importance of art history essay

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Why Study Art History? Awesome Ways It Can Impact Your Life

Updated: July 15, 2022

Published: May 16, 2020

Art history is all about knowing where we come from and where we’ve been, from the perspective of works of art. Art history is also about knowing how art has changed over time. Both of which are more relevant than you think. Why study art history? Let’s count the many reasons.

Art Vs. Artifact: What Is Art History?

It’s an excellent question — what makes something art , and what makes something an artifact? Furthermore, what separates an artist from an artisan? The answers may lie in the study of art history.

Some say art is made of creativity, originality, or imagination. Art historians say that art is visually striking, and blends beauty and culture.

Studying art is to look at a piece of art and see the artist’s use of lines, shape, composition, tecture, and approach, and to make inferences about their intentions and meaning.

Art history is looking at those same aspects, throughout periods of history, to learn more about a certain time period or peoples.

Photo by  Aaron J  on  Unsplash

Why study art history.

So, why study art history, you ask? So many reasons!

1. Every Picture Has A Story

Learning about art history can be fun, and the most fun part about it is uncovering the story behind the art piece. Looking at a picture, performance, or physical object, you get to be a detective searching for meaning behind what you see in front of you. You get to find the story behind the picture.

2. There’s More To Art History Than You Think

Many people think of art history as just memorizing old paintings from the 15th century. That is not the case! Art is much more than just paintings. In art history, you study all types of art — from film, to media, landscaping, ceramics, arms and armour, furniture, fashion and jewelry, photography, performances, and more.

Photo by  Tim Gouw  on  Unsplash

3. art history strengthens your skills.

There is so much more to art history than just memorizing names, dates, and images. Studying art history makes you become a master of visual analysis, written communication, and critical thinking. There is plenty of writing in art history as well, and you may become an expert writer and communicator if you study art history.

4. We Live In A Visual World

In today’s world, everything is visual — just think of how much of your day is spent looking at a computer, tablet, television, or phone screen. We are processing images, both moving and still, all day long. Everyone is shifting from verbal thinking to visual thinking, and art history is one of the best ways to prepare for this, and succeed in this new visual world.

5. Art History Is Your History

True, we are all part of the human race, so any piece of art created by humans is technically our history. But beyond that, make art history your own by studying more about the art history that came specifically from your culture or your ancestors. You’ll gain a deeper understanding of your past and your present self if you can connect to art works of your people’s past.

6. Making Sense Of The Past

Studying art history helps us to make sense of the past. Art shows us what was important and valuable over time from depictions within the art itself. Equally important, we learn what aspects of life were significant for certain cultures over time.

For example, we can find great European paintings from certain periods of time, beautiful African masks from other cultures and times, and econic gold jewelry from Central and South America. Each has their own explanation of the time period they were made in.

Photo by  Monika Braskon  on  Unsplash

What does it mean to study art history.

Well, it certainly doesn’t mean spending time in old museums or with hundreds of flashcards, as you may have thought. Getting a degree in art history usually means you also have a choice of specialization in areas such as performing arts, literature or music. You will study all things art, and how art changes over history. To study art history, you also need to have a background in philosophy, language arts, and other social sciences.

What Are The Benefits Of Studying Art History?

Incorporating so many fields such as history, economics, anthropology, political science, design, and aesthetics means that you reap many benefits of studying this discipline. By studying art history, you learn to draw conclusions, make inferences, argue a point, and increase your skills such as critical thinking , visual comprehension, and written communication.

What Can We Learn From Works Of The Past?

Art gives us clues to what life was like in the past. Just by identifying an art piece’s colors, materials, and symbolism, we can learn about the culture and time period that created it. We can learn what was important to those people, and how they wanted these importances to be remembered.

Looking at art from the past by studying art history can contribute to who we are as a people today. We can look at what has been done before us, and are able to view the world today with more complete perspectives and better understanding.

The Bottom Line

Why study art history? Art history tells a story, and studying art means you get to uncover the past. Not only can art history be fun and rewarding, but you’ll improve your critical thinking skills, and learn so much along the way.

Related Articles

Why Is Art Important? – The Value of Creative Expression

The importance of art is an important topic and has been debated for many years. Some might think art is not as important as other disciplines like science or technology. Some might ask what art is able to offer the world in terms of evolution in culture and society, or perhaps how can art change us and the world. This article aims to explore these weighty questions and more. So, why is art important to our culture? Let us take a look.

Table of Contents

• 1.1 The Definition of Art
• 1.2 The Types and Genres of Art
• 2.1 Art Is a Universal Language
• 2.2 Art Allows for Self-Expression
• 2.3 Art Keeps Track of History and Culture
• 2.4 Art Assists in Education and Human Development
• 2.5 Art Adds Beauty for Art’s Sake
• 2.6 Art Is Socially and Financially Rewarding
• 2.7 Art Is a Powerful (Political) Tool
• 3 Art Will Always Be There
• 4.1 What Is the Importance of Arts?
• 4.2 Why Is Art Important to Culture?
• 4.3 What Are the Different Types of Art?
• 4.4 What Is the Definition of Art?

What Is Art?

There is no logical answer when we ponder the importance of arts. It is, instead, molded by centuries upon centuries of creation and philosophical ideas and concepts. These not only shaped and informed the way people did things, but they inspired people to do things and live certain ways.

We could even go so far as to say the importance of art is borne from the very act of making art. In other words, it is formulated from abstract ideas, which then turn into the action of creating something (designated as “art”, although this is also a contested topic). This then evokes an impetus or movement within the human individual.

This impetus or movement can be anything from stirred up emotions, crying, feeling inspired, education, the sheer pleasure of aesthetics, or the simple convenience of functional household items – as we said earlier, the importance of art does not have a logical answer.

Before we go deeper into this question and concept, we need some context. Below, we look at some definitions of art to help shape our understanding of art and what it is for us as humans, thus allowing us to better understand its importance.

The Definition of Art

Simply put, the definition of the word “art” originates from the Latin ars or artem , which means “skill”, “craft”, “work of art”, among other similar descriptions. According to Merriam-Webster’s online dictionary, the word has various meanings; art may be a “skill acquired by experience, study, or observation”, a “branch of learning”, “an occupation requiring knowledge or skill”, or “the conscious use of skill and creative imagination especially in the production of aesthetic objects”.

We might also tend to think of art in terms of the latter definition provided above, “the conscious use of skill” in the “production of aesthetic objects”. However, does art only serve aesthetic purposes? That will also depend on what art means to us personally, and not how it is collectively defined. If a painting done with great skill is considered to be art, would a piece of furniture that is also made with great skill receive the same label as being art?

Thus, art is defined by our very own perceptions.

Art has also been molded by different definitions throughout history. When we look at it during the Classical or Renaissance periods , it was very much defined by a set of rules, especially through the various art academies in the major European regions like Italy (Academy and Company for the Arts of Drawing in Florence), France (French Academy of Fine Arts), and England (Royal Academy of Arts in London).

In other words, art had an academic component to it so as to distinguish artists from craftsmen.

The defining factor has always been between art for art’s sake , art for aesthetic purposes, and art that serves a purpose or a function, which is also referred to as “utilitarianism”. It was during the Classical and Renaissance periods that art was defined according to these various predetermined rules, but that leaves us with the question of whether these so-called rules are able to illustrate the deeper meaning of what art is?

If we move forward in time to the 20 th  century and the more modern periods of art history, we find ourselves amidst a whole new art world. People have changed considerably between now and the Renaissance era, but we can count on art to be like a trusted friend, reflecting and expressing what is inherent in the cultures and people of the time.

During the 20 th  century, art was not confined to rules like perspective, symmetry, religious subject matter, or only certain types of media like oil paints . Art was freed, so to say, and we see the definition of it changing (literally) in front of our very own eyes over a variety of canvases and objects. Art movements like Cubism , Fauvism, Dadaism, and Surrealism, among others, facilitated this newfound freedom in art.

Artists no longer subscribed to a set of rules and created art from a more subjective vantage point.

Additionally, more resources became available beyond only paint, and artists were able to explore new methods and techniques previously not available. This undoubtedly changed the preconceived notions of what art was. Art became commercialized, aestheticized, and devoid of the traditional Classical meaning from before. We can see this in other art movements like Pop Art and Abstract Expressionism, among others.

The Types and Genres of Art

There are also different types and genres of art, and all have had their own evolution in terms of being classified as art. These are the fine arts, consisting of painting, drawing, sculpting, and printmaking; applied arts like architecture; as well as different forms of design such as interior, graphic, and fashion design, which give day-to-day objects aesthetic value.

Other types of art include more decorative or ornamental pieces like ceramics, pottery, jewelry, mosaics, metalwork, woodwork, and fabrics like textiles. Performance arts involve theater and drama, music, and other forms of movement-based modalities like dancing, for example. Lastly, Plastic arts include works made with different materials that are pliable and able to be formed into the subject matter, thus becoming a more hands-on approach with three-dimensional interaction.

Top Reasons for the Importance of Art

Now that we have a reasonable understanding of what art is, and a definition that is ironically undefinable due to the ever-evolving and fluid nature of art, we can look at how the art that we have come to understand is important to culture and society. Below, we will outline some of the top reasons for the importance of art.

Art Is a Universal Language

Art does not need to explain in words how someone feels – it only shows. Almost anyone can create something that conveys a message on a personal or public level, whether it is political, social, cultural, historical, religious, or completely void of any message or purpose. Art becomes a universal language for all of us to tell our stories; it is the ultimate storyteller.

We can tell our stories through paintings, songs, poetry, and many other modalities.

Art connects us with others too. Whenever we view a specific artwork, which was painted by a person with a particular idea in mind, the viewer will feel or think a certain way, which is informed by the artwork (and artist’s) message. As a result, art becomes a universal language used to speak, paint, perform, or build that goes beyond different cultures, religions, ethnicities, or languages. It touches the deepest aspects of being human, which is something we all share.

Art Allows for Self-Expression

Touching on the above point, art touches the deepest aspects of being human and allows us to express these deeper aspects when words fail us. Art becomes like a best friend, giving us the freedom and space to be creative and explore our talents, gifts, and abilities. It can also help us when we need to express difficult emotions and feelings or when we need mental clarity – it gives us an outlet.

Art is widely utilized as a therapeutic tool for many people and is an important vehicle to maintain mental and emotional health. Art also allows us to create something new that will add value to the lives of others. Consistently expressing ourselves through a chosen art modality will also enable us to become more proficient and disciplined in our skills.

Art Keeps Track of History and Culture

We might wonder, why is art important to culture? As a universal language and an expression of our deepest human nature, art has always been the go-to to keep track of everyday events, almost like a visual diary. From the geometric motifs and animals found in early prehistoric cave paintings to portrait paintings from the Renaissance, every artwork is a small window into the ways of life of people from various periods in history. Art connects us with our ancestors and lineage.

When we find different artifacts from all over the world, we are shown how different cultures lived thousands of years ago. We can keep track of our current cultural trends and learn from past societal challenges. We can draw inspiration from past art and artifacts and in turn, create new forms of art.

Art is both timeless and a testament to the different times in our history.

Art Assists in Education and Human Development

Art helps with human development in terms of learning and understanding difficult concepts, as it accesses different parts of the human brain. It allows people to problem-solve as well as make more complex concepts easier to understand by providing a visual format instead of just words or numbers. Other areas that art assists learners in (range from children to adults) are the development of motor skills, critical thinking, creativity, social skills, as well as the ability to think from different perspectives.

Art subjects will also help students improve on other subjects like maths or science. Various research states the positive effects art has on students in public schools – it increases discipline and attendance and decreases the level of unruly behavior.

According to resources and questions asked to students about how art benefits them, they reported that they look forward to their art lesson more than all their other lessons during their school day. Additionally, others dislike the structured format of their school days, and art allows for more creativity and expression away from all the rules. It makes students feel free to do and be themselves.

Art Adds Beauty for Art’s Sake

Art is versatile. Not only can it help us in terms of more complex emotional and mental challenges and enhance our well-being, but it can also simply add beauty to our lives. It can be used in numerous ways to make spaces and areas visually appealing.

When we look at something beautiful, we immediately feel better. A piece of art in a room or office can either create a sense of calm and peace or a sense of movement and dynamism.

Art can lift a space either through a painting on a wall, a piece of colorful furniture, a sculpture, an ornamental object, or even the whole building itself, as we see from so many examples in the world of architecture. Sometimes, art can be just for art’s sake.

Art Is Socially and Financially Rewarding

Art can be socially and financially rewarding in so many ways. It can become a profession where artists of varying modalities can earn an income doing what they love. In turn, it becomes part of the economy. If artists sell their works, whether in an art gallery, a park, or online, this will attract more people to their location. Thus, it could even become a beacon for improved tourism to a city or country.

The best examples are cities in Europe where there are numerous art galleries and architectural landmarks celebrating artists from different periods in art history, from Gothic cathedrals like the Notre Dame in Paris to the Vincent van Gogh Museum in Amsterdam. Art can also encourage people to do exercise by hiking up mountains to visit pre-historic rock art caves.

Art Is a Powerful (Political) Tool

Knowing that art is so versatile, that it can be our best friend and teacher, makes it a very powerful tool. The history of humankind gives us thousands of examples that show how art has been used in the hands of people who mean well and people who do not mean well.

Therefore, understanding the role of art in our lives as a powerful tool gives us a strong indication of its importance.

Art is also used as a political medium. Examples include memorials to celebrate significant changemakers in our history, and conveying powerful messages to society in the form of posters, banners, murals, and even graffiti. It has been used throughout history by those who have rebelled as well as those who created propaganda to show the world their intentions, as extreme as wanting to take over the world or disrupt existing regimes.

The Futurist art movement is an example of art combined with a group of men who sought to change the way of the future, informed by significant changes in society like the industrial revolution. It also became a mode of expression of the political stances of its members.

Other movements like Constructivism and Suprematism used art to convey socialist ideals, also referred to as Socialist Realism.

Other artists like Jacques-Louis David from the Neoclassical movement produced paintings influenced by political events; the subject matter also included themes like patriotism. Other artists include Pablo Picasso and his famous oil painting , Guernica (1937), which is a symbol and allegory intended to reach people with its message.

The above examples all illustrate to us that various wars, conflicts, and revolutions throughout history, notably World Wars I and II, have influenced both men and women to produce art that either celebrates or instigates changes in society. The power of art’s visual and symbolic impact has been able to convey and appeal to the masses.

Art Will Always Be There

The importance of art is an easy concept to understand because there are so many reasons that explain its benefits in our lives. We do not have to look too hard to determine its importance. We can also test it on our lives by the effects it has on how we feel and think when we engage with it as onlookers or as active participants – whether it is painting, sculpting, or standing in an art gallery.

What art continuously shows us is that it is a constant in our lives, our cultures, and the world. It has always been there to assist us in self-expression and telling our story in any way we want to. It has also given us glimpses of other cultures along the way.

Art is fluid and versatile, just like a piece of clay that can be molded into a beautiful bowl or a slab of marble carved into a statue. Art is also a powerful tool that can be used for the good of humanity good or as a political weapon.

Art is important because it gives us the power to mold and shape our lives and experiences. It allows us to respond to our circumstances on micro- and macroscopic levels, whether it is to appreciate beauty, enhance our wellbeing, delve deeper into the spiritual or metaphysical, celebrate changes, or to rebel and revolt.

Take a look at our purpose of art webstory here!

Frequently Asked Questions

What is the importance of arts.

There are many reasons that explain the importance of art. It is a universal language because it crosses language and cultural barriers, making it a visual language that anyone can understand; it helps with self-expression and self-awareness because it acts as a vehicle wherein we can explore our emotions and thoughts; it is a record of past cultures and history; it helps with education and developing different skill sets; it can be financially rewarding, it can be a powerful political tool, and it adds beauty and ambiance to our lives and makes us feel good.

