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Thirteenth century Madonna with Child in the Italo-Byzantine style.

Madonna and Child by Filippo Lippi

Madonna with Child, stained glass window in the Montparnasse cemetery in Paris

"Madonna of Humility" by Lorenzo Monaco at the Brooklyn Museum

Images of the Madonna and the Madonna and Child or Virgin and Child are pictorial or sculptured representations of Mary, Mother of Jesus, either alone, or more frequently, with the infant Jesus. These images are central icons of Roman Catholicism and Eastern Orthodox Christianity where Mary remains a central artistic topic.^[1] No image (in either the Western or the Eastern Church) permeates Christian art as the image of Madonna and Child.^[2]

While Mary, the Mother of Jesus, may be referred to as "the Madonna" in other contexts, in art the term is applied specifically to an artwork in which Mary, with or without the infant Jesus, is the focus, and central figure of the picture. Mary and the infant Jesus may be surrounded by adoring angels or worshiping saints. Images that have a narrative content, including those of the many scenes which make up the Life of the Virgin, are not correctly referred to as "Madonnas" but are given a title that reflects the scene such as the Annunciation to Mary.

The earliest such images date from the Early Christian Church and are found in the Catacombs of Rome.^[3] Representation of Mary became more common after the Council of Ephesus in 431. ^[4] For over a thousand years, through the Byzantine, Medieval and Early Renaissance periods the Madonna was the most often produced pictorial artwork. Many specific images of the Madonna, both painted and sculptured, have achieved fame, either as objects of religious veneration or for their intrinsic artistic qualities. Many of the most renowned painters and sculptors in the history of art have turned their skills toward the creation of Madonna images. These artists include Duccio, Leonardo da Vinci, Michelangelo, Giovanni Bellini, Caravaggio, Rubens, Salvador Dalí and Henry Moore.

Terminology[link]

Madonna is a medieval Italian term for a noble or otherwise important woman, and has long been used commonly in reference to images of the Virgin Mary, the mother of Jesus. The word has also been adopted by the English and other European languages. "Madonna", translates as "My Lady". While stressing the personal, if reverent relationship between the Virgin and the devout Christian who addresses her in prayer, it is comparable to the French, "Notre Dame", or "Our Lady". These names signal both the increased importance of the Cult of the Virgin and the prominence of art in service to Marian devotion during the late medieval period. During the thirteenth century, especially, with the increasing influence of chivalry and aristocratic culture on poetry, song and the visual arts, the Madonna is represented as the Queen of Heaven, often enthroned. Strictly speaking, the term "Madonna" should be used exclusively for Italian works, but has become applied much more widely. It is often applied to the same work of art alternately with the title "Virgin". An image in which Mary is depicted with the Christ Child, may be called a Madonna and Child, but is often loosely referred to as a Madonna.

Modes of representation[link]

Icon of the enthroned Virgin and Child with saints and angels, and the Hand of God above, 6th century, Saint Catherine's Monastery, Mount Sinai, perhaps the earliest iconic image of the subject to survive.

There are several distinct types of representation of the Madonna.

