Art History and Criticism" (PDF). N.paradoxa. online (21): 8.
  84. ^ Gratza, Agnieszka (17 October 2013). "Frieze or kinesthesia? Ane art critic's move from academia to journalism". Guardian Professional. Guardian News and Media Express. Retrieved 12 December 2013.
  85. ^ "International Association of Art Critics". UNESCO NGO – db. UNESCO. Archived from the original on 15 December 2013. Retrieved 12 December 2013.
  86. ^ Dark-green, Tyler. "Tyler Green". In Their Own Words. New York Foundation for the Arts. Archived from the original on 25 November 2005. Retrieved 12 December 2013.
  87. ^ Kaiser, Michael (xiv November 2011). "The Decease of Criticism or Everyone Is a Critic". HuffPost . Retrieved 12 Dec 2013.

External links [edit]

  • "AICA – International Association of Art Critics". Archived from the original on 22 September 2017.
  • "Our critics' advice". Arts. Guardian News and Media Limited. 8 July 2008.
    • In this article Adrian Searle, among others, gives advice to ambitious, young, would-be art critics.
  • "Judgment and Contemporary Art Criticism". Archived from the original on 19 August 2011. – conference, reading room, and bibliography
  • Singerman, Howard. "The Myth of Criticism in the 1980s". X-TRA : Contemporary Art Quarterly. Archived from the original on 1 Baronial 2013. Retrieved 9 Jan 2013.

mackaythrogerfuns.blogspot.com

Source: https://en.wikipedia.org/wiki/Art_criticism