Why Is Art Important to Culture?

Art is important to culture because it can bridge the gap between different racial groups, religious groups, dialects, and ethnicities. It can express common values, virtues, and morals that we can all understand and feel. Art allows us to ask important questions about life and society. It allows reflection, it opens our hearts to empathy for others, as well as how we treat and relate to one another as human beings.

What Are the Different Types of Art?

There are many different types of art, including fine arts like painting, drawing, sculpture, and printmaking, as well as applied arts like architecture, design such as interior, graphic, and fashion. Other types of art include decorative arts like ceramics, pottery, jewelry, mosaics, metalwork, woodwork, and fabrics like textiles; performance arts like theater, music, dancing; and Plastic arts that work with different pliable materials.

What Is the Definition of Art?

The definition of the word “art” originates from the Latin ars or artem , which means “skill”, “craft”, and a “work of art”. The Merriam-Webster online dictionary offers several meanings, for example, art is a “skill acquired by experience, study, or observation”, it is a “branch of learning”, “an occupation requiring knowledge or skill”, or “the conscious use of skill and creative imagination especially in the production of aesthetic objects”.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Why Is Art Important? – The Value of Creative Expression.” Art in Context. July 26, 2021. URL: https://artincontext.org/why-is-art-important/

Meyer, I. (2021, 26 July). Why Is Art Important? – The Value of Creative Expression. Art in Context. https://artincontext.org/why-is-art-important/

Meyer, Isabella. “Why Is Art Important? – The Value of Creative Expression.” Art in Context , July 26, 2021. https://artincontext.org/why-is-art-important/ .

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It’s great that you talked about how there are various kinds and genres of art. I was reading an art book earlier and it was quite interesting to learn more about the history of art. I also learned other things, like the existence of online american indian art auctions.

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Home Blog Why is Art History Important? 12 Key Lessons 

Why is Art History Important? 12 Key Lessons 

December 8, 2023

Contributing Author: Dr. James Hutson

31 mins read

What comes to mind when you hear the term "Art History"? Perhaps you envision iconic works like the  Mona Lisa  or the  frescoes of the Sistine Chapel.  Maybe your imagination leans more contemporary, bringing up associations with Dan Brown novels or the latest auction at Sotheby's. Regardless, art history offers us far more than a collection of "greatest hits" or objects of market value; it provides a panoramic view of humanity itself, a timeline textured with the very fibers of human experience. 

The History of Art History

Art history as a discipline has its own colorful past, rich with its own set of pioneers and landmark moments. One might start the journey with Giorgio Vasari, an Italian painter and architect, who wrote biographies of famous artists in his seminal work  Lives of the Artists   in the 16th century. Fast-forward to the 18th century and we encounter Johann Winckelmann, often hailed as the father of art history. He shifted the discipline towards scientific rigor and the understanding of art within its historical context, catalyzed in part by the archaeological excavations of  Herculaneum and Pompeii.  These unearthed cities, frozen in time by the ash of Mount Vesuvius, offered a tangible link to antiquity and ignited a fascination with the art and culture of the past. 

By the 19th century, art history became institutionalized in German universities, moving from the realm of personal inquiry and connoisseurship to an academic discipline. This trend later crossed the Atlantic, finding a home in universities across the United States, shaping the study of art history into the multi-faceted field we know today.

And what a multi-faceted field it is! Art history didn't just sprout from a singular interest in visual artifacts. It's an interdisciplinary mecca that integrates elements of history, sociology, connoisseurship, archaeology, and even philosophy and psychology; it extends across multiple domains, providing a holistic understanding of artworks within the fabric of the societies that produced them.

So, as we prepare to explore the 12 key lessons that make art history an indispensable realm of study, let's keep in mind that we're not just talking about pictures on a wall or statues in a museum. We're delving into a discipline that captures the essence of humanity, one that has been shaped by a tapestry of influences as diverse and complex as the artworks it studies. Are you ready to dive in?

1. The Culture Canvas: Unveiling Identity Through Art

Here we explore how art is not just a product of culture but an influencer as well. Understanding art can serve as a gateway to comprehending the values, norms, and practices of different civilizations. For instance, when gazing upon an artwork, be it a delicate  Japanese ukiyo-e print  or the vibrant geometric patterns of an  African kente cloth , we're not just observing colors, shapes, and forms; we're diving deep into a narrative – a tale that speaks of traditions, beliefs, societal norms, and historical events. Each piece of art stands as a sentinel, guarding the stories of the civilization it stems from, allowing us to catch a glimpse of its cultural soul.

Renaissance Reflections: The Mirrors of European Soul

Journey now to Renaissance Europe, a period marked by a fervent revival of art, science, and intellect, bridging the gap between the medieval and modern eras.

The Last Supper - A Feast for the Eyes and Soul

Leonardo da Vinci's  The Last Supper  is not just a religious depiction of Jesus Christ's final meal with his disciples. It’s a cultural emblem of its time. Set in the refectory of the Convent of Santa Maria delle Grazie in Milan, this masterpiece goes beyond its religious significance.

Look closely, and you'll see the careful play of light and shadow, the meticulous detailing of human expressions, and the geometric precision that structures the entire scene. Leonardo's choice to capture the exact moment when Jesus reveals that one of his disciples will betray him showcases not just his artistic brilliance but also the intellectual spirit of the Renaissance. The astonishment, despair, and confusion depicted in each disciple's reaction are a testament to the era's emphasis on individualism, human emotion, and realism.

Furthermore, the use of linear perspective, with all orthogonal lines converging on Christ, underlines the union of art and science, a hallmark of the Renaissance period. This artwork isn't just a religious scene; it’s a snapshot of European culture during the 15th century, embodying its values, its newfound methodologies, and its inexorable drive towards realism and human-centric narratives.

Through  The Last Supper , we see a Europe on the cusp of change, moving from the shackles of the medieval era to the enlightening waves of modernity. It's a vivid reminder that Western art, much like its global counterparts, serves as a cultural compass, guiding us through the annals of history, one brushstroke at a time. 

The Delicate Dance of Indian Miniatures

But looking globally, art history is able to tell us so much about other cultures. Consider the intricate  miniatures from India . These dainty, detailed paintings often narrate tales from ancient epics, royal court life, or even the delicate nuances of nature. But they do more than just tell a story. The radiant hues, the meticulous details of clothing, and the ornate backgrounds reveal a culture that values detail, storytelling, and the interplay of nature and humans. Through these miniatures, we not only see the scenes they depict but also grasp the values of the bygone  Mughal or Rajput courts.

The Resounding Echoes of Australian Aboriginal Art

Shift your gaze to the mesmerizing dot paintings of  Australian Aboriginal art . At first glance, they might seem like abstract patterns, but these art forms are, in reality, topographical maps, ancestral tales, and spiritual stories. The repetitive use of dots and earthly colors paints a picture of a culture deeply rooted in its land and legends. Each artwork is not just an aesthetic endeavor but a testament to the timeless bond between the Aboriginal people and the Australian terrain.

The Majestic Totems of the Pacific Northwest

Now, journey to the Pacific Northwest, where the indigenous peoples craft  towering totem poles.  These aren't merely grand sculptures but layered narratives carved in wood. Every figure, whether it's an eagle, bear, or mythical being, holds significance, representing ancestry, history, and clan legends. The very act of erecting a totem pole is a communal endeavor, underscoring the culture's emphasis on community, nature, and spirituality.

These examples reinforce the notion that art is more than aesthetic pleasure. It's a window into the heart of cultures, a guide to the values and beliefs that shape civilizations. Through art, we unravel the rich tapestry of humanity, appreciating the unique threads that each culture weaves into this grand design. Whether you're an art aficionado or a curious observer, remember that behind every artwork lies a story, waiting to be told and understood. So, the next time you encounter a piece of art from a far-off land or a bygone era, pause and reflect, for you're about to embark on a journey into the very soul of a culture.

2. Emoticon of the Ages: Art as Humanity's Emotional Diary

How has art captured the collective emotional psyche across time? This section delves into how artworks serve as emotional touchstones, revealing the feelings and moods of different epochs.

Art has always been the voice of the silent, the expression of the inexpressible, and the visible form of the invisible. Across continents and centuries, it has faithfully chronicled the ever-evolving tapestry of human emotion, acting as a barometer for societal moods, collective fears, shared joys, and common dreams. Like an age-old diary filled with vibrant sketches, poignant colors, and soul-stirring narratives, art captures the heartbeat of humanity across eras. 

The Somber Hues of The Dutch Golden Age

Journey back to 17th-century Netherlands, a period marked by great maritime and economic power but also political turmoil and socio-religious tensions. Artists like Johannes Vermeer and Rembrandt captured this duality beautifully. In paintings such as  Girl with a Pearl Earring  or  The Night Watch,  we witness a silent introspection and a deep contemplation. The play of light and shadow isn't just a technical achievement; it's an emotional dance, highlighting the juxtaposition of wealth and uncertainty, power and vulnerability.

Passion and Rebellion in Romanticism 

Fast forward to the late 18th and early 19th century, and you'll find yourself in the embrace of Romanticism. Artists like Francisco Goya and Eugène Delacroix painted not just scenes but emotions.  Goya's  The Third of May 1808  isn't merely a depiction of the Spanish resistance to the Napoleonic regimes; it's a raw, unfiltered scream of despair, sacrifice, and defiance. The stark contrasts, the horrified faces, and the looming darkness encapsulate the pain and passion of a nation in turmoil.

Modern Angst and the Scream

No discussion on art as an emotional diary would be complete without  Edvard Munch's  The Scream.  This iconic late nineteenth-century piece is more than a painting; it's an emotion manifested. The swirling skies, the distorted figure, and the haunting ambiance capture the anxiety, alienation, and existential dread of the modern age. At a time of rapid industrialization, urbanization, and societal change, Munch's masterpiece echoed the collective unease and dislocation many felt.

Art, in its myriad forms, serves as an emotional anchor, allowing us to feel, reflect upon, and understand the deep-seated emotions of epochs gone by. It's a mirror reflecting not just individual faces but the collective soul of society. Through it, we journey across the emotional landscapes of history, touching the joys, sorrows, hopes, and fears of generations past. As we stand before an artwork, we're not just spectators; we're time travelers, empathetically connected to the heartbeats of artists and societies from ages past.

3. Brushstrokes and Microscopes: Where Art and Science Converge

Innovation is not exclusive to the laboratory. Artists often pioneer techniques that echo scientific discoveries and technological innovations. This interconnection is the focus of this section.

Art and science, often perceived as polar opposites, are, in truth, two sides of the same coin. Both are driven by an insatiable curiosity, a desire to explore, understand, and represent the world around us. While one uses brushstrokes, the other employs microscopes, yet their trajectories often intersect, revealing astonishing synergies. The convergence of these disciplines has given birth to some of the most groundbreaking achievements in human history.

Renaissance and the Perfect Proportions

Perhaps no era exemplifies the marriage of art and science better than the Renaissance. Leonardo da Vinci, a polymath, blurred the lines between artist and scientist. His anatomical sketches, based on detailed dissections, brought an unprecedented accuracy and vitality to his paintings. Consider his masterpiece,  the  Vitruvian Man .  Here, art and anatomy meld to illustrate the ideal human proportions, echoing both the aesthetics of classical art and the precision of scientific observation.

The Play of Light: Impressionism meets Physics

Fast forward to the 19th century. The Impressionists, with their fascination for capturing fleeting moments, turned their eyes to the changing quality of light. Artists like Monet began experimenting with color, trying to represent how natural light interacts with objects at different times of the day. This artistic endeavor paralleled the scientific explorations of the time, as physicists dissected light's properties, leading to discoveries about its spectrum and wave nature.  Monet's  Haystacks  series , portraying the same subject under various lighting conditions, can be seen as a visual representation of these scientific revelations.

The Digital Art Revolution: Pixels and Programs

In our contemporary age, the bond between art and science is perhaps most evident in the realm of digital art. Advances in computer technology and software development have given artists tools that would have seemed like magic just a few decades ago.  Generative art,  where algorithms dictate patterns, and virtual reality art installations, are just a few examples of how coding and artistic creativity come together to redefine the boundaries of expression.

The intertwining of art and science reminds us that human ingenuity knows no bounds. When brush meets beaker, and canvas converges with code, the results are nothing short of revolutionary. This synergy underscores a fundamental truth: our most profound achievements often arise when diverse fields of study intersect, illuminating our world in ways previously unimagined. In the dance of brushstrokes and microscopes, we see a testament to humanity's boundless capacity for innovation and creativity.

4. Canvas as Protest Sign: The Activism in Art

Art isn't always about beauty; it often serves to highlight social and political issues. From  Picasso's  Guernica  to  Banksy's street art , we look at how art can be a potent vehicle for change.

Throughout history, the art world has been a tempestuous stage where societal issues play out in color, form, and imagery. Beyond ornate frames and prestigious galleries, art becomes a formidable force when it transforms into a medium for activism. It speaks, protests, and sometimes shouts, challenging conventions and questioning societal norms. When art wears the cloak of activism, it becomes a catalyst for social change, awakening consciousness and mobilizing public opinion.

The Cries from Guernica

When the town of Guernica in Spain was bombed in 1937 during the Spanish Civil War, it wasn't just a tragedy; it was a brutal assault on civilians. Pablo Picasso responded to this atrocity not with words, but with brushstrokes. His mural-sized painting, "Guernica," is a chaotic panorama of anguish. The distorted figures, the agonized horse, and the fallen warrior serve as a poignant critique of the horrors of war. Every stroke serves as a cry against fascism, violence, and human suffering.  Picasso's  Guernica  is more than a painting; it's a political statement, a protest, and a reminder of the cost of war.

Banksy's Walls of Awareness

In stark contrast to the grandeur of Picasso's murals, Banksy, the elusive street artist, uses the urban landscape as his canvas. With a unique blend of satire, dark humor, and stark imagery, Banksy's works tackle issues ranging from war and corruption to consumerism and poverty. Whether it's a  girl letting go of a balloon in the shape of a heart or a  protester throwing a bouquet  instead of a Molotov cocktail, Banksy turns street corners into platforms for social commentary. His art isn't locked behind museum doors; it's out in the open, urging passersby to stop, think, and hopefully, act.

The AIDS Quilt: Stitching Stories of Loss

Art activism isn't confined to paintings alone.  The NAMES Project AIDS Memorial Quilt  is a poignant example of how art can be a collective effort to mourn, remember, and protest. Launched in 1987, this quilt is a patchwork of thousands of individual panels, each commemorating a life lost to AIDS. Each square, lovingly stitched with names, dates, and personal symbols, stands as a testament to a life lost and the collective negligence of a society slow to respond to the AIDS epidemic. Displayed in its entirety on the National Mall in Washington, D.C., the quilt became both a memorial and a potent call for more aggressive research, care, and understanding.

From large-scale paintings to guerrilla street art, and from quilts to sculptures, art's role as a voice of protest is undeniable. It not only reflects the world but also challenges and reshapes it. In its most activist form, art disrupts, questions, and compels us to confront uncomfortable truths, reminding us that beauty isn't just in aesthetics but also in the courage to demand change.

5. A Tapestry of Knowledge: Art in the Interdisciplinary Nexus

Can a painting be a historical document? Is a poem connected to a sculpture? This section elaborates on how art history is intertwined with literature, history, and other disciplines, creating a rich, interconnected web of knowledge.

In the vast universe of academia, subjects and disciplines are often likened to stars, each shining brightly in its own right. But just as stars form constellations, academic disciplines interconnect, creating patterns that tell a larger story. Art, with its vibrant strokes and intricate details, serves as a thread weaving through these constellations, binding them into a grand tapestry of interconnected knowledge.

