Self Portrait with Two Circles, oil on canvas, Rembrandt c. 1665–1669.

Black Square, oil on canvas, Kasimir Malevich. 1915

Fine art or the fine arts encompass art forms developed primarily for aesthetics and/or concept rather than practical application.

Historically, the five greater fine arts were painting, sculpture, architecture, music and poetry, with minor arts including drama and dancing.^[1] Today, the fine arts commonly include the visual art and performing art forms, such as painting, sculpture, collage, decollage, assemblage, installation, calligraphy, music, dance, theatre, architecture, film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums fine art, and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.

Background[link]

One definition of fine art is "a visual art considered to have been created primarily for aesthetic purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture."^[2]

The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline. This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The visual arts has been described as a more inclusive and descriptive phrase for current art practice, and the explosion of media in which high art is now more recognized to occur.

The term is still often used outside of the arts to denote when someone has perfected an activity to a very high level of skill. For example, one might metaphorically say that "Pelé took football to the level of a fine art."

That fine art is seen as being distinct from applied arts is largely the result of an issue raised in Britain by the conflict between the followers of the Arts and Crafts Movement, including William Morris, and the early modernists, including Virginia Woolf and the Bloomsbury Group. The former sought to bring socialist principles to bear on the arts by including the more commonplace crafts of the masses within the realm of the arts, while the modernists sought to keep artistic endeavor as exclusive and esoteric.

Two-dimensional work[link]

Illustration[link]

Dürer's Rhinoceros, woodcut, 1515.

An illustration is a visualization such as a drawing, painting, photograph or other work of art that stresses subject more than form. The aim of an illustration is to elucidate or decorate textual information (such as a story, poem or newspaper article) by providing a visual representation.

Painting and drawing[link]

Goya, 1795, Self-Portrait

Drawing is a form of visual expression and is one of the major forms within the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, or various metals like silverpoint. There are a number of subcategories of drawing, including cartooning. Certain drawing methods or approaches, such as "doodling" and other informal kinds of drawing such as drawing in the fog a shower leaves on a bathroom mirror, or the surrealist method of "entopic graphomania", in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots, may or may not be considered as part of "drawing" as a "fine art."

Comics[link]

Comics are a graphic medium in which images are utilised in order to convey a sequential narrative. Comics are typically seen as a low art,^{[3][4][5][6][7][8]} although there are a few exceptions, such as Krazy Kat^[9] and Barnaby. In the late 20th and early 21st century there has been a movement to rehabilitate the medium.

Mosaics[link]

Mosaic of Christ Pantocrator from Hagia Sophia.

Mosaics are images formed with small pieces of stone or glass, called tesserae. They can be decorative or functional. An artist who designs and makes mosaics is called a mosaic artist or a mosaicist.

Printmaking and imaging[link]

Melencolia I, 1514, Dürer

Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy. The reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric in the case of screen-printing. But there are many other kinds, discussed below. Multiple nearly identical prints can be called an edition. In modern times each print is often signed and numbered forming a "limited edition." Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.

Fiber art[link]

Fiber art is a style of fine art which uses textiles such as fabric, yarn, and natural and synthetic fibers. It focuses on the materials and on the manual labour involved as part of its significance.

Calligraphy[link]

Folio from a Koran (8–9th century), Abbasid Kufic Calligraphy.

Calligraphy is a type of visual art. It is often called the art of fancy lettering (Mediavilla 1996: 17). A contemporary definition of calligraphic practice is "the art of giving form to signs in an expressive, harmonious and skillful manner" (Mediavilla 1996: 18). Modern calligraphy ranges from functional hand-lettered inscriptions and designs to fine-art pieces where the abstract expression of the handwritten mark may or may not compromise the legibility of the letters (Mediavilla 1996). Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may create all of these; characters are historically disciplined yet fluid and spontaneous, improvised at the moment of writing (Pott 2006 and 2005; Zapf 2007 and 2006).

Photography[link]

E. J. Bellocq, c. 1912

Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography. Photojournalism provides visual support for stories, mainly in the print media. Fine art photography is created primarily as an expression of the artist’s vision, but has also been important in advancing certain causes. The work of Ansel Adams in Yosemite and Yellowstone provides an example. Adams is one of the most widely recognized fine art photographers of the 20th century, and was an avid promoter of conservation. While his primary focus was on photography as art, his work raised public awareness of the beauty of the Sierra Nevada and helped to build political support for their protection.

Sculpture[link]

Head Ife Terracotta, Nigeria, C12th–C14th

Sculpture is three-dimensional artwork created by shaping hard or plastic material, commonly stone (either rock or marble), metal, or wood. Some sculptures are created directly by carving; others are assembled, built up and fired, welded, molded, or cast. Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. Many sculptures together in a garden setting may be referred to as a sculpture garden.

