best art essays

By Will Fenstermaker

June 14, 2017

There has never been a time when art critics held more power than during the second half of the twentieth century. Following the Second World War, with the relocation of the world’s artistic epicenter from Paris to New York, a different kind of war was waged in the pages of magazines across the country. As part of the larger “culture wars” of the mid-century, art critics began to take on greater influence than they’d ever held before. For a time, two critics in particular—who began as friends, and remained in the same social circles for much of their lives—set the stakes of the debates surrounding the maturation of American art that would continue for decades. The ideas about art outlined by Clement Greenberg and Harold Rosenberg are still debated today, and the extent to which they were debated in the past has shaped entire movements of the arts. Below are ten works of criticism through which one can trace the mainstreaming of Clement Greenberg’s formalist theory, and how its dismantling led us into institutional critique and conceptual art today.

The American Action Painters

Harold Rosenberg

Harold Rosenberg, a poet who came to art through his involvement with the Artist’s Union and the WPA, was introduced to Jean-Paul Sartre as the “first American existentialist.” Soon, Rosenberg became a contributor to Sartre’s publication in France, for which he first drafted his influential essay. However, when Sartre supported Soviet aggression against Korea, Rosenberg brought his essay to Elaine de Kooning , then the editor of ARTnews , who ran “The American Action Painters” in December, 1952.

RELATED: What Did Harold Rosenberg Do? An Introduction to the Champion of “Action Painting”

Rosenberg’s essay on the emerging school of American Painters omitted particular names—because they’d have been unfamiliar to its original French audience—but it was nonetheless extraordinarily influential for the burgeoning scene of post-WWII American artists. Jackson Pollock claimed to be the influence of “action painting,” despite Rosenberg’s rumored lack of respect for the artist because Pollock wasn’t particularly well-read. Influenced by Marxist theory and French existentialism, Rosenberg conceives of a painting as an “arena,” in which the artist acts upon, wrestles, or otherwise engages with the canvas, in what ultimately amounts to an expressive record of a struggle. “What was to go on the canvas,” Rosenberg wrote, “was not a picture but an event.”

Notable Quote

Weak mysticism, the “Christian Science” side of the new movement, tends … toward easy painting—never so many unearned masterpieces! Works of this sort lack the dialectical tension of a genuine act, associated with risk and will. When a tube of paint is squeezed by the Absolute, the result can only be a Success. The painter need keep himself on hand solely to collect the benefits of an endless series of strokes of luck. His gesture completes itself without arousing either an opposing movement within itself nor the desire in the artist to make the act more fully his own. Satisfied with wonders that remain safely inside the canvas, the artist accepts the permanence of the commonplace and decorates it with his own daily annihilation. The result is an apocalyptic wallpaper.

‘American-Type’ Painting

Clement Greenberg

Throughout the preceding decade, Clement Greenberg, also a former poet, had established a reputation as a leftist critic through his writings with The Partisan Review —a publication run by the John Reed Club, a New York City-centered organization affiliated with the American Communist Party—and his time as an art critic with The Nation . In 1955, The Partisan Review published Greenberg’s “‘American-Type’ Painting,” in which the critic defined the now-ubiquitous term “abstract expressionism.”

RELATED: What Did Clement Greenberg Do? A Primer on the Powerful AbEx Theorist’s Key Ideas

In contrast to Rosenberg’s conception of painting as a performative act, Greenberg’s theory, influenced by Clive Bell and T. S. Eliot, was essentially a formal one—in fact, it eventually evolved into what would be called “formalism.” Greenberg argued that the evolution of painting was one of historical determinacy—that ever since the Renaissance, pictures moved toward flatness, and the painted line moved away from representation. Henri Matisse and Pablo Picasso were two of the landmarks of this view. Pollock, who exhibited his drip paintings in 1951, freeing the line from figuration, was for Greenberg the pinnacle of American Modernism, the most important artist since Picasso. (Pollock’s paintings exhibited in 1954, with which he returned to semi-representational form, were regarded by Greenberg as a regression. This lead him to adopt Barnett Newman as his new poster-boy, despite the artist’s possessing vastly different ideas on the nature of painting. For one, Greenberg mostly ignored the Biblical titles of Newman’s paintings.)