• One type of Madonna shows Mary alone (without the child Jesus), and standing, generally glorified and with a gesture of prayer, benediction or prophesy. This type of image occurs in a number of ancient apsidal mosaics.
• Full-length standing images of the Madonna more frequently include the infant Jesus, who turns towards the viewer or raises his hand in benediction. The most famous Byzantine image, the Hodegetria was originally of this type, though most copies are at half-length. This type of image occurs frequently in sculpture and may be found in fragile ivory carvings, in limestone on the central door posts of many cathedrals, and in polychrome wooden or plaster casts in almost every Catholic Church. There are a number of famous paintings that depict the Madonna in this manner, notably the Sistine Madonna by Raphael.
• The Madonna enthroned is a type of image that dates from the Byzantine period and was used widely in Medieval and Renaissance times. These representations of the Madonna and Child often take the form of large altarpieces. They also occur as frescoes and apsidal mosaics. In Medieval examples the Madonna is often accompanied by angels who support the throne, or by rows of saints. In Renaissance painting, particularly High Renaissance painting, the saints may be grouped informally in a type of composition known as a Sacra conversazione.
• The Madonna of humility refers to portrayals in which the Madonna is sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap.^[5] This style was a product of Franciscan piety,^[6][7] and perhaps due to Simone Martini. It spread quickly through Italy and by 1375 examples began to appear in Spain, France and Germany. It was the most popular among the styles of the early Trecento artistic period.^[8]
• Half-length Madonnas are the form most frequently taken by painted icons of the Eastern Orthodox Church, where the subject matter is highly formulated so that each painting expresses one particular attribute of the "Mother of God". Half-length paintings of the Madonna and Child are also common in Italian Renaissance painting, particularly in Venice.
• The seated Madonna and Child is a style of image that became particularly popular during the 15th century in Florence and was imitated elsewhere. These representations are usually of a small size suitable for a small altar or domestic use. They usually show Mary holding the infant Jesus in an informal and maternal manner. These paintings often include symbolic reference to the Passion of Christ.
• The Adoring Madonna is a type popular during the Renaissance. These images, usually small and intended for personal devotion, show Mary kneeling in adoration of the Christ Child. Many such images were produced in glazed terracotta as well as paint.

Development[link]

The earliest representation of the Madonna and Child may be the wall painting in the Catacomb of Priscilla, Rome, in which the seated Madonna suckles the Child, who turns his head to gaze at the spectator.^[9]

The earliest consistent representations of Mother and Child were developed in the Eastern Empire, where despite an iconoclastic strain in culture that rejected physical representations as "idols", respect for venerated images was expressed in the repetition of a narrow range of highly conventionalized types, the repeated images familiar as icons (Greek "image"). On a visit to Constantinople in 536, Pope Agapetus was accused of being opposed to the veneration of the theotokos and to the portrayal of her image in churches.^[10] Eastern examples show the Madonna enthroned, even wearing the closed Byzantine pearl-encrusted crown with pendants, with the Christ Child on her lap.^[11]

In the West, hieratic Byzantine models were closely followed in the Early Middle Ages, but with the increased importance of the cult of the Virgin in the 12th and 13th centuries a wide variety of types developed to satisfy a flood of more intensely personal forms of piety. In the usual Gothic and Renaissance formulas the Virgin Mary sits with the Infant Jesus on her lap, or enfolded in her arms. In earlier representations the Virgin is enthroned, and the Child may be fully aware, raising his hand to offer blessing. In a 15th century Italian variation, a baby John the Baptist looks on.

Late Gothic sculptures of the Virgin and Child may show a standing virgin with the child in her arms. Iconography varies between public images and private images supplied on a smaller scale and meant for personal devotion in the chamber: the Virgin suckling the Child (such as the Madonna Litta) is an image largely confined to private devotional icons.

Early images[link]

The Madonna of humility by Domenico di Bartolo, 1433, is considered one of the most innovative devotional images from the early Renaissance.^[12]

There was a great expansion of the cult of Mary after the Council of Ephesus in 431, when her status as Theotokos ("God-bearer") was confirmed; this had been a subject of some controversy until then, though mainly for reasons to do with arguments over the nature of Christ. In mosaics in Santa Maria Maggiore in Rome, dating from 432-40, just after the council, she is not yet shown with a halo, and she is also not shown in Nativity scenes at this date, though she is included in the Adoration of the Magi.

