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In painting, formalism emphasizes compositional elements such as color, line, shape, texture, and other perceptual aspects rather than content, meaning, or the historical and social context. At its extreme, formalism in art history posits that everything necessary to comprehending a work of art is contained within the work of art.
Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century. [1]
Composition can apply to any work of art, from music through writing and into photography, that is arranged using conscious thought. In the visual arts, composition is often used interchangeably with various terms such as design, form, visual ordering, or formal structure, depending on the context.
In critical analysis of the visual arts, the style of a work of art is typically treated as distinct from its iconography, which covers the subject and the content of the work, though for Jas Elsner this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".
A theory of art is intended to contrast with a definition of art. Traditionally, definitions are composed of necessary and sufficient conditions, and a single counterexample overthrows such a definition. Theorizing about art, on the other hand, is analogous to a theory of a natural phenomenon like gravity.
Content, on the other hand, refers to a work's subject matter, i.e., its meaning. [2] [3] But the terms form and content can be applied not only to art: every meaningful text has its inherent form, hence form and content appear in very diverse applications of human thought: from fine arts to even mathematics and natural sciences. Even more, the ...
Ekphrasis has also been an influence on art; for example the ekphrasis of the Shield of Achilles in Homer and other classical examples are likely to have inspired the elaborately decorated large serving dishes in silver or silver-gilt, crowded with complicated scenes in relief, that were produced in 16th century Mannerist metalwork.
The painting depicts a sailor and his companion sitting on a mooring dock surrounded by sailboats, the deep blue water of the Seine, and the town of Argenteuil on the far bank. [4]: 353 Art historians have described Argenteuil as a response to Claude Monet's depiction of similar subject matter. [1] Manet held the painting until his passing.