The Overall Design or Organization of a Work of Art Is the

Fine art Fundamentals: Theory and Practice
Ocvirk, Stinson, Wigg, Bone, Cayton
12th Edition

Chapter 1
Introduction
pp. 10-13

The 3 Components of Art

Bailiwick, form, and content accept always been the three basic components of a piece of work of art, and they are wed in a way that is inseparable. In general, subject may be thought of as the "what" (the topic, focus, or prototype); form, as the "how" (the evolution of the work, composition, or the substantiation); and content, equally the "why" (the creative person's intention, communication, or meaning behind the work). Subject The subject of visual fine art can be a person, an object, a theme, or an idea. Though at that place are many and varied ways of presenting the discipline thing, information technology is simply important to the caste that the artist is motivated by information technology.

Objective images, which represent people or objects, look as close as possible to their real-world counterparts and can be conspicuously identified. These types of images are also called representational.

Dennis Wojtkiewicz, Kiwi Serial #one, 2005.
Oil on canvas, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999.
Ceramic, 36 x 20 1/ii x 7 1/4 in.

Gus Heinze, Expresso Cafe, 2003. Acrylic on gessoed panel, 32 x 35 1/2 in.

Artists who explore the process of abstraction (simplification and rearrangement) create images that look less like the object on which they are based, although they may even so be recognizable. Barbara Chase-Riboud, Bathers, 1973. Floor relief, cast aluminum and silk in sixteen pieces, 400 x 400 10 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on canvass, 30 1/2 x 42 7/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 1/ii ten 47 1/2 in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. 2, 1912
Oil on canvas, 58 10 35 in. Harold East. Edgerton, Baseball hit-wing ball, 1950s-1970s. Gelatin silvery print In the nigh extreme type of abstraction, the subject does not refer to any physical object, and this nonrepresentational image is thus considered non-objective. Hither, the field of study may be difficult for the observer to identify, since it is based solely on the elements of art rather than real-life people or objects. This type of subject often refers to the artist's thought well-nigh energy and movement, which guides the employ of raw materials, and it communicates with those who can read the language of form. Piet Mondrian, Composition, 1916. Oil on sail and wood strip, 47 1/4 x 29 1/2 in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless there are lyrics, it is often difficult to identify a specific subject in a piece of music. Sometimes, the subject field is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, nonetheless, the subject is more abstract, and it is an emotion or idea that comes across strongly in the music. Aaron Copland's Fanfare for the Common Man is a good example of this: he does not endeavor to describe the subject literally but creates a nobel, accessible, and uplifting musical theme that honors the plight of the mutual homo. In a similar fashion, nonobjective art seeks to nowadays a more general theme or idea as the discipline.
Marker Rothko, Number x, 1950.
Oil on canvass, 7 ft. 6 iii/eight in. ten iv ft. nine i/8 in. Regardless of the type of art, the virtually important consideration is what is washed with the subject. After y'all recognize the subject area in a work (whether information technology is obvious or not), enquire yourself whether the creative person has given it expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on sheet, viii ft. nine in. ten 17 ft. 3 in. Charles Sheeler, Golden Gate, 1955.
Oil on canvas, 25 one/viii in. x 34 vii/8 in.

Form

Equally a component of art, the give-and-take course refers to the total overall organisation or organization of an artwork. It results from using the elements of art, giving them club and meaning through the principles of organization. When studying a piece of work's grade, we are analyzing how the piece was created. More specifically, we are examing why the artist made certain choices and how those choices interact to course the artwork'due south terminal advent. In this sense, the word form may actually exist idea of equally a verb rather than a noun.

The elements of art, which include line, texture, colour, shape, and value, are the most basic, indispensable, and immediate building blocks for expression. Their characteristics, determined by the creative person's choice of media and techniques, tin can communicate a wide range of complex feelings. All artists must deal with the elements singularly or in combination, and their organization contributes to the artful success or failure of a work.

Based on the intended expression, each creative person can accommodate the elements in whatsoever manner that builds the desired character into the piece. Even so, the elements are given social club and meaningful structure when arranged according to the principles of system, which assistance integrate and organize the elements. These principles include harmony, variety, remainder, proportion, dominance, movement, and economy. They aid create spatial relationships and effectively convey the artist's intent. The principles of organization are flexible, not dogmatic, and can be combined and practical in numerous ways. Some artist arrange intuitively, and others are more than calculating, simply with experience, all of them develop an instinctive feeling for organizing their work. Then important are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of art is its content - a statement, expression, or mood developed past the artist and interpreted by the observer. Of the iii components of art, content may be the most hard to identify, considering the audience, without directly communication with the artist, must decipher the artist's thoughts past observing the work's field of study and form. For example, in Young Girl in the Lap of Death, the striking emphasis of the left-to-right diagonals, the sharp contrasts of light and dark values, and the aggressive and powerful drawing strokes give united states some insight into Kathe Kollwitz'southward concern for life, though we may not understand the depth of her passion.

Kathe Kollwitz, Young Daughter in the Lap of Death, 1934.
Crayon lithograph, 42 x 38 cm.

Ideally, the viewer's interpretation is synchronized with the artist's intentions. However, the viewer's diversity of experiences can impact the advice between creative person and viewer. For many people, content is determined by their familiarity with the bailiwick; they are confined to feelings aroused by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the image but is reinforced by the class. This is especially then in more abstract works, in which the viewer may not recognize the image equally a known object and must, thefore, interpret significant from shapes and other elements. Images that are hardly recognizable, if representational at all, can all the same deliver content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to make certain choices of image or form. For them, the content of the piece may be subconscious instead of deliberate. For instance, an artist who has had a tearing confrontation with a neighbor might subconciously need to limited anger (content) and is thus compelled to work wit abrupt jagged shapes, bitter acrid reds, slashing agitated marks (course), and exploding images (bailiwick).

Sometimes the pregnant of nonobjective shapes becomes clear in the artist'south mind just afterward they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a piddling inquiry about the creative person's life, time period, or culture tin can help expand viewpoints and lead to a fuller interpretation of content. For instance, a deeeper comprehension of Vincent van Gogh'due south specific and personal use of color may be gained by reading Van Gogh's messages to his brother Theo. His letters expressed an evolving belief that colour conveyed specific feelings and attitudes and was more that a mere optical experience. He felt that his utilise of color could emit power like Wagner'southward music. The letters also revealed a developing personal colour iconography, in which blood-red and green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of heaven, and xanthous symbolized beloved. For Van Gogh, colour was not strictly a tool for visual imitation but an instrument to transmit his personal emotions. Colour symbolism may not accept been used in all his paintings, but an understanding of his intent helps explain some of his choices and the ability in his work.

Vincent van Gogh, The Dark Buffet, 1888. Oil on canvas, 27 1/ii x 35 in.

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Source: https://personal.utdallas.edu/~melacy/pages/2D_Design/Components_of_Art/Components_of_Art.html

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