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Art criticism includes a descriptive aspect, [3] where the work of art is sufficiently translated into words so as to allow a case to be made. [2] [3] [7] [11] The evaluation of a work of art that follows the description (or is interspersed with it) depends as much on the artist's output as on the experience of the critic.
There is no official list of art critics, the compilation of which is compounded by problems in defining art criticism – not least of which is the overlap with art history, [1] and philosophy of art. Herein will be included those authors that are mentioned as being art critics or producing art criticism in works of reference, as are ...
Institutional critique is a practice that emerged from the developments of Minimalism and its concerns with the phenomenology of the viewer; formalist art criticism and art history (e.g. Clement Greenberg and Michael Fried); conceptual art and its concerns with language, processes, and administrative society; and the critique of authorship that begins with Roland Barthes and Michel Foucault in ...
Typically the art critic views art at exhibitions, galleries, museums or artists' studios and they can be members of the International Association of Art Critics which has national sections. [3] Very rarely art critics earn their living from writing criticism. The opinions of art critics have the potential to stir debate on art-related topics.
Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793."
The Lives of the Most Excellent Painters, Sculptors, and Architects (Italian: Le vite de' più eccellenti pittori, scultori, e architettori) is a series of artist biographies written by 16th-century Italian painter and architect Giorgio Vasari, which is considered "perhaps the most famous, and even today the most-read work of the older literature of art", [1] "some of the Italian Renaissance's ...
The Transfiguration is the last painting by the Italian High Renaissance master Raphael.Cardinal Giulio de Medici – who later became Pope Clement VII (in office: 1523–1534) – commissioned the work, conceived as an altarpiece for Narbonne Cathedral in France; Raphael worked on it in the years preceding his death in 1520. [1]
Hughes, an aspiring artist and poet, abandoned his university endeavours to become first a cartoonist and then an art critic for the Sydney periodical The Observer, edited by Donald Horne. [7] Hughes was briefly involved in the original Sydney version of Oz magazine and wrote art criticism for Nation and the Sunday Mirror. [8]