Paintings as Pages of History

Consider Jacques-Louis David's iconic painting,  The Death of Socrates.  At first glance, it's a dramatic portrayal of the Athenian philosopher's final moments. But delve deeper, and you find a rich chronicle of the sociopolitical atmosphere of both ancient Athens and post-revolutionary France. The painting isn't merely an artistic representation; it's a bridge between art and history, inviting discussions on democracy, martyrdom, and political ethics.

The Romantic Movement: Where Poems Meet Paintings

The Romantic era, flourishing in the late 18th and early 19th centuries, saw a profound intermingling of art and literature. Wordsworth's poetic landscapes find echoes in Turner's ethereal paintings. Mary Shelley's  Frankenstein  and  Henry Fuseli's  The Nightmare both explore the gothic, the sublime, and the boundaries of human ambition. Here, brushstrokes and pen strokes intertwine, each enhancing and amplifying the other's message.

Mythology in Mosaics: A Window to Ancient Beliefs

Wander through the ruins of ancient Pompeii or the halls of  Istanbul's Hagia Sophia,  and you'll find stunning mosaics depicting gods, goddesses, and mythological tales. These intricate tile works are not just decorative art; they offer insights into the spiritual beliefs, cosmologies, and moral codes of ancient civilizations. Interpreting these mosaics becomes an interdisciplinary journey, merging art history with religious studies and cultural anthropology.

In this multidisciplinary dance, art history emerges as a pivotal partner, gracefully leading its counterparts and enriching the academic waltz. It encourages us to look beyond siloed knowledge, to see the interconnectedness of human endeavors, and to appreciate the nuanced, multifaceted nature of our shared heritage. In the nexus of disciplines, art history stands as a testament to the intertwined nature of human knowledge, reminding us that in unity, there is depth, richness, and unparalleled beauty.

6. Art Without Borders: The Universal Language of Creativity

Art is an international affair, its influence and inspiration often traversing geographical and cultural boundaries. Here, we explore how art serves as a universal language, fostering global communication and understanding.

In a world marked by diverse languages, traditions, and beliefs, there remains one constant: the universal resonance of art. Whether it's a haunting melody from a distant land, the graceful arc of a dancer's leap, or the silent profundity of a painted canvas, art has an innate ability to transcend borders, touch souls, and unite people from all walks of life.

The Silk Road: A Cultural Exchange Beyond Trade

Long before globalization became a buzzword,  the ancient Silk Road  facilitated not just the exchange of goods, but also of ideas, beliefs, and artistic expressions. Chinese silks, Persian miniatures, and Greek sculptures converged and intermingled on this vast network. This wasn't merely a trade route; it was a conduit of cultural dialogue, where a Chinese vase might be inspired by Persian motifs, or a Central Asian tapestry might depict scenes from Greek mythology.

The Global Appeal of Japanese Anime

Venture into the world of contemporary pop culture, and you'll be hard-pressed not to notice the global dominance of Japanese anime. What began as a local art form has now captured imaginations worldwide.  Anime series,  with their intricate plots and unique aesthetics, resonate with audiences from North America to Africa. They foster cross-cultural dialogues, as fans across the world discuss themes, characters, and narratives, united in their shared appreciation.

Biennales and Art Festivals: A Global Artistic Melting Pot

Every two years, cities like Venice, São Paulo, and Istanbul become global art hubs,  hosting biennales  that attract artists and enthusiasts from all corners of the globe. These events are not just exhibitions but vibrant forums for cross-cultural exchange. Artists from varied backgrounds showcase their works, drawing inspiration from and offering insights into their unique cultural contexts. For visitors, it's an opportunity to embark on a global artistic journey, all within the confines of a single city.

Art, in its myriad forms, serves as a bridge, spanning the vast chasms of linguistic, cultural, and geographical differences. It reminds us of our shared human experience, our universal joys and sorrows, dreams and fears. In a world that often emphasizes differences, art stands as a beacon of unity, whispering in its timeless language that, at our core, we are all interconnected strands in the grand tapestry of humanity.

7. Sacred and Profound: Art as a Window into the Spiritual

Whether through the intricate designs of Islamic calligraphy or the iconography in Christian art, this section discusses how art provides keen insights into religious beliefs and philosophical ideals.

Across millennia, in dimly lit caves, soaring cathedrals, and sprawling temples, art has served as both an expression of and a conduit to the divine. Far beyond mere decoration, religious and philosophical art acts as a visual sermon, instructing, inspiring, and inviting introspection. Delving into this spiritual dimension of art offers a panoramic view of humanity's quest for meaning, purpose, and connection with the transcendent.

Calligraphy: Divine Words in Fluid Form

Islamic art, with its prohibition against depicting divine figures, found a unique and profound voice in  calligraphy . Arabic scripts, flowing seamlessly from the nib of a master calligrapher, transform the words of the Quran into visual symphonies. Every curve, dot, and line are imbued with spiritual significance, turning script into sacred art. These intricate designs, whether adorning the walls of a mosque or the pages of a manuscript, serve as a visual reminder of the divine word, drawing believers into contemplation and prayer.

The Iconography of Faith: Christian Art

From the catacombs of Rome to the grandeur of the Sistine Chapel, Christian art has chronicled the faith's evolution, theology, and cultural context. Frescoes, mosaics, and stained-glass windows don't just depict biblical tales; they provide a visual theology, instructing the faithful and narrating the story of salvation. Consider the significance of  Michelangelo's  The Last Judgment  or the  Byzantine icons  with their gold backgrounds symbolizing the divine light. These are not just artistic endeavors but visual catechisms, instructing and elevating the viewer's soul.

The Mandala: Cosmic Maps in Hindu and Buddhist Art

In the spiritual traditions of Hinduism and Buddhism, the  mandala , a geometric configuration of symbols, plays a pivotal role. These intricate designs, often circular, represent the universe, spiritual journeys, and the quest for enlightenment. Whether drawn with colored sand by Tibetan monks or depicted in the sprawling temple carvings of India, mandalas are meditative tools, guiding the believer's focus inward and facilitating spiritual transcendence.

Philosophical Scrolls: East Asian Insights

Beyond religious beliefs, East Asian art, especially within Daoism and Confucianism, often encapsulates profound philosophical ideals. Delicate  Chinese scrolls  depict harmonious landscapes, symbolizing the balance and flow of yin and yang.  Japanese Zen ink paintings , with their minimalist strokes, capture the transient nature of existence and the beauty of the moment, urging viewers towards mindfulness and contemplation.

In every brushstroke, carving, and design, spiritual art serves as a bridge between the human and the divine, the material and the ethereal. It's a testament to humanity's perennial quest for the sacred, guiding eyes and souls towards realms beyond the tangible, into the profound depths of belief, wonder, and awe.

8. The Art Market: A Mirror to Society's Wallet

From the opulent portraits of the Renaissance to the starving artists of the modern age, this section investigates how art often serves as an indicator of a society’s economic condition and social stratification.

Every artwork, from grandiose frescoes to humble sketches, carries an implicit price tag. Beyond mere currency, this value is also steeped in societal context, reflecting prevailing economic conditions, social hierarchies, and even the whims of the elite. Delving into the world of the art market offers a fascinating glimpse into the intricate interplay between creativity, commerce, and culture.

Renaissance Splendor: Patronage and Power

The Renaissance period, bursting with artistic fervor, also bore witness to the rise of influential patrons. The  Medici family in Florence,  for example, was not just banking magnates but pivotal art patrons, commissioning works from luminaries like Botticelli and Michelangelo. The artworks they funded, from opulent portraits to magnificent chapels, were as much a demonstration of their wealth and power as they were of artistic brilliance. In such an environment, art became both a reflection of and an instrument for socio-economic dominance.

Starving in the Midst of Abundance: The Bohemian Artist

Fast forward to the 19th-century Parisian art scene. The bohemian artist, a figure both romanticized and pitied, emerges. Painters like  Van Gogh , now celebrated and worth millions, lived in abject poverty, with artworks sometimes bartered for a meal. The art market of the time, controlled by salons and selective patrons, often left avant-garde artists in the lurch. This stark dichotomy between the value of art during an artist's life and posthumously mirrors societal attitudes, market dynamics, and the often unpredictable nature of artistic recognition.

Auction Houses and Contemporary Valuations

Today's art market, dominated by powerful auction houses like Christie's and Sotheby's, often sees artworks fetching astronomical sums. A  Basquiat sold for over $100 million , or a  Banksy self-destructing the moment  it's bought, reveals not just the financial might of modern buyers but also the shifting perceptions of art's value. In a world of billionaires and influencers, art becomes an asset, an investment, and a status symbol.

Art Fairs and the Global Economy

Modern art fairs, from  Art Basel  to Frieze, have transformed the landscape of art commerce. These bustling events, attracting a global clientele, underscore art's role in the globalized economy. They highlight trends, from the rise of Asian markets to the demand for African contemporary art, reflecting broader economic shifts and emerging affluent classes in various regions.

Peeling back the layers of the art market is akin to embarking on an anthropological expedition. It offers insights into societal values, economic priorities, and the ever-evolving dance between creativity and commerce. In the shimmer of gold leaf or the starkness of a charcoal sketch, we find reflections of society's wallet, its aspirations, and its disparities.

9. From Viewer to Virtuoso: Art as Empowerment

This section underscores the personal aspect of art, detailing how the process of creating and interpreting art can empower individuals, offering them a medium for expression and self-discovery.

At its core, art is a deeply personal experience. It's a silent conversation between the creator and the viewer, an exchange imbued with emotions, ideas, and revelations. Beyond its societal or economic implications, art has the profound power to transform individuals, granting them agency, voice, and a canvas – literal or metaphorical – upon which they can paint their truths.

A Voice Against Silence

Art has often served as a beacon for the marginalized, the oppressed, and those whose voices have been stifled. For instance, during the  Harlem Renaissance , African American artists like Jacob Lawrence used their works to depict the struggles and triumphs of their community, challenging racial prejudices and societal norms. For such artists, each artwork is not just an expression, but a declaration of identity, resilience, and resistance.

Community Murals: Collective Creation

Venture into the streets of cities worldwide, and you might encounter  vibrant community murals . These are not just decorative; they're collaborative efforts, often involving local residents. The process of conceptualizing and creating these murals fosters community bonds, offers a sense of belonging, and instills local pride. Every brushstroke becomes a testament to collective identity and shared experiences.

Art's power lies not just in its beauty or its ability to fetch high prices at auctions. Its true strength resides in its capacity to touch souls, to provide a platform where emotions can be poured, stories can be narrated, and voices – often silent or overlooked – can be amplified. From the solitary painter in a quiet studio to the bustling community around a mural, art empowers, elevates, and enlightens, reminding us of our shared humanity and the boundless potential within each of us.

10. Beyond Words: The Skill of Seeing in the Digital Age

In our world swamped with visual information, understanding art contributes to a broader "visual literacy." This section discusses how the study of art equips us with the skills to interpret and analyze visual data in various contexts.

In today's hyper-connected era, we are inundated with images - from social media feeds and news outlets to digital advertising and cinematic visuals. This relentless stream of pictures and graphics requires us to be adept in navigating, understanding, and even critiquing these visual narratives. Just as traditional literacy grants us the skills to comprehend and dissect textual information, visual literacy – an ability refined by studying art – equips us to decode the visual language of our digital age.

The Language of Imagery

Art, at its essence, is a visual language. It communicates through symbols, colors, forms, and compositions. A study of art history, for example, might reveal how the color blue was used in medieval paintings to denote divinity or how the interplay of light and shadow in Baroque art evokes drama and tension. These nuances in visual elements provide the foundational vocabulary and grammar for the broader language of imagery prevalent in our digital world.

Media Literacy in the Age of Fake News

In an era marked by manipulated images, deepfakes, and misinformation, the ability to critically analyze visual content becomes paramount. Art education, with its emphasis on observation, analysis, and interpretation, primes individuals to discern subtle alterations, recognize biases, and understand the intent behind visual presentations. By studying the techniques artists employ to convey their messages, viewers become more adept at identifying manipulation techniques used in modern media.

Infographics and Data Visualization: The Art of Information

With the surge in big data and the need to present complex information accessibly, data visualization has emerged as a vital field. At its heart, this discipline borrows heavily from art. The effective use of colors, balance, contrast, and hierarchy in infographics mirrors principles honed by artists over centuries. Understanding art, in this context, enhances our ability to interpret these visual data presentations accurately and appreciate the aesthetics of information.

The Instagram Paradigm: Crafting Narratives in a Visual World

Platforms like Instagram and Pinterest have transformed storytelling from a textual to a visual medium. Here, a well-composed photograph or a strategically arranged feed tells a story, builds a brand, or sets a mood. Art education offers insights into composition, color theory, and visual harmony, skills that are increasingly crucial in crafting compelling digital narratives.

In the vast, swirling ocean of digital visuals, art serves as our compass. It gives us the tools to navigate, the skills to interpret, and the wisdom to discern. Visual literacy, bolstered by an understanding of art, isn't just an academic exercise; it's a vital skill, ensuring we remain informed, discerning, and engaged citizens in our increasingly visual world.

11. Time’s Palette: Art as Historical Ledger

Historians aren't the only ones who document events; artists do too. This section highlights how art serves as a valuable historical record, capturing the essence of eras, memorializing events, and portraying influential figures.

While pages of history books chronicle events with precision and detail, artworks capture the spirit, essence, and emotion of those moments in time. Through the brushstrokes of painters, the chisel marks of sculptors, and the discerning eyes of photographers, we gain unique insights into bygone eras, understanding not just the what, but the why and the how. Art offers a vivid, visceral look into the past, transforming history from mere facts to lived experiences.

Capturing Epochs: The Spirit of an Age

Every art movement, from the grandiosity of Baroque to the disillusionment of Postmodernism, reflects the zeitgeist of its period. The  opulence of Rococo art  mirrors the excesses of 18th-century European aristocracy, while the starkness and  simplicity of Minimalism  echo the disillusionment and skepticism of the late 20th century. Through these styles and movements, we perceive the broader socio-cultural currents of their respective epochs.

Moments Immortalized: Art and Events

Certain artworks become indelible markers of historical events. Think of Jacques-Louis David's  The Death of Marat , capturing a pivotal moment of the French Revolution, or  Picasso's Guernica , a haunting response to the bombings during the Spanish Civil War. These aren't just paintings; they're visual testimonies, immortalizing moments of upheaval, triumph, or tragedy, making them palpable for future generations.

Portraits of the Past: The People Who Shaped History

From pharaohs immortalized in grand statues to the candid shots of modern leaders, art has always played a role in documenting influential figures. A portrait does more than just depict a face; it offers a glimpse into the personality, the demeanor, and often the power dynamics of its time. Whether it's the regal aura of  Tudor monarchs in Holbein's works  or the raw, unfiltered essence of  Frida Kahlo's self-portraits , these visual records provide personal insights into the lives of those who shaped history.

Everyday Eternity: Glimpses into Daily Life

Beyond grand events and influential figures, art also chronicles the everyday – the mundane, the routine, the ordinary.  Dutch Golden Age paintings , for instance, give us insights into 17th-century domestic life, from the interiors of homes to the food on tables. These snapshots of daily life, while often overlooked, are invaluable in understanding societal structures, cultural norms, and daily routines of the past.

Art, in its myriad forms, serves as a vibrant, evocative historical ledger. It breathes life into dates, animates events, and humanizes historical figures, ensuring that while times change, the essence of past epochs remains forever etched in color, form, and texture for future generations to behold and understand.