By the next century the iconic depiction of the Virgin enthroned carrying the infant Christ was established, as in the example from the only group of icons surviving from this period, at Saint Catherine's Monastery, Mount Sinai. This type of depiction, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The image at Mount Sinai succeeds in combining two aspects of Mary described in the Magnificat, her humility and her exaltation above other humans, and has the Hand of God above, up to which the archangels look. An early icon of the Virgin as queen is in the church of Santa Maria in Trastevere in Rome, datable to 705-707 by the kneeling figure of Pope John VII, a notable promoter of the cult of the Virgin, to whom the infant Christ reaches his hand. This type was long confined to Rome. The roughly half-dozen varied icons of the Virgin and Child in Rome from the 6th - 8th century form the majority of the representations surviving from this period; "isolated images of the Madonna and Child ... are so common ... to the present day in Catholic and Orthodox tradition, that it is difficult to recover a sense of the novelty of such images in the early Middle Ages, at least in western Europe".^[13]

At this period the iconography of the Nativity was taking the form, centred on Mary, that it has retained up to the present day in Eastern Orthodoxy, and on which Western depictions remained based until the High Middle Ages. Other narrative scenes for Byzantine cycles on the Life of the Virgin were being evolved, relying on apocyphal sources to fill in her life before the Annunciation to Mary. By this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the development of such sophisticated iconography, and relied heavily on Byzantine developments.

The earliest surviving image in a Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 (there is a similar carved image on the lid of St Cuthbert's coffin of 698) and, though magnificently decorated in the style of Insular art, the drawing of the figures can only be described as rather crude compared to Byzantine work of the period. This was in fact an unusual inclusion in a Gospel book, and images of the Virgin were slow to appear in large numbers in manuscript art until the book of hours was devised in the 13th century.

Byzantine influence on the West[link]

Our Mother of Perpetual Help, probably an early Cretan work, 13th or 14th century. A very popular Catholic image, which was certainly in Rome by 1499.

Very few early images of the Virgin Mary survive, though the depiction of the Madonna has roots in ancient pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Middle East. Important to Italian tradition are Byzantine icons, especially those created in Constantinople (Istanbul), the capital of the longest, enduring medieval civilization whose icons participated in civic life and were celebrated for their miraculous properties. Byzantium (324-1453) saw itself as the true Rome, if Greek-speaking, Christian empire with colonies of Italians living among its citizens, participating in Crusades at the borders of its land, and ultimately, plundering its churches, palaces and monasteries of many of its treasures. Later in the Middle Ages, the Cretan school was the main source of icons for the West, and the artists there could adapt their style to Western iconography when required.

While theft is one way that Byzantine images made their way West to Italy, the relationship between Byzantine icons and Italian images of the Madonna is far more rich and complicated. Byzantine art played a long, critical role in Western Europe, especially when Byzantine territories included parts of Eastern Europe, Greece and much of Italy itself. Byzantine manuscripts, ivories, gold, silver and luxurious textiles were distributed throughout the West. In Byzantium, Mary's usual title was the Theotokos or Mother of God, rather than the Virgin Mary and it was believed that salvation was delivered to the faithful at the moment of God's incarnation. That theological concept takes pictorial form in the image of Mary holding her infant son.

However, what is most relevant to the Byzantine heritage of the Madonna is twofold. First, the earliest surviving independent images of the Virgin Mary are found in Rome, the center of Christianity in the medieval West. One is a valued possession of Santa Maria in Trastevere, one of the many Roman churches dedicated to the Virgin Mary. Another, a splintered, repainted ghost of its former self, is venerated at the Pantheon, that great architectural wonder of the Ancient Roman Empire, that was rededicated to Mary as an expression of the Church's triumph. Both evoke Byzantine tradition in terms of their medium, that is, the technique and materials of the paintings, in that they were originally painted in tempera (egg yolk and ground pigments) on wooden panels. In this respect, they share the Ancient Roman heritage of Byzantine icons. Second, they share iconography, or subject matter. Each image stresses the maternal role that Mary plays, representing her in relationship to her infant son. It is difficult to gauge the dates of the cluster of these earlier images, however, they seem to be primarily works of the seventh and eighth centuries.