Greenberg’s formalist theories were immensely influential over the subsequent decades. Artforum in particular grew into a locus for formalist discourse, which had the early effect of providing an aesthetic toolkit divorced from politic. Certain curators of the Museum of Modern Art, particularly William Rubin, Kirk Varnedoe, and to an extent Alfred Barr are credited for steering the museum in an essentially formalist direction. Some painters, such as Frank Stella , Helen Frankenthaler , and Kenneth Noland, had even been accused of illustrating Greenberg’s theories (and those of Michael Fried, a prominent Greenbergian disciple) in attempt to embody the theory, which was restrictive in its failure to account for narrative content, figuration, identity, politics, and more. In addition, Greenberg’s theories proved well-suited for a burgeoning art market, which found connoisseurship an easy sell. (As the writer Mary McCarthy said, “You can’t hang an event on your wall.”) In fact, the dominance of the term “abstract expressionism” over “action painting,” which seemed more applicable to Pollock and Willem de Kooning than any other members of the New York School, is emblematic of the influence of formalist discourse.

The justification for the term, “abstract expressionist,” lies in the fact that most of the painters covered by it took their lead from German, Russian, or Jewish expressionism in breaking away from late Cubist abstract art. But they all started from French painting, for their fundamental sense of style from it, and still maintain some sort of continuity with it. Not least of all, they got from it their most vivid notion of an ambitious, major art, and of the general direction in which it had to go in their time.

Barbara Rose

Like many critics in the 1950s and 60s, Barbara Rose had clearly staked her allegiance to one camp or the other. She was, firmly, a formalist, and along with Fried and Rosalind Krauss is largely credited with expanding the theory beyond abstract expressionist painting. By 1965, however, Rose recognized a limitation of the theory as outlined by Greenberg—that it was reductionist and only capable of account for a certain style of painting, and not much at all in other mediums.

RELATED: The Intellectual Origins Of Minimalism

In “ABC Art,” published in Art in America where Rose was a contributing editor, Rose opens up formalism to encompass sculpture, which Greenberg was largely unable to account for. The simple idea that art moves toward flatness and abstraction leads, for Rose, into Minimalism, and “ABC Art” is often considered the first landmark essay on Minimalist art. By linking the Minimalist sculptures of artists like Donald Judd to the Russian supremacist paintings of Kasimir Malevich and readymades of Duchamp, she extends the determinist history that formalism relies on into sculpture and movements beyond abstract expressionism.

I do not agree with critic Michael Fried’s view that Duchamp, at any rate, was a failed Cubist. Rather, the inevitability of a logical evolution toward a reductive art was obvious to them already. For Malevich, the poetic Slav, this realization forced a turning inward toward an inspirational mysticism, whereas for Duchamp, the rational Frenchman, it meant a fatigue so enervating that finally the wish to paint at all was killed. Both the yearnings of Malevich’s Slavic soul and the deductions of Duchamp’s rationalist mind led both men ultimately to reject and exclude from their work many of the most cherished premises of Western art in favor of an art stripped to its bare, irreducible minimum.

How I Spent My Summer Vacation

Philip Leider

Despite the rhetorical tendency to suggest the social upheaval of the '60s ended with the actual decade, 1970 remained a year of unrest. And Artforum was still the locus of formalist criticism, which was proving increasingly unable to account for art that contributed to larger cultural movements, like Civil Rights, women’s liberation, anti-war protests, and more. (Tellingly, The Partisan Review , which birthed formalism, had by then distanced itself from its communist associations and, as an editorial body, was supportive of American Interventionism in Vietnam. Greenberg was a vocal hawk.) Subtitled “Art and Politics in Nevada, Berkeley, San Francisco, and Utah,” the editor’s note to the September 1970 issue of Artforum , written by Philip Leider, ostensibly recounts a road trip undertaken with Richard Serra and Abbie Hoffman to see Michael Heizer’s Double Negative in the Nevada desert.