12. The Healing Brush: Art as Therapy

Lastly, the therapeutic benefits of art cannot be overstated. Engaging with art can be a form of stress relief, a tool for mental health, and even a method of physical rehabilitation.

From the  earliest cave paintings  to contemporary art installations, the act of creating and experiencing art has been a source of solace, expression, and healing for humans. The canvas, whether literal or metaphorical, often becomes a safe space, a refuge where emotions are processed, traumas are confronted, and healing begins. In this concluding section, we delve into the therapeutic dimensions of art, highlighting its transformative potential on mind, body, and spirit.

Expressive Therapy: The Cathartic Power of Creation

At its core, creating art is a form of expression. Whether through splashes of color, deliberate brush strokes, or abstract forms, individuals can communicate emotions that might be too overwhelming or complex to articulate verbally. For trauma survivors or those battling mental health issues, art provides an avenue to confront, process, and communicate their feelings, serving as both a medium and a mediator.

Art Appreciation: A Journey Inward

Engaging with art isn't just about creation; it's also about contemplation. Gazing at a painting, soaking in the notes of a musical piece, or losing oneself in a dance performance can be meditative experiences. Such moments of immersion can facilitate mindfulness, helping individuals detach from their immediate stresses, center themselves, and gain a fresh perspective.

Bridging Gaps: Art in Rehabilitation

The therapeutic power of art isn't restricted to emotional and mental spheres; it has tangible physical benefits as well. Art therapy is often employed in rehabilitation settings, assisting individuals recovering from strokes, surgeries, or traumatic injuries. Simple activities like molding clay, sketching, or painting can aid in improving motor skills, enhancing hand-eye coordination, and providing a sense of accomplishment and purpose.

Collective Healing: Art as a Community Endeavor

Beyond individual healing, art has the capacity to foster community well-being. Murals painted in neighborhoods scarred by violence or strife, theater performances addressing societal issues, or communal art projects can play pivotal roles in community healing. They not only beautify spaces but also create platforms for dialogue, understanding, and collective catharsis.

A Timeless Remedy: Art Throughout the Ages

The therapeutic essence of art isn't a contemporary discovery. Ancient civilizations, from the Greeks with their theater performances to the Native American tribes with their ritual dances and songs, recognized and harnessed the healing potential of artistic endeavors.

In a world fraught with stresses, uncertainties, and challenges, art stands as a beacon of hope and healing. Its transformative power, whether through creation, appreciation, or engagement, offers solace and strength, reminding us of the inherent beauty and resilience of the human spirit. As we navigate the complexities of our lives, art serves as a balm, a companion, and a healer, guiding us towards wholeness and well-being.

Now, Write Your Own Story at Lindenwood University

Each of these sections aims to provide a comprehensive understanding of why art history is not just a subject for academicians and art aficionados, but something deeply relevant to society and individual life. Are you ready to delve into this fascinating journey through the world of art history?

If you're interested in furthering your studies and even making a career out of your knowledge, Lindenwood University has  art and design programs to suit your needs. We are proud to offer a master's program in art history and visual culture as part of our 100 percent online curriculum. With this online graduate art degree , you can build upon your knowledge and understanding of art history while developing your appreciation for the impact of artistic expression. 

Looking to start your formal education in art history? Explore our  bachelor's in art history and visual culture . In this fully online art program, you'll learn the basics of various art periods and their impact on today's culture, politics, society, and more. 

Learn more about Lindenwood University's undergraduate and graduate art programs by  requesting more information  today. If you're ready to dive in, you can also  start your application  online!

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Writing Essays in Art History

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These OWL resources provide guidance on typical genres with the art history discipline that may appear in professional settings or academic assignments, including museum catalog entries, museum title cards, art history analysis, notetaking, and art history exams.

Art History Analysis – Formal Analysis and Stylistic Analysis

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis.

A formal analysis is just what it sounds like – you need to analyze the form of the artwork. This includes the individual design elements – composition, color, line, texture, scale, contrast, etc. Questions to consider in a formal analysis is how do all these elements come together to create this work of art? Think of formal analysis in relation to literature – authors give descriptions of characters or places through the written word. How does an artist convey this same information?

Organize your information and focus on each feature before moving onto the text – it is not ideal to discuss color and jump from line to then in the conclusion discuss color again. First summarize the overall appearance of the work of art – is this a painting? Does the artist use only dark colors? Why heavy brushstrokes? etc and then discuss details of the object – this specific animal is gray, the sky is missing a moon, etc. Again, it is best to be organized and focused in your writing – if you discuss the animals and then the individuals and go back to the animals you run the risk of making your writing unorganized and hard to read. It is also ideal to discuss the focal of the piece – what is in the center? What stands out the most in the piece or takes up most of the composition?

A stylistic approach can be described as an indicator of unique characteristics that analyzes and uses the formal elements (2-D: Line, color, value, shape and 3-D all of those and mass).The point of style is to see all the commonalities in a person’s works, such as the use of paint and brush strokes in Van Gogh’s work. Style can distinguish an artist’s work from others and within their own timeline, geographical regions, etc.

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the “essence of the age.” Over the years, sculptures of women started off as being plain and fully clothed with no distinct features, to the beautiful Venus/Aphrodite figures most people recognize today. In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look. The earliest korai wore the simpler Dorian peplos, which was a heavy woolen garment. From about 530, most wear a thinner, more elaborate, and brightly painted Ionic linen and himation. A largely contrasting Greek statue to the korai is the Venus de Milo. The Venus from head to toe is six feet seven inches tall. Her hips suggest that she has had several children. Though her body shows to be heavy, she still seems to almost be weightless. Viewing the Venus de Milo, she changes from side to side. From her right side she seems almost like a pillar and her leg bears most of the weight. She seems be firmly planted into the earth, and since she is looking at the left, her big features such as her waist define her. The Venus de Milo had a band around her right bicep. She had earrings that were brutally stolen, ripping her ears away. Venus was noted for loving necklaces, so it is very possibly she would have had one. It is also possible she had a tiara and bracelets. Venus was normally defined as “golden,” so her hair would have been painted. Two statues in the same region, have throughout history, changed in their style.

Compare and Contrast Essay

Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece. Then the comparison can include attention to detail so use of color, subject matter, or iconography. Do the same for contrasting the two pieces – start small. After the foundation is set move on to the analysis and what these comparisons or contrasting material mean – ‘what is the bigger picture here?’ Consider why one artist would wish to show the same subject matter in a different way, how, when, etc are all questions to ask in the compare and contrast essay. If during an exam it would be best to quickly outline the points to make before tackling writing the essay.

Compare and Contrast Example:

Stele of Hammurabi from Susa (modern Shush, Iran), ca. 1792 – 1750 BCE, Basalt, height of stele approx. 7’ height of relief 28’

Stele, relief sculpture, Art as propaganda – Hammurabi shows that his law code is approved by the gods, depiction of land in background, Hammurabi on the same place of importance as the god, etc.

Top of this stele shows the relief image of Hammurabi receiving the law code from Shamash, god of justice, Code of Babylonian social law, only two figures shown, different area and time period, etc.

Stele of Naram-sin , Sippar Found at Susa c. 2220 - 2184 bce. Limestone, height 6'6"

Stele, relief sculpture, Example of propaganda because the ruler (like the Stele of Hammurabi) shows his power through divine authority, Naramsin is the main character due to his large size, depiction of land in background, etc.

Akkadian art, made of limestone, the stele commemorates a victory of Naramsin, multiple figures are shown specifically soldiers, different area and time period, etc.

Iconography

Regardless of what essay approach you take in class it is absolutely necessary to understand how to analyze the iconography of a work of art and to incorporate into your paper. Iconography is defined as subject matter, what the image means. For example, why do things such as a small dog in a painting in early Northern Renaissance paintings represent sexuality? Additionally, how can an individual perhaps identify these motifs that keep coming up?

The following is a list of symbols and their meaning in Marriage a la Mode by William Hogarth (1743) that is a series of six paintings that show the story of marriage in Hogarth’s eyes.

• Man has pockets turned out symbolizing he has lost money and was recently in a fight by the state of his clothes.
• Lap dog shows loyalty but sniffs at woman’s hat in the husband’s pocket showing sexual exploits.
• Black dot on husband’s neck believed to be symbol of syphilis.
• Mantel full of ugly Chinese porcelain statues symbolizing that the couple has no class.
• Butler had to go pay bills, you can tell this by the distasteful look on his face and that his pockets are stuffed with bills and papers.
• Card game just finished up, women has directions to game under foot, shows her easily cheating nature.
• Paintings of saints line a wall of the background room, isolated from the living, shows the couple’s complete disregard to faith and religion.
• The dangers of sexual excess are underscored in the Hograth by placing Cupid among ruins, foreshadowing the inevitable ruin of the marriage.
• Eventually the series (other five paintings) shows that the woman has an affair, the men duel and die, the woman hangs herself and the father takes her ring off her finger symbolizing the one thing he could salvage from the marriage.

What is art history and where is it going?

Peter Paul Rubens, three paintings from the 24-picture cycle Rubens painted for the Medici Gallery in the Luxembourg Palace, Paris. From left to right: Peter Paul Rubens, The Presentation of the Portrait of Marie de’ Medici , The Wedding by Proxy of Marie de’ Medici to King Henry IV , Arrival (or Disembarkation) of Marie de’ Medici at Marseilles , 1621–25, oil on canvas (Musée du Louvre, Paris; photo: Steven Zucker, CC BY-NC-SA 2.0)

Art history might seem like a relatively straightforward concept: “art” and “history” are subjects most of us first studied in elementary school. In practice, however, the idea of “the history of art” raises complex questions. What exactly do we mean by art, and what kind of history (or histories) should we explore? Let’s consider each term further.

Art versus artifact

The word “art” is derived from the Latin ars , which originally meant “skill” or “craft.” These meanings are still primary in other English words derived from ars , such as “artifact” (a thing made by human skill) and “artisan” (a person skilled at making things). The meanings of “art” and “artist,” however, are not so straightforward. We understand art as involving more than just skilled craftsmanship. What exactly distinguishes a work of art from an artifact, or an artist from an artisan?

When asked this question, students typically come up with several ideas. One is beauty. Much art is visually striking, and in the 18th, 19th and early 20th centuries, the analysis of aesthetic qualities was indeed central in art history. During this time, art that imitated ancient Greek and Roman art (the art of classical antiquity ), was considered to embody a timeless perfection. Art historians focused on the so-called fine arts—painting, sculpture, and architecture—analyzing the virtues of their forms. Over the past century and a half, however, both art and art history have evolved radically.

Left: Lysippos, Apoxyomenos (Scraper) , Roman copy after a bronze statue from c. 330 B.C.E., 81 inches high (Vatican Museums, photo: Steven Zucker , CC BY-NC-SA 2.0); right: Kiki Smith, male figure from Untitled , 1990, 198.1 x 181.6 x 54 cm, beeswax and microcrystalline wax figures on metal stands (Whitney Museum of American Art, New York) © Kiki Smith

Artists turned away from the classical tradition, embracing new media and aesthetic ideals, and art historians shifted their focus from the analysis of art’s formal beauty to interpretation of its cultural meaning. Today we understand beauty as subjective—a cultural construct that varies across time and space. While most art continues to be primarily visual, and visual analysis is still a fundamental tool used by art historians, beauty itself is no longer considered an essential attribute of art.

Images of Peter and Paul appear much the same through the centuries in Byzantine icons. Left: glass bowl base, 4th century, Roman ( The Metropolitan Museum of Art ); center: mosaics, 11th century, Hosios Loukas Monastery, Greece; right: panel icon, 17th century, Greek ( Temple Gallery ).

A second common answer to the question of what distinguishes art emphasizes originality, creativity, and imagination. This reflects a modern understanding of art as a manifestation of the ingenuity of the artist. This idea, however, originated five hundred years ago in Renaissance Europe , and is not directly applicable to many of the works studied by art historians. For example, in the case of ancient Egyptian art or Byzantine icons , the preservation of tradition was more valued than innovation. While the idea of ingenuity is certainly important in the history of art, it is not a universal attribute of the works studied by art historians.

All this might lead one to conclude that definitions of art, like those of beauty, are subjective and unstable. One solution to this dilemma is to propose that art is distinguished primarily by its visual agency, that is, by its ability to captivate viewers. Artifacts may be interesting, but art, I suggest, has the potential to move us—emotionally, intellectually, or otherwise. It may do this through its visual characteristics (scale, composition, color, etc.), expression of ideas, craftsmanship, ingenuity, rarity, or some combination of these or other qualities. How art engages varies, but in some manner, art takes us beyond the everyday and ordinary experience. The greatest examples attest to the extremes of human ambition, skill, imagination, perception, and feeling. As such, art prompts us to reflect on fundamental aspects of what it is to be human. Any artifact, as a product of human skill, might provide insight into the human condition. But art, in moving beyond the commonplace, has the potential to do so in more profound ways. Art, then, is perhaps best understood as a special class of artifact, exceptional in its ability to make us think and feel through visual experience.

Coatlicue , c. 1500, Mexica (Aztec), found on the SE edge of the Plaza Mayor/Zocalo in Mexico City, basalt, 257 cm high (National Museum of Anthropology, Mexico City; photo: Steven Zucker , CC BY-NC-SA 2.0)

History: Making Sense of the Past

Like definitions of art and beauty, ideas about history have changed over time. It might seem that writing history should be straightforward—it’s all based on facts, isn’t it? In theory, yes, but the evidence surviving from the past is vast, fragmentary, and messy. Historians must make decisions about what to include and exclude, how to organize the material, and what to say about it. In doing so, they create narratives that explain the past in ways that make sense in the present. Inevitably, as the present changes, these narratives are updated, rewritten, or discarded altogether and replaced with new ones. All history, then, is subjective—as much a product of the time and place it was written as of the evidence from the past that it interprets.

The discipline of art history developed in Europe during the colonial period (roughly the 15th to the mid-20th century). Early art historians emphasized the European tradition, celebrating its Greek and Roman origins and the ideals of academic art . By the mid-20th century, a standard narrative for “Western art” was established that traced its development from the prehistoric , ancient , and medieval Mediterranean to modern Europe and the United States . Art from the rest of the world, labeled “non-Western art,” was typically treated only marginally and from a colonialist perspective.

The immense sociocultural changes that took place in the 20th century led art historians to amend these narratives. Accounts of Western art that once featured only white males were revised to include artists of color and women. The traditional focus on painting, sculpture, and architecture was expanded to include so-called minor arts such as ceramics and textiles and contemporary media such as video and performance art . Interest in non-Western art increased, accelerating dramatically in recent years.

Queen Mother Pendant Mask (Iyoba), 16th century, Edo peoples, Court of Benin, Nigeria, ivory, iron, copper, 23.8 x 12.7 x 8.3 cm (The Metropolitan Museum of Art, New York; photo: Steven Zucker , CC BY-NC-SA 2.0)

Today, the biggest social development facing art history is globalism. As our world becomes increasingly interconnected, familiarity with different cultures and facility with diversity are essential. Art history, as the story of exceptional artifacts from a broad range of cultures, has a role to play in developing these skills. Now art historians ponder and debate how to reconcile the discipline’s European intellectual origins and its problematic colonialist legacy with contemporary multiculturalism and how to write art history in a global era.

Smarthistory’s videos and articles reflect this history of art history. Since the site was originally created to support a course in Western art and history, the content initially focused on the most celebrated works of the Western canon. With the key periods and civilizations of this tradition now well-represented and a growing number of scholars contributing, the range of objects and topics has increased in recent years. Most importantly, substantial coverage of world traditions outside the West has been added. As the site continues to expand, the works and perspectives presented will evolve in step with contemporary trends in art history. In fact, as innovators in the use of digital media and the internet to create, disseminate, and interrogate art historical knowledge, Smarthistory and its users have the potential to help shape the future of the discipline.