Representations[link]

It was not until the revival of monumental panel painting in Italy during the twelfth and thirteenth centuries, that the image of the Madonna gains prominence outside of Rome, especially throughout Tuscany. While members of the mendicant orders of the Franciscan and Dominican Orders are some of the first to commission panels representing this subject matter, such works quickly became popular in monasteries, parish churches, and homes. Some images of the Madonna were paid for by lay organizations called confraternities, who met to sing praises of the Virgin in chapels found within the newly reconstructed, spacious churches that were sometimes dedicated to her. Paying for such a work might also be seen as a form of devotion. Its expense registers in the use of thin sheets of real gold leaf in all parts of the panel that are not covered with paint, a visual analogue not only to the costly sheaths that medieval goldsmiths used to decorate altars, but also a means of surrounding the image of the Madonna with illumination from oil lamps and candles. Even more precious is the bright blue mantle colored with lapis lazuli, a stone imported from Afghanistan.

This is the case of one of the most famous, innovative and monumental works that Duccio executed for the Laudesi at Santa Maria Novella in Florence. Often the scale of the work indicates a great deal about its original function. Often referred to as the Rucellia Madonna (c. 1285), the panel painting towers over the spectator, offering a visual focus for members of the Laudesi confraternity to gather before it as they sang praises to the image. Duccio made an even grander image of the Madonna enthroned for the high altar of the cathedral of Siena, his home town. Known as the Maesta(1308–11), the image represents the pair as the center of a densely populated court in the central part of a complexly carpentered work that lifts the court upon a predella (pedestal of altarpiece) of narrative scenes and standing figures of prophets and saints. In turn, a modestly scaled image of the Madonna as a half-length figure holding her son in a memorably intimate depiction, is to be found in the National Gallery of London. This is clearly made for the private devotion of a Christian wealthy enough to hire one of the most important Italian artists of his day. The privileged owner need not go to Church to say his prayers or plead for salvation; all he or she had to do was open the shutters of the tabernacle in an act of private revelation.

Lorenzo Monaco, Florence, c.1410

Duccio and his contemporaries inherited early pictorial conventions that were maintained, in part, to tie their own works to the authority of tradition. Despite all of the innovations of painters of the Madonna during the thirteenth and fourteenth centuries, Mary can usually be recognized by virtue of her attire. Customarily when she is represented as a youthful mother of her newborn child, she wears a deeply saturated blue mantle over a red garment. This mantle typically covers her head, where sometimes, one might see a linen, or later, transparent silk veil. She holds the Christ Child, or Baby Jesus, who shares her halo as well as her regal bearing. Often her gaze is directed out at the viewer, serving as an intercessor, or conduit for prayers that flow from the Christian, to Her, and only then, to Her Son. However, late medieval Italian artists also followed the trends of Byzantine icon painting, developing their own methods of depicting the Madonna. Sometimes, the Madonna's complex bond with her tiny child takes the form of a close, intimate moment of tenderness steeped in sorrow where she only has eyes for Him.

While the focus of this entry currently stresses the depiction of the Madonna in panel painting, it should be noted that her image also appears in mural decoration, whether mosaics or fresco painting on the exteriors and interior of sacred buildings. She is found high above the apse, or east end of the church where the liturgy is celebrated in the West. She is also found in sculpted form, whether small ivories for private devotion, or large sculptural reliefs and free-standing sculpture. As a participant in sacred drama, her image inspires one of the most important fresco cycles in all of Italian painting: Giotto's narrative cycle in the Arena Chapel, next to the Scrovegni family's palace in Padua. This program dates to the first decade of the fourteenth century.

Italian artists of the fifteenth century onward are indebted to traditions established in the thirteenth and fourteenth centuries in their representation of the Madonna.

Renaissance[link]

Leonardo da Vinci, a study of the Head of Madonna, c. 1484 AD.

While the fifteenth and sixteenth centuries were a time when Italian painters expanded their repertoire to include historical events, independent portraits and mythological subject matter, Christianity retained a strong hold on their careers. Most works of art from this era are sacred. While the range of religious subject matter included subjects from the Old Testament and images of saints whose cults date after the codification of the Bible, the Madonna remained a dominant subject in the iconography of the Renaissance.

Some the most famous Italian painters to turn to this subject are Leonardo da Vinci, Michelangelo and Raphael, Giorgione, Giovanni Bellini and Titian, in the 16th century. They developed on the foundations of fifteenth century Marian images by Fra Angelico, Fra Filippo Lippi, Mantegna and Piero della Francesca in particular, among countless others. The subject was equally popular in Early Netherlandish painting and that of the rest of Northern Europe.