Conceptual art[link]

Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. The inception of the term in the 1960s referred to a strict and focused practice of idea-based art that often defied traditional visual criteria associated with the visual arts in its presentation as text. However, through its association with the Young British Artists and the Turner Prize during the 1990s, its popular usage, particularly in the UK, developed as a synonym for all contemporary art that does not practise the traditional skills of painting and sculpture.^[10]

Dance[link]

Edgar Degas, Ballet Rehearsal, 1873

Dance is an art form that generally refers to movement of the body, usually rhythmic and to music,^[11] used as a form of expression, social interaction or presented in a spiritual or performance setting. Dance is also used to describe methods of non-verbal communication (see body language) between humans or animals (bee dance, patterns of behaviour such as a mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical genres. In sports, gymnastics, figure skating and synchronized swimming are dance disciplines while martial arts kata are often compared to dances.

Theatre[link]

The Royal Opera House, London

Modern Western theatre is dominated by realism, including drama and comedy. Another popular Western form is musical theatre. Classical forms of theatre, including Greek and Roman drama, classic English drama including Shakespeare and Marlowe and French theater including Molière is still performed today. In addition, performances of classic Eastern forms such as Noh and Kabuki can be found in the West, although with less frequency.

Film[link]

Still from Un Chien Andalou a 1929 film by Luis Buñuel and artist Salvador Dalí

Fine arts film is a term that encompasses motion pictures and the field of film as a fine art form. A fine arts movie theater is a venue, usually a building, for viewing such movies. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects. Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating — or indoctrinating — citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.

Cinematography is the discipline of making lighting and camera choices when recording photographic images for the cinema. It is closely related to the art of still photography, though many additional issues arise when both the camera and elements of the scene may be in motion.

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

Architecture[link]

Architecture is frequently considered a fine art, especially if its aesthetic components are spotlighted (in contrast to structural-engineering or construction-management components). Architectural works are perceived as cultural and political symbols and works of art. Historical civilizations are often known primarily through their architectural achievements. Such buildings as the pyramids of Egypt and the Roman Colosseum are cultural symbols, and are an important link in public consciousness, even when scholars have discovered much about a past civilization through other means. Cities, regions and cultures continue to identify themselves with (and are known by) their architectural monuments.^[12]

Games[link]

This section requires expansion.

There is a debate in the games industry, academia and video game culture regarding the stature of games as a fine art.^{[13][14][15][16][17]} Film critic Roger Ebert once has argued that games can never be art, as he claimed they lack the authorial control seen in film, and leave too much up to choice.^[18] However, he later stated that he was too unfamiliar with video games to judge them, although he still wasn't convinced at the time that video games are art.^[19] However, as of 2012, he is open to the possibility that video games are art.

Other[link]

• Avant-garde music is frequently considered both a performing art and a fine art.
• Creative writing (distinct from journalism or technical writing, as well as distinct from most forms of academic writing and organizational communications) is, as previously mentioned, frequently considered a fine art.
• Electronic Media (perhaps the newest medium for fine art, since it utilizes modern technologies such as computer hardware and software from production to presentation. Includes amongst other things video, digital photography, digital printmaking and interactive pieces).
• Textiles, including quilt art and "wearables" or "pre-wearables" are frequently considered fine art if part of an art display.
• Western art music is a performing art and frequently considered a fine art.

Academic study[link]

The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (May 2010)

In the United States an academic course of study in fine art may include the Bachelor of Arts in Fine Art, or a Bachelor of Fine Arts, and/or a Master of Fine Arts degree — traditionally the terminal degree in the field. Doctor of Fine Arts degrees (earned, as opposed to honorary degrees) have begun to emerge at some US academic institutions, however.

See also[link]

• Aesthetics
• Art
• Contemporary art
• Mathematics and art
• Painting
• Sculpture
• Visual arts

References[link]

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (May 2009)

Further reading[link]

• Ballard, A. (1898). Arrows; or, Teaching a fine art. New York: A.S. Barnes & Company.
• Caffin, Charles Henry. (1901). Photography as a fine art; the achievements and possibilities of photographic art in America. New York: Doubleday, Page & Co.
• Crane, L., & Whiting, C. G. (1885). Art and the formation of taste: six lectures. Boston: Chautauqua Press. Chapter 4 : Fine Arts
• Hegel, G. W. F., & Bosanquet, B. (1905). The introduction to Hegel's Philosophy of fine art. London: K. Paul, Trench &.
• Hegel, G. W. F. (1998). Aesthetics: lectures on fine art. Oxford: Clarendon Press.
• Neville, H. (1875). The stage: its past and present in relation to fine art. London: R. Bentley and Son.
• Rossetti, W. M. (1867). Fine art, chiefly contemporary: notices re-printed, with revisions. London: Macmillan.
• Torrey, J. (1874). A theory of fine art. New York: Scribner, Armstrong, and Co.
• Weale, J. (1860). Rudimentary dictionary of terms used in architecture, civil, architecture, naval, building and construction, early and ecclesiastical art, engineering, civil, engineering, mechanical, fine art, mining, surveying, etc. London: Weale.

Look up fine in Wiktionary, the free dictionary.