Additional resources

“ Introduction: Learning to look and think critically ,” a chapter in Reframing Art History (our free art history textbook).

“ Introduction: Close looking and approaches to art ,” a chapter in Reframing Art History (our free art history textbook)—especially useful for materials related to formal (visual) analysis.

Check out all the chapters on world art in  Reframing Art History .

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The Top 5 Reasons Why You Should Study Art History

Photo caption: As our society becomes increasingly mediated, the importance of art history cannot be overstated. Image by purple_confetti from Pixabay.

Art history is more than a bunch of paintings and sculptures made by people long ago. It’s a living, breathing course of study that enriches your life in ways you can’t possibly imagine. Here’s a look at five reasons why you should study art history.

1. It Gives an In-Depth Look at the World

Pop quiz for you: How long do you think it would take you to do an in-depth study of anthropology, literature, history, sociology, theology, chemistry, geometry, engineering, physics, war and politics? Ten years if you did a couple of double majors? Longer?

While you could truly make the study of any of these subjects a lifelong pursuit, the truth is the study of art history involves all of these subjects. By studying art history, you’ve given yourself an education in the humanities, in history and politics and even STEM subjects.

Students who pursue art and art history studies in a university art program  can get a bachelor’s degree in four years, but it’s possible to take up a personal study of art history, too. 

In fact, although we do teach art history in the Mastery Program , we encourage our students to continue studying art history for the rest of their lives. The importance of art history can’t be overstated. It gives artists a foundation not only in art, but in life and everything that makes up life.

2. Art History Allows Us to Forge a Connection With the Past

This might seem obvious, given that art history is well, history, but studying history and feeling a connection to it are sometimes two different things. 

When you study art history, you find out that the reason that some paintings, like Caravaggio’s, are dark because they’re meant to be seen in the dark. An article in Salon  reminds us that when the paintings from antiquity were painted, electric lights didn’t exist. People saw paintings, like Caravaggio’s, by daylight or candlelight. 

When you look at art in a context that’s closer to the one in which the painting was created, you forge a connection with the past in a much different way than just reading about that art in a book.

3. It Helps Us Orient Ourselves in the Present

The University of the People  tells us why studying art history benefits us today. Our world has become very visual. Everyone has a cell phone or a tablet or a computer and those devices are filled with pictures shared from phones, video games and movies. 

Knowing how to process images is going to be increasingly important as pictures start to and continue to replace text as the primary means of communication. By studying art history, you’ll understand how art tools, like a camera, intersect with society. You’ll learn how images make up society and learn how you can contribute to the conversation. 

4. It Teaches You How to Integrate Information 

The importance of art history can be summed up in a single word: integration. As we’ve already pointed out, when you study art history, you learn the context in which that piece was created. You also learn about the technologies of the day, or lack thereof. You gain an understanding of the sciences, literature and more.

However, to make sense of all of this is another thing all together. One of the biggest reasons why you should study art history is because it teaches you how to integrate information from disparate sources and to make sense of that information. This is a high-level thinking skill that has become increasingly important in the workplace and in life. 

5. You Develop a Love for Beauty

Let’s face it. The world today is filled with some ugly images. If you look at them long enough, you start to feel discouraged and downtrodden.

But studying art history demands that you look at lots and lots of images of art, and most of them are beautiful. After doing this for a while, you realize that Pablo Picasso was right. Art really does clean the dust off the soul.

Best of all, you don’t have to take our word for it (or Picasso’s). Recent scientific studies   have found that art

has an impact on brain wave patterns and emotions, the nervous system, and can actually raise serotonin levels. Art can change a person’s outlook and the way they experience the world.

In other words, looking at art makes you happy. That may just be one of the very best reasons to study art history!