RELATED: A City of Art in the Desert: Behind Michael Heizer’s Monumental Visions for Nevada

However, the essay is also an account of an onsetting disillusion with formalism, which Leider found left him woefully unequipped to process the protests that had erupted surrounding an exhibition of prints by Paul Wunderlich at the Phoenix Gallery in Berkeley. Wunderlich’s depictions of nude women were shown concurrently to an exhibition of drawings sold to raise money for Vietnamese orphans. The juxtaposition of a canonical, patriarchal form of representation and liberal posturing, to which the protestors objected, showcased the limitations of a methodology that placed the aesthetic elements of a picture plane far above the actual world in which it existed. Less than a year later, Leider stepped down as editor-in-chief and Artforum began to lose its emphasis on late Modernism.

I thought the women were probably with me—if they were, I was with them. I thought the women were picketing the show because it was reactionary art. To the women, [Piet] Mondrian must be a great revolutionary artist. Abstract art broke all of those chains thirty years ago! What is a Movement gallery showing dumb stuff like this for? But if it were just a matter of reactionary art , why would the women picket it? Why not? Women care as much about art as men do—maybe more. The question is, why weren’t the men right there with them?

Why Have There Been No Great Women Artists?

Linda Nochlin

While Artforum , in its early history, had established a reputation as a generator for formalist theory, ARTnews had followed a decidedly more Rosenberg-ian course, emphasizing art as a practice for investigating the world. The January 1971 issue of the magazine was dedicated to “Women’s Liberation, Woman Artists, and Art History” and included an iconoclastic essay by Linda Nochlin titled “Why Have There Been No Great Women Artists?”

RELATED: An Introduction to Feminist Art

Nochlin notes that it’s tempting to answer the question “why have there been no great women artists?” by listing examples of those overlooked by critical and institutional organizations (a labor that Nochlin admits has great merit). However, she notes, “by attempting to answer it, they tacitly reinforce its negative implications,” namely that women are intrinsically less capable of achieving artistic merit than men. Instead, Nochlin’s essay functions as a critique of art institutions, beginning with European salons, which were structured in such a way as to deter women from rising to the highest echelons. Nochlin’s essay is considered the beginning of modern feminist art history and a textbook example of institutional critique.

There are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cézanne, Picasso or Matisse, or even in very recent times, for de Kooning or Warhol, any more than there are black American equivalents for the same. If there actually were large numbers of “hidden” great women artists, or if there really should be different standards for women’s art as opposed to men’s—and one can’t have it both ways—then what are feminists fighting for? If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is. But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education.

Doctor, Lawyer, Indian Chief

Thomas McEvilley

One of the many extrapolations of Nochlin’s essay is that contemporary museum institutions continue to reflect the gendered and racist biases of preceding centuries by reinforcing the supremacy of specific master artists. In a 1984 Artforum review, Thomas McEvilley, a classicist new to the world of contemporary art, made the case that the Museum of Modern Art in New York served as an exclusionary temple to certain high-minded Modernists—namely, Picasso, Matisse, and Pollock—who, in fact, took many of their innovations from native cultures.

RELATED: MoMA Curator Laura Hoptman on How to Tell a Good Painting From a “Bogus” Painting

In 1984, MoMA organized a blockbuster exhibition. Curated by William Rubin and Kirk Varnedoe, both of whom were avowed formalists, “‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern” collected works by European painters like Paul Gaugin and Picasso with cultural artifacts from Zaire, arctic communities, and elsewhere. McEvilley takes aim at the “the absolutist view of formalist Modernism” in which MoMA is rooted. He argues that the removal tribal artifacts from their contexts (for example, many were ritual items intended for ceremonies, not display) and placement of them, unattributed, near works by European artists, censors the cultural contributions of non-Western civilizations in deference to an idealized European genius.

The fact that the primitive “looks like” the Modern is interpreted as validating the Modern by showing that its values are universal, while at the same time projecting it—and with it MoMA—into the future as a permanent canon. A counter view is possible: that primitivism on the contrary invalidates Modernism by showing it to be derivative and subject to external causation. At one level this show undertakes precisely to coopt that question by answering it before it has really been asked, and by burying it under a mass of information.