Fine may be:

• An adjective meaning attractive, of high quality, etc.

Legal[link]

• Fine (penalty), financial punishment
• Fine (of lands), or final concord (agreement), an obsolete type of land conveyance (transfer) to a new owner
• Fine on alienation, money paid to the lord by a tenant when he had occasion to make over his land to another

People[link]

• Alan Fine
• Anne Fine (b. 1947), British author
• Arthur Fine, philosopher of science
• Benjamin Fine
• Bernie Fine, assistant basketball coach at Syracuse University
• Fran Fine
• Gary Alan Fine
• Irving Fine (1914-1962), American composer
• Jeanna Fine (b. 1964), American erotic actress and dancer
• John Christopher Fine, American author, attorney, marine biologist, photojournalist
• John S. Fine
• Kit Fine
• Larry Fine (actor) (1902-1975), American
• Larry Fine (pianos), American technician and author
• Lou Fine
• Nathan Fine, mathematician
• Reuben Fine (1914-1993), American chess player
• Sidney Fine (historian)
• Sylvia Fine (1913-1991), American songwriter
• Tommy Fine (1914-2005), American baseball pitcher
• Vivian Fine
• Micheala is Fine

Fictional character[link]

• Fran Fine, title character of The Nanny

In the media[link]

• F.I.N.E.*, an Aerosmith song from their 1989 album Pump
• Fine (album), by Snailhouse
• "Fine" (song), by Whitney Houston
• FINE is an acronym used in The Italian Job (2003 film) which means "Freaked Out Insecure Neurotic & Emotional"

Other[link]

• Fine topology (see Comparison of topologies), in mathematics, a topology that recognizes more open sets (and thus admits more continuous functions)
• Fine, New York, a town in the United States
• FINE, the informal umbrella association of the four main Fair Trade networks (FLO, IFAT, NEWS, EFTA)
• FINE Brand, brand of hygienic paper products in Jordan
• Fine, point in a music transcription where its performance ends in accord with the position of a da capo al fine notation
• Fine, attribute of certain cricket fielding positions
• Fine (drink), French variety of brandy
• FINE (printing), Print head technology used in Canon printers. FINE means "Full-photolithography Inkjet Nozzle Engineering".

See also[link]

Look up fineness in Wiktionary, the free dictionary.

• Fein (disambiguation), including its variations and derivatives in surnames
• Fiennes, prominent English family or French commune
• Fineness, purity of a precious metal
• Finings, wine-, beer-, and juice-clarifying agents

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Clockwise from upper left: a self-portrait from Vincent van Gogh, an African Chokwe statue, detail from the Birth of Venus by Sandro Botticelli and a Japanese Shisa lion

Art is a term that describes a diverse range of human activities and the products of those activities, but is most often understood to refer to painting, film, photography, sculpture, and other visual media. Music, theatre, dance, literature, and interactive media are included in a broader definition of art or the arts.^[1] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences, but in modern usage the fine arts are distinguished from acquired skills in general.

Many definitions of art have been proposed by philosophers and others who have characterized art in terms of mimesis, expression, communication of emotion, or other values. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".^[2]

The nature of art, and related concepts such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.^[3]

Definition[link]

Works of art can tell stories or simply express an aesthetic truth or feeling. Panorama of a section of A Thousand Li of Mountains and Rivers, a 12th-century painting by Song Dynasty artist Wang Ximeng.

The Encyclopædia Britannica Online defines art as "the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others". By this definition of the word, artistic works have existed for almost as long as humankind: from early pre-historic art to contemporary art; however, some theories restrict the concept to modern Western societies.^[4] The first and broadest sense of art is the one that has remained closest to the older Latin meaning, which roughly translates to "skill" or "craft." A few examples where this meaning proves very broad include artifact, artificial, artifice, medical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

20th-century Rwandan bottle. Artistic works may serve practical functions, in addition to their decorative value.

The second and more recent sense of the word art is as an abbreviation for creative art or fine art and emerged in the early 17th century.^[5] Fine art means that a skill is being used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of the finer things.

The word art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience's experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines that produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the viewer to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Artworks can be explicitly made for this purpose or interpreted on the basis of images or objects. Although the application of scientific knowledge to derive a new scientific theory involves skill and results in the "creation" of something new, this represents science only and is not categorized as art.

Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.^[6] However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture".^[7] Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle.^[8] Goethe defined art as an other resp. a second nature, according to his ideal of a style founded on the basic fundaments of insight and on the innermost character of things.^[9] Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.^[8] Benedetto Croce and R.G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.^[10][11] The theory of art as form has its roots in the philosophy of Immanuel Kant, and was developed in the early twentieth century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.^[12] George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or institution has conferred "the status of candidate for appreciation".^[13]

History[link]

Venus of Willendorf, circa 24,000–22,000 BP

Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them. The oldest art objects in the world—a series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave.^[14] Containers that may have been used to hold paints have been found dating as far back as 100,000 years.^[15]

Cave painting of a horse from the Lascaux caves, circa 16,000 BP

Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.