Other Articles on the Importance of Art

The Top 10 Virtual Museum Tours  for Fall of 2020 

Art Fun Facts : 3 Times When Artists Knew More Than Scientists 

5 Benefits of Drawing and Doodling  You Didn’t Know About

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faience: technology and production, egyptian modern art, egyptian red gold, egyptian revival, egyptian tombs: life along the nile, eighteenth-century european dress, the eighteenth-century pastel portrait, eighteenth-century silhouette and support, eighteenth-century women painters in france, el greco (1541–1614), élisabeth louise vigée le brun (1755–1842), elizabethan england, elsa schiaparelli (1890–1973), empire style, 1800–1815, the empires of the western sudan, the empires of the western sudan: ghana empire, the empires of the western sudan: mali empire, the empires of the western sudan: songhai empire, enameled and gilded glass from islamic lands, english embroidery of the late tudor and stuart eras, english ornament prints and furniture books in eighteenth-century america, english silver, 1600–1800, ernest hemingway (1899–1961) and art, ernst emil herzfeld (1879–1948) in persepolis, ernst emil herzfeld (1879–1948) in samarra, etching in eighteenth-century france: artists and amateurs, the etching revival in nineteenth-century france, ethiopia’s enduring cultural heritage, ethiopian healing scrolls, etruscan art, etruscan language and inscriptions, eugène atget (1857–1927), europe and the age of exploration, europe and the islamic world, 1600–1800, european clocks in the seventeenth and eighteenth centuries, european exploration of the pacific, 1600–1800, european revivalism, european tapestry production and patronage, 1400–1600, european tapestry production and patronage, 1600–1800, exchange of art and ideas: the benin, owo, and ijebu kingdoms, exoticism in the decorative arts, extravagant monstrosities: gold- and silversmith designs in the auricular style, eynan/ain mallaha (12,500–10,000 b.c.), fabricating sixteenth-century netherlandish boxwood miniatures, the face in medieval sculpture, famous makers of arms and armors and european centers of production, fashion in european armor, fashion in european armor, 1000–1300, fashion in european armor, 1300–1400, fashion in european armor, 1400–1500, fashion in european armor, 1500–1600, fashion in european armor, 1600–1700, fashion in safavid iran, fatimid jewelry, fell’s cave (9000–8000 b.c.), fernand léger (1881–1955), feudalism and knights in medieval europe, figural representation in islamic art, filippino lippi (ca. 1457–1504), fire gilding of arms and armor, the five wares of south italian vase painting, the flavian dynasty (69–96 a.d.), flemish harpsichords and virginals, flood stories, folios from the great mongol shahnama (book of kings), folios from the jami‘ al-tavarikh (compendium of chronicles), fontainebleau, food and drink in european painting, 1400–1800, foundations of aksumite civilization and its christian legacy (1st–8th century), fra angelico (ca. 1395–1455), francisco de goya (1746–1828) and the spanish enlightenment, françois boucher (1703–1770), frank lloyd wright (1867–1959), frans hals (1582/83–1666), frederic edwin church (1826–1900), frederic remington (1861–1909), frederick william macmonnies (1863–1937), the french academy in rome, french art deco, french art pottery, french decorative arts during the reign of louis xiv (1654–1715), french faience, french furniture in the eighteenth century: case furniture, french furniture in the eighteenth century: seat furniture, french porcelain in the eighteenth century, french silver in the seventeenth and eighteenth centuries, frescoes and wall painting in late byzantine art, from geometric to informal gardens in the eighteenth century, from italy to france: gardens in the court of louis xiv and after, from model to monument: american public sculpture, 1865–1915, the fulani/fulbe people, the function of armor in medieval and renaissance europe, funerary vases in southern italy and sicily, furnishings during the reign of louis xiv (1654–1715), gabrielle “coco” chanel (1883–1971) and the house of chanel, gardens in the french renaissance, gardens of western europe, 1600–1800, genre painting in northern europe, geometric abstraction, geometric and archaic cyprus, geometric art in ancient greece, geometric patterns in islamic art, george inness (1825–1894), george washington: man, myth, monument, georges seurat (1859–1891) and neo-impressionism, georgia o’keeffe (1887–1986), gerard david (born about 1455, died 1523), german and austrian porcelain in the eighteenth century, the ghent altarpiece, gian lorenzo bernini (1598–1680), gilbert stuart (1755–1828), giovanni battista piranesi (1720–1778), giovanni battista tiepolo (1696–1770), gladiators: types and training, glass from islamic lands, glass ornaments in late antiquity and early islam (ca. 500–1000), glass with mold-blown decoration from islamic lands, the gods and goddesses of canaan, gold in ancient egypt, gold in asante courtly arts, gold in the ancient americas, gold of the indies, the golden age of french furniture in the eighteenth century, the golden harpsichord of michele todini (1616–1690), golden treasures: the royal tombs of silla, goryeo celadon, the grand tour, the graphic art of max klinger, great plains indians musical instruments, great serpent mound, great zimbabwe (11th–15th century), the greater ottoman empire, 1600–1800, greek art in the archaic period, greek gods and religious practices, greek hydriai (water jars) and their artistic decoration, the greek key and divine attributes in modern dress, greek terracotta figurines with articulated limbs, gustave courbet (1819–1877), gustave le gray (1820–1884), hagia sophia, 532–37, the halaf period (6500–5500 b.c.), han dynasty (206 b.c.–220 a.d.), hanae mori (1926–2022), hans talhoffer’s fight book, a sixteenth-century manuscript about the art of fighting, harry burton (1879–1940): the pharaoh’s photographer, hasanlu in the iron age, haute couture, heian period (794–1185), hellenistic and roman cyprus, hellenistic jewelry, hendrick goltzius (1558–1617), henri cartier-bresson (1908–2004), henri de toulouse-lautrec (1864–1901), henri matisse (1869–1954), henry kirke brown (1814–1886), john quincy adams ward (1830–1910), and realism in american sculpture, heroes in italian mythological prints, hinduism and hindu art, hippopotami in ancient egypt, hiram powers (1805–1873), the hittites, the holy roman empire and the habsburgs, 1400–1600, hopewell (1–400 a.d.), horse armor in europe, hot-worked glass from islamic lands, the house of jeanne hallée (1870–1924), the housemistress in new kingdom egypt: hatnefer, how medieval and renaissance tapestries were made, the hudson river school, hungarian silver, icons and iconoclasm in byzantium, the idea and invention of the villa, ife (from ca. 6th century), ife pre-pavement and pavement era (800–1000 a.d.), ife terracottas (1000–1400 a.d.), igbo-ukwu (ca. 9th century), images of antiquity in limoges enamels in the french renaissance, impressionism: art and modernity, in pursuit of white: porcelain in the joseon dynasty, 1392–1910, indian knoll (3000–2000 b.c.), indian textiles: trade and production, indigenous arts of the caribbean, industrialization and conflict in america: 1840–1875, the industrialization of french photography after 1860, inland niger delta, intellectual pursuits of the hellenistic age, intentional alterations of early netherlandish painting, interior design in england, 1600–1800, interiors imagined: folding screens, garments, and clothing stands, international pictorialism, internationalism in the tang dynasty (618–907), introduction to prehistoric art, 20,000–8000 b.c., the isin-larsa and old babylonian periods (2004–1595 b.c.), islamic arms and armor, islamic art and culture: the venetian perspective, islamic art of the deccan, islamic carpets in european paintings, italian painting of the later middle ages, italian porcelain in the eighteenth century, italian renaissance frames, ivory and boxwood carvings, 1450–1800, ivory carving in the gothic era, thirteenth–fifteenth centuries, jacopo dal ponte, called bassano (ca. 1510–1592), jade in costa rica, jade in mesoamerica, jain manuscript painting, jain sculpture, james cox (ca. 1723–1800): goldsmith and entrepreneur, james mcneill whistler (1834–1903), james mcneill whistler (1834–1903) as etcher, jan gossart (ca. 1478–1532) and his circle, jan van eyck (ca. 1390–1441), the japanese blade: technology and manufacture, japanese illustrated handscrolls, japanese incense, the japanese tea ceremony, japanese weddings in the edo period (1615–1868), japanese writing boxes, jasper johns (born 1930), jean antoine houdon (1741–1828), jean honoré fragonard (1732–1806), jean-baptiste carpeaux (1827–1875), jean-baptiste greuze (1725–1805), jewish art in late antiquity and early byzantium, jews and the arts in medieval europe, jews and the decorative arts in early modern italy, jiahu (ca. 7000–5700 b.c.), joachim tielke (1641–1719), joan miró (1893–1983), johannes vermeer (1632–1675), johannes vermeer (1632–1675) and the milkmaid, john constable (1776–1837), john frederick kensett (1816–1872), john singer sargent (1856–1925), john singleton copley (1738–1815), john townsend (1733–1809), jōmon culture (ca. 10,500–ca. 300 b.c.), joseon buncheong ware: between celadon and porcelain, joseph mallord william turner (1775–1851), juan de flandes (active by 1496, died 1519), julia margaret cameron (1815–1879), the julio-claudian dynasty (27 b.c.–68 a.d.), kamakura and nanbokucho periods (1185–1392), the kano school of painting, kingdoms of madagascar: malagasy funerary arts, kingdoms of madagascar: malagasy textile arts, kingdoms of madagascar: maroserana and merina, kingdoms of the savanna: the kuba kingdom, kingdoms of the savanna: the luba and lunda empires, kings and queens of egypt, kings of brightness in japanese esoteric buddhist art, the kirtlington park room, oxfordshire, the kithara in ancient greece, kodak and the rise of amateur photography, kofun period (ca. 300–710), kongo ivories, korean buddhist sculpture (5th–9th century), korean munbangdo paintings, kushan empire (ca. second century b.c.–third century a.d.), la venta: sacred architecture, la venta: stone sculpture, the labors of herakles, lacquerware of east asia, landscape painting in chinese art, landscape painting in the netherlands, the lansdowne dining room, london, lapita pottery (ca. 1500–500 b.c.), lascaux (ca. 15,000 b.c.), late eighteenth-century american drawings, late medieval german sculpture, late medieval german sculpture: images for the cult and for private devotion, late medieval german sculpture: materials and techniques, late medieval german sculpture: polychromy and monochromy, the later ottomans and the impact of europe, le colis de trianon-versailles and paris openings, the legacy of genghis khan, the legacy of jacques louis david (1748–1825), leonardo da vinci (1452–1519), letterforms and writing in contemporary art, life of jesus of nazareth, life of the buddha, list of rulers of ancient egypt and nubia, list of rulers of ancient sudan, list of rulers of byzantium, list of rulers of china, list of rulers of europe, list of rulers of japan, list of rulers of korea, list of rulers of mesopotamia, list of rulers of south asia, list of rulers of the ancient greek world, list of rulers of the islamic world, list of rulers of the parthian empire, list of rulers of the roman empire, list of rulers of the sasanian empire, lithography in the nineteenth century, longevity in chinese art, louis comfort tiffany (1848–1933), louis-rémy robert (1810–1882), lovers in italian mythological prints, the lure of montmartre, 1880–1900, luxury arts of rome, lydenburg heads (ca. 500 a.d.), lydia and phrygia, made in india, found in egypt: red sea textile trade in the thirteenth and fourteenth centuries, made in italy: italian fashion from 1950 to now, the magic of signs and patterns in north african art, maiolica in the renaissance, mal’ta (ca. 20,000 b.c.), mangarevan sculpture, the manila galleon trade (1565–1815), mannerism: bronzino (1503–1572) and his contemporaries, the mantiq al-tair (language of the birds) of 1487, manuscript illumination in italy, 1400–1600, manuscript illumination in northern europe, mapungubwe (ca. 1050–1270), marcel duchamp (1887–1968), mary stevenson cassatt (1844–1926), the master of monte oliveto (active about 1305–35), the materials and techniques of american quilts and coverlets, the materials and techniques of english embroidery of the late tudor and stuart eras, mauryan empire (ca. 323–185 b.c.), medicine in classical antiquity, medicine in the middle ages, medieval aquamanilia, medieval european sculpture for buildings, medusa in ancient greek art, mendicant orders in the medieval world, the mesoamerican ballgame, mesopotamian creation myths, mesopotamian deities, mesopotamian magic in the first millennium b.c., the metropolitan museum’s excavations at nishapur, the metropolitan museum’s excavations at ctesiphon, the metropolitan museum’s excavations at qasr-i abu nasr, michiel sweerts and biblical subjects in dutch art, the middle babylonian / kassite period (ca. 1595–1155 b.c.) in mesopotamia, military music in american and european traditions, ming dynasty (1368–1644), minoan crete, mission héliographique, 1851, miyake, kawakubo, and yamamoto: japanese fashion in the twentieth century, moche decorated ceramics, moche portrait vessels, modern and contemporary art in iran, modern art in india, modern art in west and east pakistan, modern art in west asia: colonial to post-colonial, modern materials: plastics, modern storytellers: romare bearden, jacob lawrence, faith ringgold, momoyama period (1573–1615), monasticism in western medieval europe, the mon-dvaravati tradition of early north-central thailand, the mongolian tent in the ilkhanid period, monte albán, monte albán: sacred architecture, monte albán: stone sculpture, monumental architecture of the aksumite empire, the monumental stelae of aksum (3rd–4th century), mosaic glass from islamic lands, mountain and water: korean landscape painting, 1400–1800, muromachi period (1392–1573), music and art of china, music in ancient greece, music in the ancient andes, music in the renaissance, musical instruments of oceania, musical instruments of the indian subcontinent, musical terms for the seventeenth and eighteenth centuries, mycenaean civilization, mystery cults in the greek and roman world, nabataean kingdom and petra, the nabis and decorative painting, nadar (1820–1910), the nahal mishmar treasure, nature in chinese culture, the nature of islamic art, the neoclassical temple, neoclassicism, neolithic period in china, nepalese painting, nepalese sculpture, netsuke: from fashion fobs to coveted collectibles, new caledonia, the new documentary tradition in photography, new ireland, new vision photography, a new visual language transmitted across asia, the new york dutch room, nicolas poussin (1594–1665), nineteenth-century american drawings, nineteenth-century american folk art, nineteenth-century american jewelry, nineteenth-century american silver, nineteenth-century classical music, nineteenth-century court arts in india, nineteenth-century english silver, nineteenth-century european textile production, nineteenth-century french realism, nineteenth-century iran: art and the advent of modernity, nineteenth-century iran: continuity and revivalism, nineteenth-century silhouette and support, nok terracottas (500 b.c.–200 a.d.), northern italian renaissance painting, northern mannerism in the early sixteenth century, northern song dynasty (960–1127), northwest coast indians musical instruments, the nude in baroque and later art, the nude in the middle ages and the renaissance, the nude in western art and its beginnings in antiquity, nudity and classical themes in byzantine art, nuptial furnishings in the italian renaissance, the old assyrian period (ca. 2000–1600 b.c.), orientalism in nineteenth-century art, orientalism: visions of the east in western dress, the origins of writing, ottonian art, pablo picasso (1881–1973), pachmari hills (ca. 9000–3000 b.c.), painted funerary monuments from hellenistic alexandria, painting formats in east asian art, painting in italian choir books, 1300–1500, painting in oil in the low countries and its spread to southern europe, painting the life of christ in medieval and renaissance italy, paintings of love and marriage in the italian renaissance, paolo veronese (1528–1588), the papacy and the vatican palace, the papacy during the renaissance, papyrus in ancient egypt, papyrus-making in egypt, the parthian empire (247 b.c.–224 a.d.), pastoral charms in the french renaissance, patronage at the early valois courts (1328–1461), patronage at the later valois courts (1461–1589), patronage of jean de berry (1340–1416), paul cézanne (1839–1906), paul gauguin (1848–1903), paul klee (1879–1940), paul poiret (1879–1944), paul revere, jr. (1734–1818), paul strand (1890–1976), period of the northern and southern dynasties (386–581), peter paul rubens (1577–1640) and anthony van dyck (1599–1641): paintings, peter paul rubens (1577–1640) and anthony van dyck (1599–1641): works on paper, petrus christus (active by 1444, died 1475/76), the phoenicians (1500–300 b.c.), photographers in egypt, photography and surrealism, photography and the civil war, 1861–65, photography at the bauhaus, photography in düsseldorf, photography in europe, 1945–60, photography in postwar america, 1945-60, photography in the expanded field: painting, performance, and the neo-avant-garde, photojournalism and the picture press in germany, phrygia, gordion, and king midas in the late eighth century b.c., the piano: the pianofortes of bartolomeo cristofori (1655–1731), the piano: viennese instruments, pictorialism in america, the pictures generation, pierre bonnard (1867–1947): the late interiors, pierre didot the elder (1761–1853), pieter bruegel the elder (ca. 1525–1569), pilgrimage in medieval europe, poetic allusions in the rajput and pahari painting of india, poets in italian mythological prints, poets, lovers, and heroes in italian mythological prints, polychrome sculpture in spanish america, polychromy of roman marble sculpture, popular religion: magical uses of imagery in byzantine art, portrait painting in england, 1600–1800, portraits of african leadership, portraits of african leadership: living rulers, portraits of african leadership: memorials, portraits of african leadership: royal ancestors, portraiture in renaissance and baroque europe, the portuguese in africa, 1415–1600, post-impressionism, postmodernism: recent developments in art in india, postmodernism: recent developments in art in pakistan and bangladesh, post-revolutionary america: 1800–1840, the postwar print renaissance in america, poverty point (2000–1000 b.c.), the praenestine cistae, prague during the rule of rudolf ii (1583–1612), prague, 1347–1437, pre-angkor traditions: the mekong delta and peninsular thailand, precisionism, prehistoric cypriot art and culture, prehistoric stone sculpture from new guinea, the pre-raphaelites, presidents of the united states of america, the print in the nineteenth century, the printed image in the west: aquatint, the printed image in the west: drypoint, the printed image in the west: engraving, the printed image in the west: etching, the printed image in the west: history and techniques, the printed image in the west: mezzotint, the printed image in the west: woodcut, printmaking in mexico, 1900–1950, private devotion in medieval christianity, profane love and erotic art in the italian renaissance, the pyramid complex of senwosret iii, dahshur, the pyramid complex of senwosret iii, dahshur: private tombs to the north, the pyramid complex of senwosret iii, dahshur: queens and princesses, the pyramid complex of senwosret iii, dahshur: temples, qin dynasty (221–206 b.c.), the qing dynasty (1644–1911): courtiers, officials, and professional artists, the qing dynasty (1644–1911): loyalists and individualists, the qing dynasty (1644–1911): painting, the qing dynasty (1644–1911): the traditionalists, the rag-dung, rare coins from nishapur, recognizing the gods, the rediscovery of classical antiquity, the reformation, relics and reliquaries in medieval christianity, religion and culture in north america, 1600–1700, the religious arts under the ilkhanids, the religious relationship between byzantium and the west, rembrandt (1606–1669): paintings, rembrandt van rijn (1606–1669): prints, renaissance drawings: material and function, renaissance keyboards, renaissance organs, renaissance velvet textiles, renaissance violins, retrospective styles in greek and roman sculpture, rinpa painting style, the rise of macedon and the conquests of alexander the great, the rise of modernity in south asia, the rise of paper photography in 1850s france, the rise of paper photography in italy, 1839–55, the rock-hewn churches of lalibela, roger fenton (1819–1869), the roman banquet, roman cameo glass, roman copies of greek statues, roman egypt, the roman empire (27 b.c.–393 a.d.), roman games: playing with animals, roman glass, roman gold-band glass, roman housing, roman inscriptions, roman luxury glass, roman mold-blown glass, roman mosaic and network glass, roman painting, roman portrait sculpture: republican through constantinian, roman portrait sculpture: the stylistic cycle, the roman republic, roman sarcophagi, roman stuccowork, romanesque art, romanticism, saint petersburg, saints and other sacred byzantine figures, saints in medieval christian art, the salon and the royal academy in the nineteenth century, san ethnography, sanford robinson gifford (1823–1880), the sasanian empire (224–651 a.d.), scenes of everyday life in ancient greece, scholar-officials of china, school of paris, seasonal imagery in japanese art, the seleucid empire (323–64 b.c.), senufo arts and poro initiation in northern côte d’ivoire, senufo sculpture from west africa: an influential exhibition at the museum of primitive art, new york, 1963, seventeenth-century european watches, the severan dynasty (193–235 a.d.), sèvres porcelain in the nineteenth century, shah ‘abbas and the arts of isfahan, the shah jahan album, the shahnama of shah tahmasp, shaker furniture, shakespeare and art, 1709–1922, shakespeare portrayed, shang and zhou dynasties: the bronze age of china, shoes in the costume institute, shōguns and art, shunga dynasty (ca. second–first century b.c.), sienese painting, silk textiles from safavid iran, 1501–1722, silks from ottoman turkey, silver in ancient egypt, sixteenth-century painting in emilia-romagna, sixteenth-century painting in lombardy, sixteenth-century painting in venice and the veneto, the solomon islands, south asian art and culture, southern italian vase painting, southern song dynasty (1127–1279), the spanish guitar, spiritual power in the arts of the toba batak, stained (luster-painted) glass from islamic lands, stained glass in medieval europe, still-life painting in northern europe, 1600–1800, still-life painting in southern europe, 1600–1800, the structure of photographic metaphors, students of benjamin west (1738–1820), the symposium in ancient greece, takht-i sulaiman and tilework in the ilkhanid period, talavera de puebla, tanagra figurines, tang dynasty (618–907), the technique of bronze statuary in ancient greece, techniques of decoration on arms and armor, telling time in ancient egypt, tenochtitlan, tenochtitlan: templo mayor, teotihuacan: mural painting, teotihuacan: pyramids of the sun and the moon, textile production in europe: embroidery, 1600–1800, textile production in europe: lace, 1600–1800, textile production in europe: printed, 1600–1800, textile production in europe: silk, 1600–1800, theater and amphitheater in the roman world, theater in ancient greece, theseus, hero of athens, thomas chippendale’s gentleman and cabinet-maker’s director, thomas cole (1801–1848), thomas eakins (1844–1916): painting, thomas eakins (1844–1916): photography, 1880s–90s, thomas hart benton’s america today mural, thomas sully (1783–1872) and queen victoria, tibetan arms and armor, tibetan buddhist art, tikal: sacred architecture, tikal: stone sculpture, time of day on painted athenian vases, tiraz: inscribed textiles from the early islamic period, titian (ca. 1485/90–1576), the tomb of wah, trade and commercial activity in the byzantine and early islamic middle east, trade and the spread of islam in africa, trade between arabia and the empires of rome and asia, trade between the romans and the empires of asia, trade relations among european and african nations, trade routes between europe and asia during antiquity, traditional chinese painting in the twentieth century, the transatlantic slave trade, the transformation of landscape painting in france, the trans-saharan gold trade (7th–14th century), turkmen jewelry, turquoise in ancient egypt, tutankhamun’s funeral, tutsi basketry, twentieth-century silhouette and support, the ubaid period (5500–4000 b.c.), ubirr (ca. 40,000–present), umberto boccioni (1882–1916), unfinished works in european art, ca. 1500–1900, ur: the royal graves, ur: the ziggurat, uruk: the first city, valdivia figurines, vegetal patterns in islamic art, velázquez (1599–1660), venetian color and florentine design, venice and the islamic world, 828–1797, venice and the islamic world: commercial exchange, diplomacy, and religious difference, venice in the eighteenth century, venice’s principal muslim trading partners: the mamluks, the ottomans, and the safavids, the vibrant role of mingqi in early chinese burials, the vikings (780–1100), vincent van gogh (1853–1890), vincent van gogh (1853–1890): the drawings, violin makers: nicolò amati (1596–1684) and antonio stradivari (1644–1737), visual culture of the atlantic world, vivienne westwood (born 1941) and the postmodern legacy of punk style, wadi kubbaniya (ca. 17,000–15,000 b.c.), walker evans (1903–1975), wang hui (1632–1717), warfare in ancient greece, watercolor painting in britain, 1750–1850, ways of recording african history, weddings in the italian renaissance, west asia: ancient legends, modern idioms, west asia: between tradition and modernity, west asia: postmodernism, the diaspora, and women artists, william blake (1757–1827), william henry fox talbot (1800–1877) and the invention of photography, william merritt chase (1849–1916), winslow homer (1836–1910), wisteria dining room, paris, women artists in nineteenth-century france, women china decorators, women in classical greece, women leaders in african history, 17th–19th century, women leaders in african history: ana nzinga, queen of ndongo, women leaders in african history: dona beatriz, kongo prophet, women leaders in african history: idia, first queen mother of benin, woodblock prints in the ukiyo-e style, woodcut book illustration in renaissance italy: florence in the 1490s, woodcut book illustration in renaissance italy: the first illustrated books, woodcut book illustration in renaissance italy: venice in the 1490s, woodcut book illustration in renaissance italy: venice in the sixteenth century, wordplay in twentieth-century prints, work and leisure: eighteenth-century genre painting in korea, x-ray style in arnhem land rock art, yamato-e painting, yangban: the cultural life of the joseon literati, yayoi culture (ca. 300 b.c.–300 a.d.), the year one, years leading to the iranian revolution, 1960–79, yuan dynasty (1271–1368), zen buddhism, 0 && essaysctrl.themev == 'departments / collections' && essaysctrl.deptv == null">, departments / collections '">.

Art History

What this handout is about.

This handout discusses a few common assignments found in art history courses. To help you better understand those assignments, this handout highlights key strategies for approaching and analyzing visual materials.

Writing in art history

Evaluating and writing about visual material uses many of the same analytical skills that you have learned from other fields, such as history or literature. In art history, however, you will be asked to gather your evidence from close observations of objects or images. Beyond painting, photography, and sculpture, you may be asked to write about posters, illustrations, coins, and other materials.

Even though art historians study a wide range of materials, there are a few prevalent assignments that show up throughout the field. Some of these assignments (and the writing strategies used to tackle them) are also used in other disciplines. In fact, you may use some of the approaches below to write about visual sources in classics, anthropology, and religious studies, to name a few examples.

This handout describes three basic assignment types and explains how you might approach writing for your art history class.Your assignment prompt can often be an important step in understanding your course’s approach to visual materials and meeting its specific expectations. Start by reading the prompt carefully, and see our handout on understanding assignments for some tips and tricks.

Three types of assignments are discussed below:

• Visual analysis essays
• Comparison essays
• Research papers

1. Visual analysis essays

Visual analysis essays often consist of two components. First, they include a thorough description of the selected object or image based on your observations. This description will serve as your “evidence” moving forward. Second, they include an interpretation or argument that is built on and defended by this visual evidence.

Formal analysis is one of the primary ways to develop your observations. Performing a formal analysis requires describing the “formal” qualities of the object or image that you are describing (“formal” here means “related to the form of the image,” not “fancy” or “please, wear a tuxedo”). Formal elements include everything from the overall composition to the use of line, color, and shape. This process often involves careful observations and critical questions about what you see.

Pre-writing: observations and note-taking

To assist you in this process, the chart below categorizes some of the most common formal elements. It also provides a few questions to get you thinking.

Let’s try this out with an example. You’ve been asked to write a formal analysis of the painting, George Morland’s Pigs and Piglets in a Sty , ca. 1800 (created in Britain and now in the Virginia Museum of Fine Arts in Richmond).

What do you notice when you see this image? First, you might observe that this is a painting. Next, you might ask yourself some of the following questions: what kind of paint was used, and what was it painted on? How has the artist applied the paint? What does the scene depict, and what kinds of figures (an art-historical term that generally refers to humans) or animals are present? What makes these animals similar or different? How are they arranged? What colors are used in this painting? Are there any colors that pop out or contrast with the others? What might the artist have been trying to accomplish by adding certain details?