Please Wait By the Coatroom

Not content to let MoMA and the last vestiges of formalism off the hook yet, John Yau wrote in 1988 an essay on Wifredo Lam, a Cuban painter who lived and worked in Paris among Picasso, Matisse, Georges Braque, and others. Noting Lam’s many influences—his Afro-Cuban mother, Chinese father, and Yoruba godmother—Yau laments the placement of Lam’s The Jungle near the coatroom in the Museum of Modern Art, as opposed to within the Modernist galleries several floors above. The painting was accompanied by a brief entry written by former curator William Rubin, who, Yau argues, adopted Greenberg’s theories because they endowed him with “a connoisseur’s lens with which one can scan all art.”

RELATED: From Cuba With Love: Artist Bill Claps on the Island’s DIY Art Scene

Here, as with with McEvilley’s essay, Yau illustrates how formalism, as adapted by museum institutions, became a (perhaps unintentional) method for reinforcing the exclusionary framework that Nochlin argued excluded women and black artists for centuries.

Rubin sees in Lam only what is in his own eyes: colorless or white artists. For Lam to have achieved the status of unique individual, he would have had to successfully adapt to the conditions of imprisonment (the aesthetic standards of a fixed tradition) Rubin and others both construct and watch over. To enter this prison, which takes the alluring form of museums, art history textbooks, galleries, and magazines, an individual must suppress his cultural differences and become a colorless ghost. The bind every hybrid American artist finds themselves in is this: should they try and deal with the constantly changing polymorphous conditions effecting identity, tradition, and reality? Or should they assimilate into the mainstream art world by focusing on approved-of aesthetic issues? Lam’s response to this bind sets an important precedent. Instead of assimilating, Lam infiltrates the syntactical rules of “the exploiters” with his own specific language. He becomes, as he says, “a Trojan horse.”

Black Culture and Postmodernism

Cornel West

The opening up of cultural discourse did not mean that it immediately made room for voices of all dimensions. Cornel West notes as much in his 1989 essay “Black Culture and Postmodernism,” in which he argues that postmodernism, much like Modernism before it, remains primarily ahistorical, which makes it difficult for “oppressed peoples to exercise their opposition to hierarchies of power.” West’s position is that the proliferation of theory and criticism that accompanied the rise of postmodernism provided mechanisms by which black culture could “be conversant with and, to a degree, participants in the debate.” Without their voices, postmodernism would remain yet another exclusionary movements.

RELATED: Kerry James Marshall on Painting Blackness as a Noun Vs. Verb

As the consumption cycle of advanced multinational corporate capitalism was sped up in order to sustain the production of luxury goods, cultural production became more and more mass-commodity production. The stress here is not simply on the new and fashionable but also on the exotic and primitive. Black cultural products have historically served as a major source for European and Euro-American exotic interests—interests that issue from a healthy critique of the mechanistic, puritanical, utilitarian, and productivity aspects of modern life.

Minimalism and the Rhetoric of Power

Anna C. Chave

In recent years, formalist analysis has been deployed as a single tool within a more varied approach to art. Its methodology—that of analyzing a picture as an isolated phenomena—remains prevalent, and has its uses. Yet, many of the works and movements that rose to prominence under formalist critics and curators, in no small part because of their institutional acceptance, have since become part of the rearguard rather than the vanguard.

In a 1990 essay for Arts Magazine , Anna Chave analyzes how Minimalist sculpture possesses a “domineering, sometimes brutal rhetoric” that was aligned with “both the American military in Vietnam, and the police at home in the streets and on university campuses across the country.” In particular, Chave is concerned with the way Minimalist sculptures define themselves through a process of negation. Of particular relevance to Chave’s argument are the massive steel sculptures by Minimalist artist Richard Serra.