In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of Biblical and religious truths, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.

Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.

The stylized signature of Sultan Mahmud II of the Ottoman Empire was written in Arabic calligraphy. It reads Mahmud Khan son of Abdulhamid is forever victorious.

The Great Mosque of Kairouan (also called the Mosque of Uqba) is one of the finest, most significant and best preserved artistic and architectural examples of early great mosques; dated in its present state from the 9th century, it is the ancestor and model of all the mosques in the western Islamic lands.^[16] The Great Mosque of Kairouan is located in the city of Kairouan in Tunisia.

In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning terracotta army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang Dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming Dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.

Painting by Song Dynasty artist Ma Lin, circa 1250. 24,8 × 25,2 cm

The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.

The history of twentieth century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art, such as Pablo Picasso being influenced by African sculpture. Japanese woodblock prints (which had themselves been influenced by Western Renaissance draftsmanship) had an immense influence on Impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, the west has had huge impacts on Eastern art in the 19th and 20th centuries, with originally western ideas like Communism and Post-Modernism exerting a powerful influence on artistic styles.

Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist."^[17] Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with irony. Furthermore the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than regional cultures.

Forms, genres, media, and styles[link]

Detail of Leonardo da Vinci's Mona Lisa, showing the painting technique of sfumato

The creative arts are often divided into more specific categories, each related to its technique, or medium, such as decorative arts, plastic arts, performing arts, or literature. Unlike scientific fields, art is one of the few subjects that are academically organized according to technique [2]^{[dead link]}. An artistic medium is the substance or material the artistic work is made from, and may also refer to the technique used. For example, paint is a medium used in painting, and paper is a medium used in drawing.

An art form is the specific shape, or quality an artistic expression takes. The media used often influence the form. For example, the form of a sculpture must exist in space in three dimensions, and respond to gravity. The constraints and limitations of a particular medium are thus called its formal qualities. To give another example, the formal qualities of painting are the canvas texture, color, and brush texture. The formal qualities of video games are non-linearity, interactivity and virtual presence. The form of a particular work of art is determined by the formal qualities of the media, and is not related to the intentions of the artist or the reactions of the audience in any way whatsoever as these properties are related to content rather than form.^[18]

A genre is a set of conventions and styles within a particular medium. For instance, well recognized genres in film are western, horror and romantic comedy. Genres in music include death metal and trip hop. Genres in painting include still life and pastoral landscape. A particular work of art may bend or combine genres but each genre has a recognizable group of conventions, clichés and tropes. (One note: the word genre has a second older meaning within painting; genre painting was a phrase used in the 17th to 19th centuries to refer specifically to paintings of scenes of everyday life and is still used in this way.)

The Great Wave off Kanagawa by Hokusai (Japanese, 1760–1849), colored woodcut print

The original Fountain by Marcel Duchamp, 1917, photographed by Alfred Stieglitz at the 291 after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The exhibition entry tag can be clearly seen.^[19]

The style of an artwork, artist, or movement is the distinctive method and form followed by the respective art. Any loose brushy, dripped or poured abstract painting is called expressionistic. Often a style is linked with a particular historical period, set of ideas, and particular artistic movement. So Jackson Pollock is called an Abstract Expressionist.

A particular style may have specific cultural meanings. For example, Roy Lichtenstein—a painter associated with the American Pop art movement of the 1960s—was not a pointillist, despite his use of dots. Lichtenstein used evenly spaced Ben-Day dots (the type used to reproduce color in comic strips) as a style to question the "high" art of painting with the "low" art of comics, thus commenting on class distinctions in culture. Pointillism, a technique in late Impressionism (1880s) developed especially by the artist Georges Seurat, employs dots to create variation in color and depth in an attempt to approximate the way people really see color. Both artists use dots, but the particular style and technique relate to the artistic movement adopted by each artist.

These are all ways of beginning to define a work of art, to narrow it down. "Imagine you are an art critic whose mission is to compare the meanings you find in a wide range of individual artworks. How would you proceed with your task? One way to begin is to examine the materials each artist selected in making an object, image video, or event. The decision to cast a sculpture in bronze, for instance, inevitably effects its meaning; the work becomes something different from how it might be if it had been cast in gold or plastic or chocolate, even if everything else about the artwork remains the same. Next, you might examine how the materials in each artwork have become an arrangement of shapes, colors, textures, and lines. These, in turn, are organized into various patterns and compositional structures. In your interpretation, you would comment on how salient features of the form contribute to the overall meaning of the finished artwork. [But in the end] the meaning of most artworks... is not exhausted by a discussion of materials, techniques, and form. Most interpretations also include a discussion of the ideas and feelings the artwork engenders."^[20]

Skill and craft[link]

Adam. Detail from Michelangelo's fresco in the Cappella Sistina (1511)

Art can connote a sense of trained ability or mastery of a medium. Art can also simply refer to the developed and efficient use of a language to convey meaning with immediacy and or depth. Art is an act of expressing feelings, thoughts, and observations.^[21] There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes. A common view is that the epithet "art", particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency, yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.

