The term "fine art" was first coined in 1767 in reference to the arts that were "concerned with beauty or which appealed to taste" (S.O.E.D 1991). The term has been used to refer to a limited number of visual art forms, including painting, sculpture, and printmaking, and is still used by schools, institutes, and other organizations to indicate a traditional perspective on the visual arts, often implying an association with classic or academic art.
The word "fine" does not so much denote the quality of the artwork in question, but rather 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 more recent term "visual art" is widely considered to be a more inclusive and descriptive phrase for today's variety of current art practices, and for the multitude of mediums in which high art is now more widely 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 say that "Pelé took football to the level of a fine art."
That fine art is seen as being distinct from the crafts 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 endeavour exclusive, esoteric, and elitist.
Today the term is often improperly used to give any artistic discipline an emphasis that implies higher quality.
Erotica, from the Greek eros, "love", are works of art, including literature, photography, film, sculpture and painting, that deal substantively with erotically stimulating or arousing descriptions. Erotica is rather a modern word used to describe the portrayal of human sensuality and sexuality with high-art aspirations, differentiating such work from commercial pornography.
It has been said, ironically, that "The difference between erotica and pornography is simple. Erotica is what I like; pornography is what you like, you pervert".
While pornography popularly focuses on unadorned and unemotional lusts and the explicit depiction of sexual acts, erotica tends to define material and higher emotional content, the development of place, character and story line, or of an overall artistic theme. However, such distinctions are necessarily subjective and may say more about the critic's own tastes on erotic material than the artistic and other attributes of the material itself. In the motion picture sense, soft porn is a similar kind of commercial art form that resides in the area between erotica and hardcore pornography, although erotica, as a type of fine art, may also be highly explicit.
It is a notable trait of the strength of the human reproductive drive relative to the psyche as a whole, that unambiguous reference to sexuality, framed in a manner which the perceiver thereof finds acceptable, tends to initiate an involuntary reaction of sexual arousal, possibly building increased sexual desire, which may lead to creating or taking advantage of opportunity to engage in sexual activity. This can be true of erotica just as well as other, both more and less refined references to sex. Depictions of the human body which merely fail to conceal or disguise the secondary sexual characteristics of its particular gender may be all that is necessary to trigger arousal in a person who is attracted to that gender. For this reason, erotica is too broadly described merely in terms of the effect that it engenders in its audience, as all sexually related matter has the potential to create such an effect. For example, in the absence of the availability of pornography, some men have used clothing catalogs as a form of erotica.
The visual arts are a class of artforms, including painting, sculpture, photography, and others, that focus on the creation of artworks which are primarily visual in nature. The visual arts are distiguished from the performing arts, language arts, culinary arts, and other such classes of artwork. The definition is not strict, and many artistic disciplines involve aspects of the visual arts as well other types.
In Britain until recently the fine arts-painting, sculpture, printmaking, et cetera-were seen as distinct from craft disciplines such as applied art, design, textiles, and the various metalworking disciplines such as blacksmithing and jewelery. This distinction arose from the work of a group of artists led by William Morris known as the Arts and Crafts Movement whose political aim was to value vernacular artforms as much as high forms. The movement was at odds with modernists who sought to withold the high arts from the masses by keeping them esoteric.
The result of the conflict between the two groups was to politicise the products of what we now know as visual artists. British art schools made a clear distinction between the fine arts (a term that hints at their supposed superiority) and the crafts in such a way that a craftsperson could not be considered a practitioner of high art. Although this is no longer the case, the residue of inequality between the crafts or applied arts and the so-called fine arts still exists in some quarters. In Britain the term "visual arts" is suitably independent of these older, loaded concepts and as such is the preferred term for work across all the disciplines in question.
A similar stigma exists in the US, where "arts and crafts" has a very particular meaning, denoting the sort of artwork first taught in elementary school and also (later in life) a variety of kitschy, household artwork. Most craftspeople are still not seen as practicing "fine art" among the traditional art school set, but certainly can produce "high art" if considered to be a "visual artist", nomatter the medium.
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