The subject retaining the greatest power on all of these men remained the maternal bond, even though other subjects, especially the Annunciation, and later the Immaculate Conception, led to a greater number of paintings that represented Mary alone, without her son. As a commemorative image, the Pietà became an important subject, newly freed from its former role in narrative cycles, in part, an outgrowth of popular devotional statues in Northern Europe. Traditionally, Mary is depicted expressing compassion, grief and love, usually in highly charged, emotional works of art even though the most famous, early work by Michelangelo stifles signs of mourning. The tenderness an ordinary mother might feel towards her beloved child is captured, evoking the moment when she first held her infant son Christ. The spectator, after all, is meant to sympathize, to share in the despair of the mother who holds the body of her crucified son.

Modern images[link]

A roadside Madonna alcove in Friuli, Italy.

In some European countries, such as Germany, Italy and Poland sculptures of the Madonna are found on the outside of city houses and buildings, or along the roads in small enclosures.

A roadside Madonna in Ocieka, Poland.

In Germany such a statue placed on the outside of a building is called a Hausmadonna. Some date back to the Middle Ages, while some are still being made today. Usually found on the level of the second floor or higher, and often on the corner of a house, such sculptures were found in great numbers in many cities; Mainz, for instance, was supposed to have had more than 200 of them before World War II.^[14] The variety in such statues is as great as in other Madonna images; one finds Madonnas holding grapes (in reference to the Song of Songs 1:14, translated as "My lover is to me a cluster of henna blossoms" in the NIV), "immaculate" Madonnas in pure, perfect white without child or accessories, and Madonnas with roses symbolizing her life determined by the mysteries of faith.^[15]

In Italy the roadside Madonna is a common sight both on the side of buildings and along roads in small enclosures. These are expected to bring spiritual relief to people who pass them.^[16] Some Madonnas statues are placed around Italian towns and villages as a matter of protection, or as a commemoration of a reported miracle.^[17]

In the 1920s, the Daughters of the American Revolution placed statues called the Madonna of the Trail from coast to coast, marking the path of the old National Road and the Santa Fe Trail.^[18]

Paintings and art[link]

There are a large number of articles on individual works of various sorts in Category:Depictions of the Virgin Mary and its Sub-category. The term "Madonna" is sometimes used to refer to representations of Mary that were not created by Italians. A small selection of examples include:

• Golden Madonna of Essen (the earliest large-scale sculptural example in Western Europe; made for an Ottonian abbess and a precedent for the polychrome wooden processional sculptures of Romanesque France, a type known as Throne of Wisdom.)
• Madonna of humility depicting a Madonna sitting on the ground, or low cushions
• Madonna and Child (also known as the Stroclet Madonna or Stroganoff Madonna), a painting by Duccio di Buoninsegna, from around the year 1300.
• The Black Madonna of Częstochowa (Czarna Madonna or Matka Boska Częstochowska in Polish) icon, which was, according to legend, painted by St. Luke the Evangelist on a cypress table top from the house of the Holy Family.
• Madonna and Child with Flowers, otherwise known as the Benois Madonna, possibly one of two works begun by the artist, as documented in October 1478.
• Madonna Eleusa (of tenderness) has been depicted both in the Eastern and Western churches.
• Madonna of the Steps, a relief by Michelangelo.
• Madonna della seggiola, by Raphael
• Madonna with the Long Neck, by Parmigianino.
• The Madonna of Port Lligat, the name of two paintings by Salvador Dalí created in 1949 and 1950.
• Madonna Corpusculaire, by Salvador Dalí in 1952; modern depiction of the Madonna and Child^[19]

See also[link]

• Christian Art
• Art in Roman Catholicism
• Blessed Virgin Mary
• Mary (mother of Jesus)
• Roman Catholic Marian art
• Pietà

References[link]

Gallery[link]

Paintings[link]