A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's "Fountain" is among the first examples of pieces wherein the artist used found objects ("ready-made") and exercised no traditionally recognised set of skills. Tracey Emin's My Bed, or Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living follow this example and also manipulate the mass media. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.

Value judgment[link]

Aboriginal hollow log tombs. National Gallery, Canberra, Australia

This section may stray from the topic of the article into the topic of another article, Art_(disambiguation). Please help improve this section or discuss this issue on the talk page. (November 2010)

Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" (the cook is an artist), or "the art of deception", (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity.

Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, "good" art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist's prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya's painting depicting the Spanish shootings of 3rd of May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya's keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define 'art'.

The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist.

Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human.^[22]

Purpose of art[link]

A Navajo rug made circa 1880

Mozarabic Beatus miniature. Spain, late 10th century

Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague", but that it has had many unique, different reasons for being created. Some of these functions of Art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Levi-Strauss).

Non-motivated functions of art[link]

The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.

1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility.

   "Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry." -Aristotle^[23]

2. Experience of the mysterious. Art provides a way to experience one's self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry.

   "The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." -Albert Einstein^[24]

3. Expression of the imagination. Art provide a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable.

   "Jupiter's eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else – something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken." -Immanuel Kant^[25]

4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture.

   "Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'." -Silva Tomaskova^[26]

Motivated functions of art[link]

Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) to sell a product, or simply as a form of communication.

1. Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art.

   "[Art is a set of] artefacts or images with symbolic meanings as a means of communication." -Steve Mithen^[27]

2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of Motion Pictures and Video Games.
3. The Avante-Garde. Art for political change. One of the defining functions of early twentieth century art has been to use visual images to bring about political change. Art movements that had this goal—Dadaism, Surrealism, Russian Constructivism, and Abstract Expressionism, among others—are collectively referred to as the avante-garde arts.

   "By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life." -André Breton (Surrealism)^[28]

4. Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.
5. Art for social inquiry, subversion and/or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be simply to criticize some aspect of society.
   

   

   Spray-paint graffiti on a wall in Rome
   Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism).
6. Art for propaganda, or commercialism. Art is often utilized as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.^[29]
7. Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock's tail. The purpose of the male peacock's extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionary important because it attracted mates.^[30]

The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.

Controversial art[link]

Théodore Géricault's Raft of the Medusa, circa 1820

Théodore Géricault's Raft of the Medusa (c. 1820), was a social commentary on a current event, unprecedented at the time. Édouard Manet's Le Déjeuner sur l'Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world. John Singer Sargent's Madame Pierre Gautreau (Madam X) (1884), caused a huge uproar over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.

In the twentieth century, Pablo Picasso's Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.

Art theories[link]

In the nineteenth century, artists were primarily concerned with ideas of truth and beauty. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.^[31]

The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.^[32]

The arrival of Modernism in the late nineteenth century lead to a radical break in the conception of the function of art,^[33] and then again in the late twentieth century with the advent of postmodernism. Clement Greenberg's 1960 article "Modernist Painting" defines modern art as "the use of characteristic methods of a discipline to criticize the discipline itself".^[34] Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:

Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.^[34]

After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.

Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography.

Classification disputes[link]

Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art.

Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's Fountain, the movies, superlative imitations of banknotes, conceptual art, and video games.^[35]

Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art" (Novitz, 1996). According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst's and Emin's work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work.^[36] In 1998, Arthur Danto, suggested a thought experiment showing that "the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood."^[37][38]

Anti-art is a label for art that intentionally challenges the established parameters and values of art;^[39] it is term associated with Dadaism and attributed to Marcel Duchamp just before World War I,^[39] when he was making art from found objects.^[39] One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art.^[39] Anti-art is a feature of work by Situationist International,^[40] the lo-fi Mail art movement, and the Young British Artists,^[39] though it is a form still rejected by the Stuckists,^[39] who describe themselves as anti-anti-art.^[41][42]

Art, class, and value[link]

Versailles: Louis Le Vau opened up the interior court to create the expansive entrance cour d'honneur, later copied all over Europe.

Art is sometimes perceived as belonging exclusively to higher social classes. In this context, art is seen as an upper-class activity associated with wealth, the ability to purchase art, and the leisure required to pursue or enjoy it. The Palace of Versailles and the Hermitage in St. Petersburg illustrate this view: such vast collections of art are the preserve of the rich, of governments and wealthy organizations.

Fine and expensive goods have been popular markers of status in many cultures, and they continue to be so today. There has been a cultural push in the other direction since at least 1793, when the Louvre, which had been a private palace of the Kings of France, was opened to the public as an art museum during the French Revolution. Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. Museums in the United States tend to be gifts from the very rich to the masses (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.