What other questions come to mind while examining this work? What kinds of topics come up in class when you discuss paintings like this one? Consider using your class experiences as a model for your own description! This process can be lengthy, so expect to spend some time observing the artwork and brainstorming.

Here is an example of some of the notes one might take while viewing Morland’s Pigs and Piglets in a Sty :

Composition

• The animals, four pigs total, form a gently sloping mound in the center of the painting.
• The upward mound of animals contrasts with the downward curve of the wooden fence.
• The gentle light, coming from the upper-left corner, emphasizes the animals in the center. The rest of the scene is more dimly lit.
• The composition is asymmetrical but balanced. The fence is balanced by the bush on the right side of the painting, and the sow with piglets is balanced by the pig whose head rests in the trough.
• Throughout the composition, the colors are generally muted and rather limited. Yellows, greens, and pinks dominate the foreground, with dull browns and blues in the background.
• Cool colors appear in the background, and warm colors appear in the foreground, which makes the foreground more prominent.
• Large areas of white with occasional touches of soft pink focus attention on the pigs.
• The paint is applied very loosely, meaning the brushstrokes don’t describe objects with exact details but instead suggest them with broad gestures.
• The ground has few details and appears almost abstract.
• The piglets emerge from a series of broad, almost indistinct, circular strokes.
• The painting contrasts angular lines and rectangles (some vertical, some diagonal) with the circular forms of the pig.
• The negative space created from the intersection of the fence and the bush forms a wide, inverted triangle that points downward. The point directs viewers’ attention back to the pigs.

Because these observations can be difficult to notice by simply looking at a painting, art history instructors sometimes encourage students to sketch the work that they’re describing. The image below shows how a sketch can reveal important details about the composition and shapes.

Writing: developing an interpretation

Once you have your descriptive information ready, you can begin to think critically about what the information in your notes might imply. What are the effects of the formal elements? How do these elements influence your interpretation of the object?

Your interpretation does not need to be earth-shatteringly innovative, but it should put forward an argument with which someone else could reasonably disagree. In other words, you should work on developing a strong analytical thesis about the meaning, significance, or effect of the visual material that you’ve described. For more help in crafting a strong argument, see our Thesis Statements handout .

For example, based on the notes above, you might draft the following thesis statement:

In Morland’s Pigs and Piglets in a Sty, the close proximity of the pigs to each other–evident in the way Morland has overlapped the pigs’ bodies and grouped them together into a gently sloping mound–and the soft atmosphere that surrounds them hints at the tranquility of their humble farm lives.

Or, you could make an argument about one specific formal element:

In Morland’s Pigs and Piglets in a Sty, the sharp contrast between rectilinear, often vertical, shapes and circular masses focuses viewers’ attention on the pigs, who seem undisturbed by their enclosure.

Support your claims

Your thesis statement should be defended by directly referencing the formal elements of the artwork. Try writing with enough specificity that someone who has not seen the work could imagine what it looks like. If you are struggling to find a certain term, try using this online art dictionary: Tate’s Glossary of Art Terms .

Your body paragraphs should explain how the elements work together to create an overall effect. Avoid listing the elements. Instead, explain how they support your analysis.

As an example, the following body paragraph illustrates this process using Morland’s painting:

Morland achieves tranquility not only by grouping animals closely but also by using light and shadow carefully. Light streams into the foreground through an overcast sky, in effect dappling the pigs and the greenery that encircles them while cloaking much of the surrounding scene. Diffuse and soft, the light creates gentle gradations of tone across pigs’ bodies rather than sharp contrasts of highlights and shadows. By modulating the light in such subtle ways, Morland evokes a quiet, even contemplative mood that matches the restful faces of the napping pigs.

This example paragraph follows the 5-step process outlined in our handout on paragraphs . The paragraph begins by stating the main idea, in this case that the artist creates a tranquil scene through the use of light and shadow. The following two sentences provide evidence for that idea. Because art historians value sophisticated descriptions, these sentences include evocative verbs (e.g., “streams,” “dappling,” “encircles”) and adjectives (e.g., “overcast,” “diffuse,” “sharp”) to create a mental picture of the artwork in readers’ minds. The last sentence ties these observations together to make a larger point about the relationship between formal elements and subject matter.

There are usually different arguments that you could make by looking at the same image. You might even find a way to combine these statements!

Remember, however you interpret the visual material (for example, that the shapes draw viewers’ attention to the pigs), the interpretation needs to be logically supported by an observation (the contrast between rectangular and circular shapes). Once you have an argument, consider the significance of these statements. Why does it matter if this painting hints at the tranquility of farm life? Why might the artist have tried to achieve this effect? Briefly discussing why these arguments matter in your thesis can help readers understand the overall significance of your claims. This step may even lead you to delve deeper into recurring themes or topics from class.

Tread lightly

Avoid generalizing about art as a whole, and be cautious about making claims that sound like universal truths. If you find yourself about to say something like “across cultures, blue symbolizes despair,” pause to consider the statement. Would all people, everywhere, from the beginning of human history to the present agree? How do you know? If you find yourself stating that “art has meaning,” consider how you could explain what you see as the specific meaning of the artwork.

Double-check your prompt. Do you need secondary sources to write your paper? Most visual analysis essays in art history will not require secondary sources to write the paper. Rely instead on your close observation of the image or object to inform your analysis and use your knowledge from class to support your argument. Are you being asked to use the same methods to analyze objects as you would for paintings? Be sure to follow the approaches discussed in class.

Some classes may use “description,” “formal analysis” and “visual analysis” as synonyms, but others will not. Typically, a visual analysis essay may ask you to consider how form relates to the social, economic, or political context in which these visual materials were made or exhibited, whereas a formal analysis essay may ask you to make an argument solely about form itself. If your prompt does ask you to consider contextual aspects, and you don’t feel like you can address them based on knowledge from the course, consider reading the section on research papers for further guidance.

2. Comparison essays

Comparison essays often require you to follow the same general process outlined in the preceding sections. The primary difference, of course, is that they ask you to deal with more than one visual source. These assignments usually focus on how the formal elements of two artworks compare and contrast with each other. Resist the urge to turn the essay into a list of similarities and differences.

Comparison essays differ in another important way. Because they typically ask you to connect the visual materials in some way or to explain the significance of the comparison itself, they may require that you comment on the context in which the art was created or displayed.

For example, you might have been asked to write a comparative analysis of the painting discussed in the previous section, George Morland’s Pigs and Piglets in a Sty (ca. 1800), and an unknown Vicús artist’s Bottle in the Form of a Pig (ca. 200 BCE–600 CE). Both works are illustrated below.

You can begin this kind of essay with the same process of observations and note-taking outlined above for formal analysis essays. Consider using the same questions and categories to get yourself started.

Here are some questions you might ask:

• What techniques were used to create these objects?
• How does the use of color in these two works compare? Is it similar or different?
• What can you say about the composition of the sculpture? How does the artist treat certain formal elements, for example geometry? How do these elements compare to and contrast with those found in the painting?
• How do these works represent their subjects? Are they naturalistic or abstract? How do these artists create these effects? Why do these similarities and differences matter?

As our handout on comparing and contrasting suggests, you can organize these thoughts into a Venn diagram or a chart to help keep the answers to these questions distinct.

For example, some notes on these two artworks have been organized into a chart:

As you determine points of comparison, think about the themes that you have discussed in class. You might consider whether the artworks display similar topics or themes. If both artworks include the same subject matter, for example, how does that similarity contribute to the significance of the comparison? How do these artworks relate to the periods or cultures in which they were produced, and what do those relationships suggest about the comparison? The answers to these questions can typically be informed by your knowledge from class lectures. How have your instructors framed the introduction of individual works in class? What aspects of society or culture have they emphasized to explain why specific formal elements were included or excluded? Once you answer your questions, you might notice that some observations are more important than others.

Writing: developing an interpretation that considers both sources

When drafting your thesis, go beyond simply stating your topic. A statement that says “these representations of pig-like animals have some similarities and differences” doesn’t tell your reader what you will argue in your essay.

To say more, based on the notes in the chart above, you might write the following thesis statement:

Although both artworks depict pig-like animals, they rely on different methods of representing the natural world.

Now you have a place to start. Next, you can say more about your analysis. Ask yourself: “so what?” Why does it matter that these two artworks depict pig-like animals? You might want to return to your class notes at this point. Why did your instructor have you analyze these two works in particular? How does the comparison relate to what you have already discussed in class? Remember, comparison essays will typically ask you to think beyond formal analysis.

While the comparison of a similar subject matter (pig-like animals) may influence your initial argument, you may find that other points of comparison (e.g., the context in which the objects were displayed) allow you to more fully address the matter of significance. Thinking about the comparison in this way, you can write a more complex thesis that answers the “so what?” question. If your class has discussed how artists use animals to comment on their social context, for example, you might explore the symbolic importance of these pig-like animals in nineteenth-century British culture and in first-millenium Vicús culture. What political, social, or religious meanings could these objects have generated? If you find yourself needing to do outside research, look over the final section on research papers below!

Supporting paragraphs

The rest of your comparison essay should address the points raised in your thesis in an organized manner. While you could try several approaches, the two most common organizational tactics are discussing the material “subject-by-subject” and “point-by-point.”

• Subject-by-subject: Organizing the body of the paper in this way involves writing everything that you want to say about Moreland’s painting first (in a series of paragraphs) before moving on to everything about the ceramic bottle (in a series of paragraphs). Using our example, after the introduction, you could include a paragraph that discusses the positioning of the animals in Moreland’s painting, another paragraph that describes the depiction of the pigs’ surroundings, and a third explaining the role of geometry in forming the animals. You would then follow this discussion with paragraphs focused on the same topics, in the same order, for the ancient South American vessel. You could then follow this discussion with a paragraph that synthesizes all of the information and explores the significance of the comparison.
• Point-by-point: This strategy, in contrast, involves discussing a single point of comparison or contrast for both objects at the same time. For example, in a single paragraph, you could examine the use of color in both of our examples. Your next paragraph could move on to the differences in the figures’ setting or background (or lack thereof).

As our use of “pig-like” in this section indicates, titles can be misleading. Many titles are assigned by curators and collectors, in some cases years after the object was produced. While the ceramic vessel is titled Bottle in the Form of a Pig , the date and location suggest it may depict a peccary, a pig-like species indigenous to Peru. As you gather information about your objects, think critically about things like titles and dates. Who assigned the title of the work? If it was someone other than the artist, why might they have given it that title? Don’t always take information like titles and dates at face value.

Be cautious about considering contextual elements not immediately apparent from viewing the objects themselves unless you are explicitly asked to do so (try referring back to the prompt or assignment description; it will often describe the expectation of outside research). You may be able to note that the artworks were created during different periods, in different places, with different functions. Even so, avoid making broad assumptions based on those observations. While commenting on these topics may only require some inference or notes from class, if your argument demands a large amount of outside research, you may be writing a different kind of paper. If so, check out the next section!

3. Research papers

Some assignments in art history ask you to do outside research (i.e., beyond both formal analysis and lecture materials). These writing assignments may ask you to contextualize the visual materials that you are discussing, or they may ask you to explore your material through certain theoretical approaches. More specifically, you may be asked to look at the object’s relationship to ideas about identity, politics, culture, and artistic production during the period in which the work was made or displayed. All of these factors require you to synthesize scholars’ arguments about the materials that you are analyzing. In many cases, you may find little to no research on your specific object. When facing this situation, consider how you can apply scholars’ insights about related materials and the period broadly to your object to form an argument. While we cannot cover all the possibilities here, we’ll highlight a few factors that your instructor may task you with investigating.

Iconography

Papers that ask you to consider iconography may require research on the symbolic role or significance of particular symbols (gestures, objects, etc.). For example, you may need to do some research to understand how pig-like animals are typically represented by the cultural group that made this bottle, the Vicús culture. For the same paper, you would likely research other symbols, notably the bird that forms part of the bottle’s handle, to understand how they relate to one another. This process may involve figuring out how these elements are presented in other artworks and what they mean more broadly.

Artistic style and stylistic period

You may also be asked to compare your object or painting to a particular stylistic category. To determine the typical traits of a style, you may need to hit the library. For example, which period style or stylistic trend does Moreland’s Pigs and Piglets in a Sty belong to? How well does the piece “fit” that particular style? Especially for works that depict the same or similar topics, how might their different styles affect your interpretation? Assignments that ask you to consider style as a factor may require that you do some research on larger historical or cultural trends that influenced the development of a particular style.

Provenance research asks you to find out about the “life” of the object itself. This research can include the circumstances surrounding the work’s production and its later ownership. For the two works discussed in this handout, you might research where these objects were originally displayed and how they ended up in the museum collections in which they now reside. What kind of argument could you develop with this information? For example, you might begin by considering that many bottles and jars resembling the Bottle in the Form of a Pig can be found in various collections of Pre-Columbian art around the world. Where do these objects originate? Do they come from the same community or region?

Patronage study

Prompts that ask you to discuss patronage might ask you to think about how, when, where, and why the patron (the person who commissions or buys the artwork or who supports the artist) acquired the object from the artist. The assignment may ask you to comment on the artist-patron relationship, how the work fit into a broader series of commissions, and why patrons chose particular artists or even particular subjects.

Additional resources

To look up recent articles, ask your librarian about the Art Index, RILA, BHA, and Avery Index. Check out www.lib.unc.edu/art/index.html for further information!

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Adams, Laurie Schneider. 2003. Looking at Art . Upper Saddle River, NJ: Prentice Hall.

Barnet, Sylvan. 2015. A Short Guide to Writing about Art , 11th ed. Upper Saddle River, NJ: Prentice Hall.

Tate Galleries. n.d. “Art Terms.” Accessed November 1, 2020. https://www.tate.org.uk/art/art-terms .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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The Value of Art Why should we care about art?

One of the first questions raised when talking about art is simple—why should we care? Art in the contemporary era is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn't cure disease, build roads, or feed the poor. So to understand the value of art, let’s look at how art has been valued through history and consider how it is valuable today.

The value of creating

At its most basic level, the act of creating is rewarding in itself. Children draw for the joy of it before they can speak, and creating pictures, sculptures and writing is both a valuable means of communicating ideas and simply fun. Creating is instinctive in humans, for the pleasure of exercising creativity. While applied creativity is valueable in a work context, free-form creativity leads to new ideas.

Material value

Through the ages, art has often been created from valuable materials. Gold , ivory and gemstones adorn medieval crowns , and even the paints used by renaissance artists were made from rare materials like lapis lazuli , ground into pigment. These objects have creative value for their beauty and craftsmanship, but they are also intrinsically valuable because of the materials they contain.

Historical value

Artwork is a record of cultural history. Many ancient cultures are entirely lost to time except for the artworks they created, a legacy that helps us understand our human past. Even recent work can help us understand the lives and times of its creators, like the artwork of African-American artists during the Harlem Renaissance . Artwork is inextricably tied to the time and cultural context it was created in, a relationship called zeitgeist , making art a window into history.

Religious value

For religions around the world, artwork is often used to illustrate their beliefs. Depicting gods and goddesses, from Shiva to the Madonna , make the concepts of faith real to the faithful. Artwork has been believed to contain the spirits of gods or ancestors, or may be used to imbue architecture with an aura of awe and worship like the Badshahi Mosque .

Patriotic value

Art has long been a source of national pride, both as an example of the skill and dedication of a country’s artisans and as expressions of national accomplishments and history, like the Arc de Triomphe , a heroic monument honoring the soldiers who died in the Napoleonic Wars. The patriotic value of art slides into propaganda as well, used to sway the populace towards a political agenda.

