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Neoplasticism (or neo-plasticism), originating from the Dutch Nieuwe Beelding, is an avant-garde art theory proposed by Piet Mondrian [a] in 1917 and initially employed by the Dutch De Stijl art movement. The most notable proponents of this theory were Mondrian and another Dutch artist, Theo van Doesburg. [1]
Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...
Arthur Wesley Dow was born in Ipswich, Massachusetts, in 1857. [3] Dow received his first art training in 1880 from Anna K. Freeland of Worcester, Massachusetts.The following year, Dow continued his studies in Boston [1] with James M. Stone, a former student of Frank Duveneck and Gustave Bouguereau.
A new art form struggling for acceptance is digital art, a by-product of computer programming that raises new questions about what truly constitutes art.Although paralleling many of the aesthetics in traditional media, digital art can additionally draw upon the aesthetic qualities of cross-media tactile relationships; interactivity; autonomous generativity; complexity and interdependence of ...
In Aesthetic Theory, Adorno is concerned not only with such standard aesthetic preoccupations as the function of beauty and sublimity in art, [2] but with the relations between art and society. He feels that modern art's freedom from such restrictions as cult and imperial functions that had plagued previous eras of art has led to art's expanded ...
Alberti was the creator of a theory called "historia". In his treatise De pictura (1435) he explains the theory of the accumulation of people, animals, and buildings, which create harmony amongst each other, and "hold the eye of the learned and unlearned spectator for a long while with a certain sense of pleasure and emotion".
The perfect perception of its real self by intelligence in the work of art is accompanied by a feeling of infinite satisfaction. Art in thus effecting a revelation of the absolute seems to attain a dignity not merely above that of nature but above that of philosophy itself. Schelling throws but little light on the concrete forms of beauty.
This design value is based on the belief that building—and to some degree products—should be designed in accordance with the particular characteristics of a specific place. [19] In addition, it is linked to the aim of achieving visual harmony between a building and its surroundings, as well as achieving continuity in a given area. [20]