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Theories of aesthetic response [1] or functional theories of art [2] are in many ways the most intuitive theories of art. At its base, the term "aesthetic" refers to a type of phenomenal experience, and aesthetic definitions identify artworks with artifacts intended to produce aesthetic experiences. Nature can be beautiful and it can produce ...
[5] [128] Like Kandinsky, he "found inspiration in Theosophy and the occult, and promoted a subjective-intuitive approach to art." [129] Among the Theosophical sources, Besant and Leadbeater's book Thought-Forms [22] had great influence for him. [130] He interested in the Theosophical theory of colour as well as scientific one. [131]
Many elementary school teacher preparation programs used this book since it described characteristics of child art. Lowenfeld believed evidence of aesthetic, social, physical, intellectual, and emotional growth is reflected in the art of children. He further developed a theory of stages in artistic development. The stages consisted of scribble;
In the traditional scheme of art history, Ottonian art follows Carolingian art and precedes Romanesque art, though the transitions at both ends of the period are gradual rather than sudden. Like the former and unlike the latter, it was very largely a style restricted to a few of the small cities of the period, to important monasteries , as well ...
One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed video art. While the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is ...
Dewey's theory is an attempt to shift the understandings of what is essential and characteristic about the art process from its physical manifestations in the ‘expressive object’ to the process in its entirety, a process whose fundamental element is no longer the material ‘work of art’ but rather the development of an ‘experience’.
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Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. [1]