Symbolic value

Art is uniquely suited to communicating ideas. Whether it’s writing or painting or sculpture, artwork can distill complex concepts into symbols that can be understood, even sometimes across language barriers and cultures. When art achieves symbolic value it can become a rallying point for a movement, like J. Howard Miller’s 1942 illustration of Rosie the Riveter, which has become an icon of feminism and women’s economic impact across the western world.

Societal value

And here’s where the rubber meets the road: when we look at our world today, we see a seemingly insurmountable wave of fear, bigotry, and hatred expressed by groups of people against anyone who is different from them. While issues of racial and gender bias, homophobia and religious intolerance run deep, and have many complex sources, much of the problem lies with a lack of empathy. When you look at another person and don't see them as human, that’s the beginning of fear, violence and war. Art is communication. And in the contemporary world, it’s often a deeply personal communication. When you create art, you share your worldview, your history, your culture and yourself with the world. Art is a window, however small, into the human struggles and stories of all people. So go see art, find art from other cultures, other religions, other orientations and perspectives. If we learn about each other, maybe we can finally see that we're all in this together. Art is a uniquely human expression of creativity. It helps us understand our past, people who are different from us, and ultimately, ourselves.

Reed Enger, "The Value of Art, Why should we care about art?," in Obelisk Art History , Published June 24, 2017; last modified November 08, 2022, http://www.arthistoryproject.com/essays/the-value-of-art/.

Basic Composition Techniques

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Categorizing Art

Can we make sense of it all?

The Principles of Design

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Department of Art History

Why Study Art History?

Art history teaches students to analyze the visual, sensual evidence to be found in diverse works of art, architecture, and design in combination with textual evidence. By honing skills of close looking, description, and the judicious use of historical sources, art history offers tools and vocabulary for interpreting the wealth of visual culture that surrounds us, as well as building a historically grounded understanding of artistic production in varied social and cultural contexts.

The major and minor in art history, as well as the minor in architectural studies, introduce students to a diversity of cultures and approaches that reflect the correspondingly global and interdisciplinary commitments of the department. Courses frequently draw upon the rich collections of the Smart Museum, the Art Institute of Chicago, the Field Museum, and other cultural institutions across the city as well as the city’s built environment in order to enhance traditional classroom experiences with the distinctive kind of object-driven learning that art history has to offer.

The unique combination of skills that art history teaches—visual analysis and its written communication—are valuable to any future career. University of Chicago art history students have gone on to work in academia, museums, art galleries, and auction houses, as well as to careers in architecture, preservation, finance, consulting, advertising, law, and medicine.

Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art.  It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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DEPARTMENT OF ART HISTORY

Why study art history.

Art history provides an excellent opportunity to develop the essential skills and talents that lie at the core of a good liberal arts education, including informed and critical reading, writing, and speaking. To these, it adds a particular attention to critical looking, building core skills in analyzing how the visual and physical qualities of buildings, images and objects can be used to communicate. In art history, we study the art and architecture of cultures around the world and across the millennia. We take a variety of approaches to our objects, but focus on understanding their aesthetic and historical significance as well as their social relevance. We ask how people make meaning in visual terms and, in turn, how we read and understand a world that is largely presented to us as visual information. Since Chicago is fortunate enough to boast a large number of world-famous museum collections and some of the world’s most extraordinary architecture, many of our classes emphasize on-site study and field trips.

With its broad historical, cultural, geographic, and methodological range, art history satisfies the expectations of burgeoning specialists while it also offers an excellent formation for those who intend to specialize in other areas. While many of our majors go on to careers in museums, galleries, arts reporting or academe, many others have successfully brought the skills honed in art history classrooms to the worlds of business, law, medicine and international relations.

History of Art and Design Essay

Introduction, people who contributed in art development, works cited.

Art and design are two concepts that have been in existence for centuries (Watson 55). Art work was mostly inspired by the issues that revolved around the community in the ancient days. Most of these issues included, economics, politics, society, culture and aesthetics.

The forms of designs were object oriented, these were interiors, crafts, fashion, textiles and product design. The current designs have been inspired by ancient works. Many current artists have been influenced by the advancement that took place in the process of modernization, but there work have basis from the past.

Design in the current practice is being used for cultural and social studies. Artists in the 19 th century did investigations on other possible ideas of artistic language like use of pictures and in particular the use of abstract forms in their work. In this, they explored the possibility of using materials and techniques that had never been manipulated before (Vlieghe 120).

This prompted them to use posters and pamphlets and developed alternative ways of exhibiting their art work. The exhibitions were done in theaters, cabarets and private galleries. A lot of changes have taken place in the world of art and many artists have also emulated some of the new procedures that have helped them work over the years to perfect their artwork.

Styles such as still life painting advanced from the use of pencils in the past to the use of colors in the present. The artist in the past believed that at some point in life their art work would come into life and be real but this could not happen since it was just a myth. Most objects that were famous in still life painting were food based such as fruits, vegetables and cutlery. People believed that a miracle would occur and the objects would attain life. Unfortunately, their belief did not come to reality.

Gerard de Lairesse

Gerald was a Dutch artist. His main works were on flowers and Christianity. The still life paintings had a form of symbolism to Gerald and other people who viewed the paintings. The Dutch people did not welcome the idea of images depicting Christianity at first but later they agreed (Vlieghe 22).

The use of still life paints to represent Christian movements was appealing to the citizens of Netherlands especially the middle class. The other form of object that was used in still life was the flowers. Netherlands was one of the largest producers of variety of flowers. He ensured he painted different species of flowers for exhibitions.

The flowers were exported to various countries. The reason for the trade on flowers was because people had viewed the flowers in the paintings and had no choice but to buy. Still life paintings of these rich horticultural produce were very nice. Gerald’s work gave much advice on the use of brushwork, color, specimen, preparation, composition, perspective and harmony.

Figure.1. Shows a painting in the 17 th century.

Vallayer Coster

Coster’s works were rich in depicting use of color which she presented in a very attractive form. Her works were due to manipulation of different colors in the hue circle. Coster’s decorations employed the use of bold decorative lines, color richness an illusionism. These were used on both artificial and natural objects.

Her paintings rated high in the business world; hence they were purchased at great numbers. Coster’s paintings stood out due to the use of attractive compositional objects and illusion representation. She later dropped the illusionism item to deal in floral paintings. Her late works employed the use of gouache and watercolor in oil paintings (Gesner 166).

Figure.2. Shows a painting in the 19 th century.

Vincent van Gogh

During the 19 th century still life painting had lost value due to the rise of studies in art. This resulted to the low rates of paintings in the hierarchy of genres. The new forms that were recognized were those that had a subject matter. Hence, the still life paintings were not recognized any more. But, this did not bring an end to the love of still life form of art. It only predisposed it to great advancement. The introduction of impressionable art work lead to the increase in the works on still life paintings.

The impressionists were majorly inspired by natural color schemes rather than parabolic expressions. They manipulated the placement of color on the hue; they were amazed by the impression caused by colors. They discovered that color, value, strength and harmony could bring out great artistic work in still life paintings.

Vincent included most of the items that he adored in his life in the paintings, for example, he included an inspirational book and a pipe in most of his paintings. His art work depicted a subject matter rather than allegorical matter. Most art works that were done afterwards included still life painting in conjunction with portrait paintings. These were mostly seen in the United States of America (Arnold 150).

Paul Cezanne

There was greater revolution in art and design especially in the 20 th century. The forms of art that seemed more innovative were total abstraction, representational art work and still life paintings. The still life paintings works in the 20th century were advanced in terms of color fillings.

Paintings had much brighter colors with multi colored backgrounds. Fauvism components exhibited the use of abstraction and pure color. The use of line, form and color was also explored by most artists. This resulted to advancement in the world of art called Cubism (Arnold 105). This explored the use of colors to bring out three dimensional art works which were so real. It was a very big step in abstract forms.

Paul really made an advancement of the traditional works by Leonard da Vinci. His work gave way to modern art work that had its origin from photographic work. Abstract forms gained fame and every artist wanted to do his or her work using features of abstract painting, expressionism and fauvism.

This kind of art work was appreciated worldwide. It majorly started spreading from America to other parts of the world. New materials in sculpture work also contributed to the revolution in art work. These materials were glass fibers and resins. This art work was famously known as post-war art. There were also art works that had adopted geometrical aspects of math. This was mostly seen in architectural works.

Figure.3. Shows a painting in the 20 th century.

Damien Hirst

The current art work is more advanced because of the dawn of the computer era. It explores the use of geometry in entirety. There is high usage of digital material in almost all current art works. This has been enabled by the development of soft ware’s that provide interfaces for use in art and graphic designs.

This has brought a new concept know as digital art (Arnold 105). More to this is the inclusion of audio, video and movements which make art more realistic than it has ever been seen before. It is easier to construct these art works just at the click of a button.

Figure.4. Shows a painting in the 21 st century.

The current artistic works have highly revolutionized. The works are more advanced and beautiful. But, one fact cannot be ignored, that is, to appreciate the truth that ancient forms of art gave way to the current works. Although one may say that those ancient art works were not good, he or she would not be right in mind. This is because the Stone Age works have acted as a blue print for the current artistic works.

Arnold, Dana. Introduction to Art History . New York: Oxford University Press, 2004. Print.

Gesner, De. Classic Painting . New York: Hyperion Press, 1951. Print.

Vlieghe, Hans. Architecture and Flemish Art . New Heaven: Yale University Press, 1998. Print.

Watson, Robert . Back to Nature: The Green and Real in Late Renaissance . Pennsylvania: University of Pennsylvania Press, 2007. Print.

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IvyPanda. (2023, December 3). History of Art and Design. https://ivypanda.com/essays/history-of-art-and-design-essay/

"History of Art and Design." IvyPanda , 3 Dec. 2023, ivypanda.com/essays/history-of-art-and-design-essay/.

IvyPanda . (2023) 'History of Art and Design'. 3 December.

IvyPanda . 2023. "History of Art and Design." December 3, 2023. https://ivypanda.com/essays/history-of-art-and-design-essay/.

1. IvyPanda . "History of Art and Design." December 3, 2023. https://ivypanda.com/essays/history-of-art-and-design-essay/.

Bibliography

IvyPanda . "History of Art and Design." December 3, 2023. https://ivypanda.com/essays/history-of-art-and-design-essay/.

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Example Of Essay On Why Is Art History Important

Type of paper: Essay

Topic: History , Education , Art , Development , Artwork , Life , Beauty , Art History

Words: 1250

Published: 03/03/2020

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I believe that the art history is important for every person, especially for the ones who deal with art to some extent. It is not important just because our ancestors made it, and we have to be familiar with our roots. It offers much more than that, and it is not just beneficial to us in terms of pleasant view – there is much more in it, which can be spotted if we look closer at the art history. In this paper, I will explain my view of the art history and understanding why it is important for me to study it. First of all, I think that all the people should study art history to learn from it some important lessons. We can find out a lot about how people lived in the past, how our civilization developed, how the views and priorities were changing. It will help us not only to be well-developed people, but also will show some problems and mistakes that were in the past and that we can avoid if we are aware of them. However, I think that it is not an easy task for a person to find these lessons in the history as it is necessary to analyze the material, distinguish some tendencies and only then make conclusions and see some important realities. If the necessary work is conducted, it is worthy of all the efforts, as it is always better to learn from someone else’s mistakes, than your own. Another important feature that art history provides to us is an opportunity for vast personal development. With the help of studying this subject, we can learn how to compare different works, analyze different details. We can indeed understand the essence of the art itself, as when comparing and viewing different pieces from various periods of time, we will see how many components art has, and in how many dimensions it is possible to perceive it. It is beneficial for many aspects of our lives, as these qualities and skills are overall useful for us. What I particularly like about art and its history, is an opportunity to find out more about myself. Thus, I can not only develop some important characteristics and skills, but also see what is important to me, get better acquainted with myself. I can see some important issues for me just by watching some artwork and analyzing my feelings to it, my perception of it. It is a great way to work on yourself and find your place in this life. I want to emphasize that art history is especially important in today’s fast-changing world. First, it can serve as an oasis of beauty and tranquility, that is usually very sought for and valued today. Second, our world today is becoming more and more visual – we can see better and better pictures around us, advertising, design, etc. It is necessary to look deeper at these artworks, as it allows us to feel more comfortable in this situation and better understand the things that are happening around us and with us. Moreover, studying art history is very interesting as it is – with all the various forms of art that existed, with the beauty and wisdom instilled in it. I am sure that even without detailed analysis of some pieces of artwork, it is interesting just to view it, hold it in hands if it is possible. It adds to the sense of belonging to our own period, to the sense that behind every one of us there is a powerful background that can help us if it noticed and studied. There are forgotten pages in the history, which are fraught with observations, animated in connection with matters of the modern art, and they deserve to be revived in the scientific reality - in fact, in its preparation, they certainly participated. Artworks from the past can seem alien to us, strange, incongruous forms, alive in colors. Meanwhile, this thing is a real vivid world of beauty. However, to understand it, the criticism, the viewer should be able to be reincarnated in some mysterious way: there is required willpower to influence imagination and feel in the environment, in which the thing appeared. Not all the people know that there is an amazing, eternal and inevitable relationship between the form and its action. These few are not engaged in criticism; they only contemplate the work of art and its study. They are well aware that beauty cannot be banal – it is always unusual. Beauty cannot be controlled otherwise, except for the risk to destroy it with utopian rules developed in a small scientist temple somewhere on the Earth. These rare lucky ones know how deeply valuable is the line, as it puts into life movement in the composition plan and puts it in its inherent colorful environment. They feel the glow of paint and its warmth. Of course, for someone who understands the form and its impact, who admires complicated life lines and feels that paint makes you think, makes you dream, and the plot has no value. Wolfflin rightly notes in this regard that to understand the Japanese pattern, you need to learn the Japanese approach to art. Art that is foreign to us, like an ancient Indian architecture, simply is not mastered by the customary view of Europeans or Americans. The matter is not in the fact, whether we find it beautiful or not, but we still must first develop a special organ, sensitive to its formal effects. But, if not for everyone understands formally Japan, China, India, the monuments of art of which our eyes accustomed to since the XVII century, the more difficult for us the perception and correct assessment of less familiar to us eastern countries. For example, the art of Siam, where the walls are covered with frescoes of Buddhist temples, like soft carpets, over windows and doorways are raised decorations in the form of pagodas or pointed hats of Cambodian rajas. Or Javanese art, monuments of which entered our everyday life art still less than thrilling sculpture of Buddhist temple in Konark of the XIII century. The same is true, for example, about the art of the old Persia: only in recent years in the West, people began to pay attention to the subtle, like the petals of a magical flower, Persian miniatures. If we translate our view from East to South Africa, we will face new difficulties for the perception of artistic works. Meanwhile, blacks Benin art, monuments that so successfully publish Frobenius and Lushan, are undoubtedly technically interesting material, in many ways more significant than Guatemala or artistic monuments of Easter Island. This black art is interesting not because it is part of European goods, for example, by Picasso - it is important for his artistic integrity: it is perfectly possible to observe not only the manifestation of a kind of archaic, but also learn basic shapes, peculiar plastic, explore tectonic laws belonging to the wooden sculpture.

Works Cited

Art History. Guide to Art History, n.d. Web. 25 May 2014. Duncan, Carol, and Alan Wallach. "The universal survey museum." Art History 3.4 (1980): 448-469. Print. Holly, Michael Ann. Panofsky and the foundations of art history. Cornell University Press, 1985. Print. Shusterman, Richard. Pragmatist aesthetics: Living beauty, rethinking art. Vol. 27. Oxford: Blackwell, 1992. Print.

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