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

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

Chapter one
Introduction
pp. ten-thirteen

The Three Components of Art

Subject, form, and content accept always been the three basic components of a piece of work of art, and they are wed in a manner that is inseparable. In general, subject may be thought of equally the "what" (the topic, focus, or epitome); grade, as the "how" (the development of the work, composition, or the substantiation); and content, equally the "why" (the artist's intention, communication, or meaning backside the work). Subject The subject of visual fine art tin be a person, an object, a theme, or an thought. Though there are many and varied ways of presenting the subject matter, information technology is just important to the caste that the creative person is motivated past it.

Objective images, which correspond people or objects, expect as close as possible to their real-globe counterparts and can be clearly identified. These types of images are also called representational.

Dennis Wojtkiewicz, Kiwi Series #1, 2005.
Oil on canvas, 36 x 66 in. Marilyn Levine, Anne'southward Jacket, 1999.
Ceramic, 36 x 20 1/2 x vii 1/four in.

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

Artists who explore the process of brainchild (simplification and rearrangement) create images that expect less similar the object on which they are based, although they may even so exist recognizable. Barbara Chase-Riboud, Bathers, 1973. Floor relief, bandage aluminum and silk in 16 pieces, 400 x 400 x 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on sheet, xxx 1/2 x 42 vii/8 in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvass, 39 1/2 x 47 ane/2 in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. ii, 1912
Oil on canvas, 58 ten 35 in. Harold Due east. Edgerton, Baseball game hitting-wing ball, 1950s-1970s. Gelatin silvery impress In the well-nigh extreme blazon of abstraction, the subject does not refer to any physical object, and this nonrepresentational epitome is thus considered non-objective. Here, the discipline may exist difficult for the observer to identify, since information technology is based solely on the elements of fine art rather than real-life people or objects. This type of subject oftentimes refers to the artist's idea nearly free energy and movement, which guides the employ of raw materials, and it communicates with those who can read the linguistic communication of form. Piet Mondrian, Composition, 1916. Oil on sail and wood strip, 47 ane/4 ten 29 1/ii in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless in that location are lyrics, it is often difficult to place a specific subject in a piece of music. Sometimes, the field of study is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, however, the subject is more abstruse, and it is an emotion or idea that comes across strongly in the music. Aaron Copland's Fanfare for the Mutual Man is a practiced case of this: he does not try to describe the discipline literally but creates a nobel, accessible, and uplifting musical theme that honors the plight of the mutual man. In a similar way, nonobjective art seeks to present a more than general theme or thought as the subject area.
Mark Rothko, Number 10, 1950.
Oil on canvas, 7 ft. vi iii/8 in. x four ft. nine 1/eight in. Regardless of the type of art, the nearly important consideration is what is done with the field of study. Later you recognize the subject in a work (whether information technology is obvious or not), ask yourself whether the artist has given it expression. Jackson Pollock, Autumn Rhythm (Number 30), 1950.
Oil on sheet, 8 ft. nine in. 10 17 ft. 3 in. Charles Sheeler, Golden Gate, 1955.
Oil on canvas, 25 1/viii in. 10 34 7/8 in.

Form

As a component of art, the word form refers to the total overall arrangement or system of an artwork. It results from using the elements of fine art, giving them lodge and meaning through the principles of organization. When studying a work'south form, we are analyzing how the piece was created. More than specifically, nosotros are examing why the artist made certain choices and how those choices collaborate to form the artwork's final appearance. In this sense, the word form may actually be idea of as a verb rather than a substantive.

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 artist's choice of media and techniques, tin communicate a wide range of circuitous feelings. All artists must deal with the elements singularly or in combination, and their system contributes to the aesthetic success or failure of a piece of work.

Based on the intended expression, each artist can arrange the elements in any manner that builds the desired character into the piece. Yet, the elements are given society and meaningful structure when arranged according to the principles of organization, which assist integrate and organize the elements. These principles include harmony, variety, residual, proportion, potency, move, and economy. They help create spatial relationships and effectively convey the creative person's intent. The principles of arrangement are flexible, not dogmatic, and can exist combined and practical in numerous ways. Some artist adjust intuitively, and others are more than computing, only with experience, all of them develop an instinctive feeling for organizing their work. So of import are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of fine art is its content - a argument, expression, or mood adult by the artist and interpreted by the observer. Of the three components of fine art, content may exist the most hard to identify, because the audition, without direct communication with the artist, must decipher the artist's thoughts by observing the piece of work'southward field of study and course. For example, in Young Girl in the Lap of Death, the hitting emphasis of the left-to-correct diagonals, the precipitous contrasts of lite and dark values, and the aggressive and powerful drawing strokes give united states some insight into Kathe Kollwitz's business organisation for life, though nosotros may non empathise the depth of her passion.

Kathe Kollwitz, Immature Girl in the Lap of Decease, 1934.
Crayon lithograph, 42 x 38 cm.

Ideally, the viewer's interpretation is synchronized with the artist'southward intentions. Notwithstanding, the viewer's diversity of experiences tin can affect the communication between artist and viewer. For many people, content is determined past their familiarity with the subject field; they are bars to feelings angry by objects or ideas they know. A much broader and ultimately more meaningful content is not utterly reliant on the image just is reinforced past the form. This is especially and so in more than abstract works, in which the viewer may not recognize the image as a known object and must, thefore, interpret meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, can still evangelize content if the observer knows how to interpert grade.

Occasionally, artists may exist unaware of what motivates them to make sure choices of paradigm or form. For them, the content of the piece may exist subconscious instead of deliberate. For example, an creative person who has had a violent confrontation with a neighbor might subconciously need to express anger (content) and is thus compelled to work wit abrupt jagged shapes, biting acrid reds, slashing agitated marks (grade), and exploding images (bailiwick).

Sometimes the meaning of nonobjective shapes becomes clear in the artist'south heed only after they evolve and mutate on the canvas.

Although it is not a requirement for enjoying artwork, a fiddling research about the artist'due south life, time period, or civilization can help expand viewpoints and lead to a fuller estimation of content. For example, a deeeper comprehension of Vincent van Gogh'southward specific and personal use of color may be gained past reading Van Gogh'southward letters to his brother Theo. His messages expressed an evolving conventionalities that colour conveyed specific feelings and attitudes and was more that a mere optical feel. He felt that his use of color could emit ability similar Wagner's music. The letters besides revealed a developing personal colour iconography, in which reddish and dark-green symbolized the terrible sinful passions of humanity; black contour lines provided a sense of anguish; cobalt blue signified the vault of heaven, and yellow symbolized dear. For Van Gogh, color was not strictly a tool for visual imitation but an instrument to transmit his personal emotions. Color symbolism may non have been used in all his paintings, but an agreement of his intent helps explicate some of his choices and the ability in his work.

Vincent van Gogh, The Dark Cafe, 1888. Oil on sail, 27 1/2 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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