Tilted Arc was installed in Federal Plaza in lower Manhattan in 1981. Chave describes the work as a “mammoth, perilously tilted steel arc [that] formed a divisive barrier too tall to see over, and a protracted trip to walk around.” She writes, “it is more often the case with Serra that his work doesn’t simply exemplify aggression or domination, but acts it out.” Tilted Arc was so controversial upon its erecting that the General Services Administration, which commissioned the work, held hearings in response to petitions demanding the work be removed. Worth quoting at length, Chave writes:

A predictable defense of Serra’s work was mounted by critics, curators, dealers, collectors, and some fellow artists…. The principle arguments mustered on Serra’s behalf were old ones concerning the nature and function of the avant-garde…. What Rubin and Serra’s other supporters declined to ask is whether the sculptor really is, in the most meaningful sense of the term, an avant-garde artist. Being avant-garde implies being ahead of, outside, or against the dominant culture; proffering a vision that implicitly stands (at least when it is conceived) as a critique of entrenched forms and structures…. But Serra’s work is securely embedded within the system: when the brouhaha over Arc was at its height, he was enjoying a retrospective at the Museum of Modern Art…. [The defense’s] arguments locate Serra not with the vanguard but with the standing army or “status quo.” … More thoughtful, sensible, and eloquent testimony at the hearing came instead from some of the uncouth:

My name is Danny Katz and I work in this building as a clerk. My friend Vito told me this morning that I am a philistine. Despite that I am getting up to speak…. I don’t think this issue should be elevated into a dispute between the forces of ignorance and art, or art versus government. I really blame government less because it has long ago outgrown its human dimension. But from the artists I expected a lot more. I didn’t expect to hear them rely on the tired and dangerous reasoning that the government has made a deal, so let the rabble live with the steel because it’s a deal. That kind of mentality leads to wars. We had a deal with Vietnam. I didn’t expect to hear the arrogant position that art justifies interference with the simple joys of human activity in a plaza. It’s not a great plaza by international standards, but it is a small refuge and place of revival for people who ride to work in steel containers, work in sealed rooms, and breathe recirculated air all day. Is the purpose of art in public places to seal off a route of escape, to stress the absence of joy and hope? I can’t believe this was the artistic intention, yet to my sadness this for me has become the dominant effect of the work, and it’s all the fault of its position and location. I can accept anything in art, but I can’t accept physical assault and complete destruction of pathetic human activity. No work of art created with a contempt for ordinary humanity and without respect for the common element of human experience can be great. It will always lack dimension.

The terms Katz associated with Serra’s project include arrogance and contempt, assault, and destruction; he saw the Minimalist idiom, in other words, as continuous with the master discourse of our imperious and violent technocracy.

The End of Art

Arthur Danto

Like Greenberg, Arthur Danto was an art critic for The Nation . However, Danto was overtly critical of Greenberg’s ideology and the influence he wielded over Modern and contemporary art. Nor was he a follower of Harold Rosenberg, though they shared influences, among them the phenomenologist Maurice Merleau-Ponty. Danto’s chief contribution to contemporary art was his advancing of Pop Artists, particularly Andy Warhol and Roy Lichtenstein .

In “The End of Art” Danto argues that society at large determines and accepts art, which no longer progresses linearly, categorized by movements. Instead, viewers each possess a theory or two, which they use to interpret works, and art institutions are largely tasked with developing, testing, and modifying various interpretive methods. In this way, art differs little from philosophy. After decades of infighting regarding the proper way to interpret works of art, Danto essentially sanctioned each approach and the institutions that gave rise to them. He came to call this “pluralism.”

RELATED: What Was the Pictures Generation?

Similarly, in “Painting, Politics, and Post-Historical Art,” Danto makes the case for an armistice between formalism and the various theories that arose in opposition, noting that postmodern critics like Douglas Crimp in the 1980s, who positioned themselves against formalism, nonetheless adopted the same constrictive air, minus the revolutionary beginnings.

Modernist critical practice was out of phase with what was happening in the art world itself in the late 60s and through the 1970s. It remained the basis for most critical practice, especially on the part of the curatoriat, and the art-history professoriat as well, to the degree that it descended to criticism. It became the language of the museum panel, the catalog essay, the article in the art periodical. It was a daunting paradigm, and it was the counterpart in discourse to the “broadening of taste” which reduced art of all cultures and times to its formalist skeleton, and thus, as I phrased it, transformed every museum into a Museum of Modern Art, whatever that museum’s contents. It was the stable of the docent’s gallery talk and the art appreciation course—and it was replaced, not totally but massively, by the postmodernist discourse that was imported from Paris in the late 70s, in the texts of Michel Foucault, Jacques Derrida, Jean Baudrillard, Jean-François Lyotard, and Jacques Lacan, and of the French feminists Hélène Cixous and Luce Irigaray. That is the discourse [Douglas] Crimp internalizes, and it came to be lingua artspeak everywhere. Like modernist discourse, it applied to everything, so that there was room for deconstructive and “archeological” discussion of art of every period.