Performance by Joseph Beuys, 1978: Everyone an artist — On the way to the libertarian form of the social organism

There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects"^[43] said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form... [have] endeavored to undermine the art object qua object."^[44]

In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works,^[45] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors."^[46]

See also[link]

	Arts portal
	Visual arts portal

	Book: Art
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• Art movement
• Artist in residence
• Formal analysis
• List of artistic media
• Outline of the visual arts

Notes[link]

Bibliography[link]

• Arthur Danto, The Abuse of Beauty: Aesthetics and the Concept of Art. 2003
• Dana Arnold and Margaret Iverson (eds.) Art and Thought. Oxford: Basil Blackwell, 2003.
• Michael Ann Holly and Keith Moxey (eds.) Art History and Visual Studies. Yale University Press, 2002.
• John Whitehead. Grasping for the Wind. 2001
• Noel Carroll, Theories of Art Today. 2000
• Evelyn Hatcher, ed. Art as Culture: An Introduction to the Anthropology of Art. 1999
• Catherine de Zegher (ed.). Inside the Visible. MIT Press, 1996.
• Nina, Felshin, ed. But is it Art? 1995
• Stephen Davies, Definitions of Art. 1991
• Oscar Wilde, "Intentions".
• Jean Robertson and Craig McDaniel, "Themes of Contemporary Art, Visual Art after 1980." 2005

Further reading[link]

Wikimedia Commons has media related to: Art

• Augros, Robert M., Stanciu, George N., The New Story of Science: mind and the universe, Lake Bluff, Ill.: Regnery Gateway, c1984. ISBN 0-89526-833-7 (this book has significant material on Art and Science)
• Richard Wollheim, Art and its Objects
• Carl Jung, Man and His Symbols
• Benedetto Croce, Aesthetic as Science of Expression and General Linguistic, 1902
• Władysław Tatarkiewicz, A History of Six Ideas: an Essay in Aesthetics, translated from the Polish by Christopher Kasparek, The Hague, Martinus Nijhoff, 1980.
• Leo Tolstoy, What Is Art?, 1897
• Kleiner, Gardner, Mamiya and Tansey (2004). Art Through the Ages, Twelfth Edition (2 volumes). Wadsworth. ISBN 0-534-64095-8 (vol 1) and ISBN 0-534-64091-5 (vol 2). 
• Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1996.
• Florian Dombois, Ute Meta Bauer, Claudia Mareis and Michael Schwab, eds., Intellectual Birdhouse. Artistic Practice as Research. London: Koening Books, 2011.
• Dana Arnold and Margaret Iverson, eds., Art and Thought. London: Blackwell, 2003.
• Antony Briant and Griselda Pollock, eds., Digital and Other Virtualities. NY: I.B.Tauris, 2010.
• Carol Armstron and Catherine de Zegher, eds., Women Artists at the Millenium. Massachusetts: October Books/The MIT Press, 2006.

External links[link]

Find more about art on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Art and Play from the Dictionary of the History of ideas
• In-depth directory of art
• Art and Artist Files in the Smithsonian Libraries Collection (2005) Smithsonian Digital Libraries
• Visual Arts Data Service (VADS) – online collections from UK museums, galleries, universities
• RevolutionArt – Art magazines with worldwide exhibitions, callings and competitions
• The Definition of Art entry by Thomas Adajian in the Stanford Encyclopedia of Philosophy

Ronnie Wood
Background information
Birth name	Ronald David Wood
Born	(1947-06-01) 1 June 1947 (age 65) Hillingdon, Middlesex, England
Genres	Rock, blues, blues rock, rock and roll, psychedelic rock, hard rock
Occupations	Musician, songwriter, record producer, painter, Radio personality
Instruments	Guitar, bass, pedal steel guitar, lap steel guitar, harmonica, saxophone, drums, vocals, nose flute
Years active	1964–present
Labels	Warner Bros.
Associated acts	The Birds, The Creation, The Jeff Beck Group, Faces, The Rolling Stones, Red Hot Chili Peppers, Pearl Jam, The Insects, The New Barbarians
Website	www.ronniewood.com
Notable instruments
Various Zemaitis models ESP Ron Wood signature model Duesenberg signature model Versoul guitars Fender Stratocaster

Ronald David "Ronnie" Wood (born 1 June 1947) is an English rock guitarist and bassist best known as a former member of The Jeff Beck Group, Faces, and a member of The Rolling Stones since 1975. He also plays lap and pedal steel guitar.