• 

  Madonna and Angels, Duccio, 1282

• 

  Agnolo Gaddi, Coronation of the Virgin, c. 1380

• 

  Madonna of Chancellor Rolin, Jan van Eyck, Burgundy, c. 1435

• 

  An unusual French Coronation by Enguerrand Quarton, 1454

• 

  Madonna and five angels, Botticelli, c. 1485-1490

• 

  Madonna del Granduca, Raphael, 1505

• 

  Sixtine Madonna and others in postage stamps, Raphael, 1510

• 

  Madonna and Child, Bramantino, probably before 1508

• 

  Dolorosa, Murillo, 1665

• 

  Virgin Mary by Sassoferrato, 17th century

• 

  Virgin and Child with Angels and Saints, Felice Torelli, 17th century

• 

  Virgin of the Lilies, Bouguereau, 1899

Statues[link]

• 

  Golden Madonna ofEssen, c. 980

• 

  Presbyter Martinus: Madonna as Seat of Wisdom, Italy, 1199

• 

  Black Madonna, Barcelona

• 

  Maddona on the tomb of Raphael, Pantheon, Rome

• 

  Madonna from Holy Week procession in Seville

• TsDKh Moscow Statue2.jpg

  Statue outside Moscow's New Tretyakov Gallery

• 

  Statue Notre-Dame Cathedral Basilica, Ottawa, Canada

Manuscripts and covers[link]

• 

  An ivory cover of the Codex Aureus of Lorsch, Germany, c. 800

• 

  Svanhild Evangeliary, an Illuminated manuscript from Essen, 1058-1085.

External links[link]

Wikimedia Commons has media related to: Madonna and Child

• [5]
• [6] http://iconographia-mariana.cocolog-nifty.com/blog/ by Takeshi Kosugi since 2007, art,iconography,& postage stamps of Blessed Virgin Mary
• Metropolitan Museum: The Virgin Mary in the Middle Ages
• Virgin Mary at Olga's Gallery
• The Madonna in Art at Project Gutenberg by Estelle M. Hurll (First printed 1897)
• Madonna and Child Oil Painting by Artist Mark Sanislo
• LUBA Madonna figure, Democratic Republic of the Congo, RAND African Art

v t e Styles of the Madonna Black Madonna · Eleusa · Hodegetria · Lady of Good Counsel · Lady of Peace · Lady of the Sign · Lady of Rosary · Lady of Sorrows · Madonna of Humility · Madonna of Majesty · Nursing Madonna · Pelagonitissa · Pietà · Seat of Wisdom · Virgin of Mercy · Virgin of Navigators Visual arts  · Christianity

Madonna (Italian: My Lady) may refer to:

Entertainer[link]

• Madonna (entertainer), an American singer-songwriter and producer
  • Madonna (album), the singer's self-titled first album
  • Madonna (video compilation), a music video collection

Religious figure[link]

• Madonna, an appellation of Mary (mother of Jesus), a religious figure in Christianity and Islam
• Madonna (art), pictorial or sculptured representations of Mary, Mother of Jesus

Other uses in entertainment[link]

• "Lady Madonna", a 1968 song by The Beatles
• Madonna (...And You Will Know Us by the Trail of Dead album)
• Madonna (EP), by South Korean band Secret
  • "Madonna" (song), a song from the Secret EP
• Madonna (1999 film), (Bogorodica), a 1999 Croatian film
• The Fallen Madonna, a painting featured in the British comedy 'Allo 'Allo!
• Madonna (studio), a Japanese adult video (AV) company based in Tokyo

Other[link]

• Madonna Rehabilitation Hospital, a hospital mural in Lincoln, Nebraska, US.

See also[link]

• Madona

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.

This page or section lists people with the surname Madonna. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.

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

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Sir James Earle (1755–1817) was a celebrated British surgeon, renowned for his skill in lithotomy.