Wood began his career in 1964, when he joined The Birds on guitar.^[1] He then joined the mod group The Creation, but only remained with the group for a short time, and appeared on a small number of singles. Wood joined The Jeff Beck Group in 1967. They released two albums, Truth and Beck-Ola, which became moderate successes. The group split in 1969, and Wood departed along with lead vocalist Rod Stewart to join former Small Faces members Ronnie Lane, Ian McLagan, and Kenney Jones in a new group, dubbed the Faces. The group, although relegated to "cult" status in the US, found great success in the UK and mainland Europe. The Faces released their debut album, First Step, in 1970. The group went on to release Long Player and A Nod Is as Good as a Wink... to a Blind Horse in 1971. Their last LP, entitled Ooh La La, was released in 1973. After the group split, Wood began several solo projects, eventually recording his first solo LP, I've Got My Own Album to Do, in 1974. The album featured former bandmate McLagan as well as former Beatle George Harrison and Keith Richards of The Rolling Stones, a longtime friend of Wood's. Richards soon invited Wood to join The Rolling Stones, after the departure of Mick Taylor. Wood joined in 1975, and has remained a member ever since.^[1]

Besides I've Got My Own Album to Do, Wood has recorded several other solo efforts. Now Look was released in 1975, and peaked at number 118 on Billboard, and Wood collaborated with Ronnie Lane for the soundtrack album Mahoney's Last Stand. He released Gimme Some Neck in 1979, which hit number 45 in the US. 1234 was released in 1981, peaking at number 164. He released Slide on This in 1992, Not for Beginners came out in 2002.^[1] and I Feel Like Playing in 2010. As a member of the Rolling Stones, Wood was inducted into the Rock and Roll Hall of Fame in 1989, and was inducted a second time, as a member of Faces, in April 2012.^[2][3]

Music career[link]

1960s[link]

Wood began his career as a professional musician in 1964 as a guitarist with The Birds, an R&B band based in Yiewsley, West London. A popular live act with a considerable fan base, The Birds released several singles in the mid-1960s;^[4] Wood wrote or co-wrote nearly half the songs the group recorded.^[5]

By 1967 the Birds had disbanded, and Wood briefly took part in a project called Santa Barbara Machine Head before joining the Jeff Beck Group as a bassist. Along with vocalist Rod Stewart, Wood did several tours with Beck, and recorded two albums: Truth in 1968 and Beck-Ola in 1969. In between Jeff Beck Group projects Wood also worked with The Creation.^[6]

In 1969, after Steve Marriott left the Small Faces, Wood began working with the remaining members of that group, returning to his instrument of choice: the guitar. This line-up, plus Rod Stewart and ex-Bird Kim Gardner, teamed up with Wood's brother Art Wood in a formation called Quiet Melon, making a handful of recordings in May 1969.^[6] After the Jeff Beck Group's fifth US tour in July, Wood and Stewart joined the former Small Faces full-time, and the band's name was changed to Faces.^[7]

1970s[link]

Wood (left) whilst in Faces, with Rod Stewart (right)

In the first half of the 1970s, Faces released four studio albums and were among the top-grossing live acts of the period.^[8] Besides his distinctive guitar work, Wood contributed harmonica, vocals and bass to the band's recordings, and co-wrote many of their songs, including "Stay With Me" and "Ooh La La". He also played on bandmate Stewart's first few solo albums, and is co-writer of the Rod Stewart songs "Gasoline Alley" and "Every Picture Tells a Story",^[6] as well as several songs on Never a Dull Moment.

In 1972, Wood and Faces bassist Ronnie Lane composed the soundtrack to the film Mahoney's Last Stand;^[6] the soundtrack, which was released as an LP in 1976, also features Faces bandmates Ian McLagan and Kenney Jones, along with contributions from Pete Townshend and Ric Grech. Wood also performed with Townshend, Grech, Steve Winwood, Jim Capaldi and Eric Clapton at Clapton's Rainbow Concert in 1973.

In December 1973, Wood collaborated with Mick Jagger on the song "It's Only Rock'n Roll (But I Like It)".^[9] Both Jagger and Keith Richards contributed to Wood's first solo album, I've Got My Own Album to Do, released in 1974^[6] and recorded at Wood's private studio in the basement of his home in London, The Wick.

Wood in Candlestick Park on tour with The Rolling Stones

Following Mick Taylor's departure from the Rolling Stones in December 1974, Wood participated in the band's March 1975 recording sessions for their forthcoming album Black and Blue.^[10][11] Although still a member of the Faces, he toured North America with the Rolling Stones in 1975; the Faces announced their break-up in December of that year, and Wood was officially declared a member of the Rolling Stones in February 1976.^[12]

NME – August 1976^[13]

In the Rolling Stones, Wood plays the slide guitar as Taylor had done before him, adding both lap steel and pedal steel guitar. In addition, Wood, as his predecessors did, exchanges roles on the guitar with Richards, often blurring the boundaries between rhythm and lead, even within a particular song.^[14] He also occasionally plays bass guitar, as seen during 1975 concert performances of "Fingerprint File", when Mick Jagger played rhythm guitar and bassist Bill Wyman moved to synthesizer. The Rolling Stones single "Emotional Rescue" also features Wood on bass. He has been given credit as a co-writer for a dozen songs, including "Dance", "Black Limousine", "One Hit (to the Body)" and "Had It With You".

In 1975, Wood released his second solo album, Now Look; his third, Gimme Some Neck, came out in 1979. To promote it, Wood formed and toured with The New Barbarians, playing 20 concerts in Canada and the US in April/May and the Knebworth Festival in the UK in August.^[15][16]

1980s[link]

Throughout the 1980s, Wood played as a member of the Rolling Stones; continued his solo career, releasing the album 1234 in 1981; painted; and collaborated with a number of other artists, including Prince, Bob Dylan, David Bowie, Eric Clapton, Bo Diddley, Ringo Starr and Aretha Franklin.

At the 1985 Live Aid Concert in Philadelphia, Wood along with Keith Richards performed in the penultimate set with Bob Dylan. During the performance of "Blowin' in the Wind", one of Dylan's guitar strings broke. Wood gave Dylan his guitar in order to keep the performance seamless, and played air guitar until a stagehand brought him a replacement.^[17]

In 1988 Wood opened "Woody's on the Beach" in Miami, a club featuring a house band headed by Bobby Keys, hosting performances by local acts, friends of Wood's and occasionally Wood himself. The defunct hotel which housed the club allowed Wood to set up a VIP area upstairs, displaying Wood's artwork and providing private party areas. The club was popular, but was closed due to complaints from neighbours who found it too loud.^[18]

1990s-2010s[link]

Wood (left) with Keith Richards (right) as an official Rolling Stone

In 1990 Wood was made a fully-fledged partner in the Rolling Stones' financial organization.^[19] During the 1990s the Rolling Stones released two studio albums and three concert albums, as well as touring in 1990, 1994–95 and 1997–99.^[10]

In addition, Wood released his seventh solo album, Slide On This, in 1992; he toured to promote this album in North America and Japan. His appearance in 1993 with former bandmate Rod Stewart on MTV Unplugged resulted in a hit album entitled Unplugged...and Seated; the concert album that Wood released in 1993 from his own tour was called Slide On Live: Plugged In and Standing.^[10]

Wood also contributed to Bo Diddley's 1996 album A Man Amongst Men, playing slide guitar on the tracks "Hey Baby", "A Man Amongst Men" and "Oops! Bo Diddley" and guitar on "I Can't Stand It".

Since 2000 Wood has continued to combine solo work with his Rolling Stones schedule. Following the 2001 release of his album Not For Beginners, Wood toured England and Ireland in 2001 and 2002 with his own group, The Ronnie Wood Band. The band included members of his own family, Slash and Andrea Corr. After the tour a DVD called Far East Man was released.

Wood toured with the Rolling Stones in 2002 and 2003; in 2004 he performed several one-off concerts and guest appearances, including a number of appearances with Rod Stewart. Later in the year the two expressed intentions of finishing the studio work on a collaborative album to be entitled You Strum and I'll Sing. In 2005, however, Wood was again busy with the Rolling Stones as they recorded their A Bigger Bang album. Although only playing on ten of the album's sixteen tracks, Wood embarked on the tour which ran through till August 2007.^[10]

In 2005 Wood launched his own record company, Wooden Records, which has released recordings by his daughter Leah, The New Barbarians and others.

Wood with the Rolling Stones at Virginia Tech. (2005)

In November 2006, during a break in the Rolling Stones' A Bigger Bang tour, Wood played guitar on three tracks for British soul artist Beverley Knight's album Music City Soul, released in 2007.^[10]

On 9 May 2009, Wood along with Red Hot Chili Peppers members Anthony Kiedis, Michael "Flea" Balzary, Chad Smith and musician Ivan Neville performed under the name, The Insects at the fifth annual MusiCares event honoring Kiedis.^[20]

On 11 August 2009 Wood joined Pearl Jam on the stage of Shepherd's Bush Empire in London for a performance of "All Along the Watchtower".^{[citation needed]}

Ronnie Wood, Bill Wyman and Mick Hucknall at Faces reunion performance, 25 October 2009

On 25 October 2009, Wood, Ian McLagan and Kenny Jones joined forces for a Faces performance at London's Royal Albert Hall on behalf of the Performing Rights Society's Music Members' Benevolent Fund. Bill Wyman played bass and lead vocals were shared by several performers, notably Mick Hucknall.^[21] Rod Stewart, who had earlier denied rumours of plans for a Faces reunion in 2009,^[22] was not present.

On 2 November 2009 Wood was given an "Outstanding Contribution" award at the Classic Rock Roll of Honour ceremony in London. Pete Townshend presented the award.^[23][24]

Since 9 April 2010, Wood has presented his own radio show on Absolute Radio. Airing on Saturday night from 10pm, the show lasts one hour and consists of Wood playing tracks by artists he has worked with and other personal favourites.^[25]

In May 2011 Ronnie Wood won the Sony Radio Personality of the Year award for The Ronnie Wood Show.^[26]

Personal life[link]

Wood with promoter Joseph Donofrio, 2006.

Wood was born in Hillingdon, London, into a family of English "water gypsies" (river/canal barge operators, sometimes also called "bargees"). He has said that his generation was the first in the family to be born on dry land.^[27] He grew up in Yiewsley and attended St Stephen's Primary School and St Matthew's Church of England Secondary School, Yiewsley.^[28]