Earle was born in London. After studying medicine at St. Bartholomew's Hospital, he became the institution's assistant surgeon in 1770. Due to the temporary incapacity of one of the hospital's surgeons, Earle performed one-third of St. Bartholomew's operations between 1776 and 1784. At the end of this phenomenal feat, Earle was elected to be a surgeon on 22 May 1784 and remained until 1815. Just two years later, he was appointed surgeon-extraordinary to George III.

In March, 1794 he was elected a fellow of the Royal Society. ^[1] He was knighted in 1807. He married the daughter of Percivall Pott, the hospital's senior surgeon, and their third son, Henry Earle, also became a surgeon at St. Bartholomew's.

Earle write a memoir of Pott that was subsequently attached to his complete works (1790) and a biography of William Austin. Earle was renowned for his surgery skills, particularly in lithotomy. He also published several medical works: A Treatise on the Hydrocele (1791, with additions in 1793, 1796, and 1805), Practical Observations on the Operation for Stone (1793), A New Method of Operation for Cataract (1801), and Letter on Fractures of the Lower Limbs (1807).^[2]

References[link]

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Art Paul Schlosser is a street musician in Madison, Wisconsin, who plays humorous novelty songs.

Childhood[link]

Art Paul Schlosser was born born in Chicago, January 4, 1960. He grew up listening to novelty music like Allen Sherman and Tiny Tim as well as funny songs by The Beatles and The Monkees. When Art was 11, he, his mother, and his sisters moved to Madison, Wisconsin after his parents got a divorce. As a child in Madison, his mother continued to play weird and funny songs for him, sometimes playing strange sound effects on one recorded player to go with the songs. As a teenager, Art Paul joined a work experience play group that encouraged Art to be creative. In this group, there were a couple of fans of The Beatles, one of whom encouraged Art Paul to write lyrics. It was from that time on that Art started to write. Art would listen to the Dr Demento radio show as well as other strange records that he discovered at the local library, and then try to write some lyrics he was inspired to write after listening to the songs.

State Street[link]

Upon discovering that it is legal to busk on State Street, Art Paul tried it out on a warm day late in February 1986 and received a couple of dollars for his effort. Since then Art Paul has been a street musician and busker as well as an outsider artist on State Street in Madison, Wisconsin.^[1]

He usually performs his original songs or parodys on an acoustic guitar and kazoo. He also sometimes plays electronic keyboard or ukulele.^[2]

He is best known for his funny music, especially "Have A Peanut Butter Sandwich", which made the Funny Five of the Dr Demento radio show four times in 2001^[3][4][5][6] and Vote for Me/It's a Joke which was on the Funny Five of the Dr Demento radio in 2003. While he sings mostly humorous songs, Art Paul has also written on the topics of politics and religion.^[7]

In 2007 Art Paul Schlosser received a Madison Area Music Award for best compilation for his CD Art Paul Schlosser. In 2009 he won two more Madison Area Music Awards for Unique Song ("Have A Peanut Butter Sandwich," the remix version, which was remixed by Animalien) and for Unique Album (Leftovers).^[8]

Appearances[link]

Schlosser's music has been played on oddball radio programs, including Greasy Kid Stuff, The Mad Music Hour, Dave's Gone By and the Dr. Demento Show, and he has appeared on his own public-access television show^[1] as well as WGN-TV news.

On July 30, 2009, Stephen Colbert mentioned Schlosser on the Colbert Report in order to emphasize that any artist can get their songs on iTunes, no matter what the quality of their work may be.

On June 27, 2010, Schlosser appeared on the internet radio show The Bastard Den on Infernal Rock Radio at www.infernalrockradio.com. Art Paul performed a few of his original songs and gave a 15 minute interview.

On June 29, 2010, Schlosser appeared on America's Got Talent appearing under the name Buddy Holly Cheesehead, singing "Eating Cheese." He was booed off stage almost immediately.

Discography[link]

References[link]

External links[link]

• Art Paul's artist page at Apple iTunes
• Listen to Art Paul at rhapsody.com
• Art Paul's videos
• Art Paul's artist page at the Mad Music Archive
• Art Paul's art at Facebook
• Shockwave Radio Theater review of Art Paul's live performance at Marscon 2007