Editor’s Note: This list was drawn in part from a 2014 seminar taught by Debra Bricker Balken in the MFA program in Art Writing at the School of Visual Arts titled Critical Strategies: Late Modernism/Postmodernism. Additional sources can be found here , here , here (paywall), and here . Also relevant are reviews of the 2008 exhibition at the Jewish Museum, “Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976,” notably those by Roberta Smith , Peter Schjeldahl , and Martha Schwendener .

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The 10 Essays That Changed Art Criticism Forever

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Essays About Art: Top 5 Examples and 9 Prompts

Essays about art inspire beauty and creativity; see our top essay picks and prompts to aid you.

Art is an umbrella term for various activities that use human imagination and talents. 

The products from these activities incite powerful feelings as artists convey their ideas, expertise, and experience through art. Examples of art include painting, sculpture, photography, literature, installations, dance, and music.

Art is also a significant part of human history. We learn a lot from the arts regarding what living in a period is like, what events influenced the elements in the artwork, and what led to art’s progress to today.

To help you create an excellent essay about art, we prepared five examples that you can look at:

1. Why Have There Been No Great Women Artists? by Linda Nochlin

2. what is art by writer faith, 3. my art taught me… by christine nishiyama, 4. animals and art by ron padgett, 5. the value of art by anonymous on arthistoryproject.com, 1. art that i won’t forget, 2. unconventional arts, 3. art: past and present, 4. my life as an artist, 5. art histories of different cultures, 6. comparing two art pieces, 7. create a reflection essay on a work of art, 8. conduct a visual analysis of an artwork, 9. art period or artist history.

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class, and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education–education understood to include everything that happens to us from the moment we enter this world…”

Nochlin goes in-depth to point out women’s part in art history. She focuses on unjust opportunities presented to women compared to their male peers, labeling it the “Woman Problem.” This problem demands a reinterpretation of the situation’s nature and the need for radical change. She persuades women to see themselves as equal subjects deserving of comparable achievements men receive.

Throughout her essay, she delves into the institutional barriers that prevented women from reaching the heights of famous male art icons.

“Art is the use of skill and imagination in the creation of aesthetic objects that can be shared with others. It involves the arranging of elements in a way that appeals to the senses or emotions and acts as a means of communication with the viewer as it represents the thoughts of the artist.”

The author defines art as a medium to connect with others and an action. She focuses on Jamaican art and the feelings it invokes. She introduces Osmond Watson, whose philosophy includes uplifting the masses and making people aware of their beauty – he explains one of his works, “Peace and Love.” 

“But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle. My art has taught me to accept where I am today… My art has taught me that whatever marks I make on the page are good enough… My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.”

Nishiyama starts her essay by describing how writing makes her feel. She feels pressured to create something “great” after her maternity leave, causing her to struggle. She says she pens essays to process her experiences as an artist and human, learning alongside the reader. She ends her piece by acknowledging her feelings and using her art to accept them.

“I was saying that sometimes I feel sorry for wild animals, out there in the dark, looking for something to eat while in fear of being eaten. And they have no ballet companies or art museums. Animals of course are not aware of their lack of cultural activities, and therefore do not regret their absence.”

Padgett recounts telling his wife how he thinks it’s unfortunate for animals not to have cultural activities, therefore, can’t appreciate art. He shares the genetic mapping of humans being 99% chimpanzees and is curious about the 1% that makes him human and lets him treasure art. His essay piques readers’ minds, making them interested in how art elevates human life through summoning admiration from lines and colors.

“One of the first questions raised when talking about art is simple — why should we care? Art, especially 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.”

Because art can easily be dismissed as a pastime, the author lists why it’s precious. It includes exercising creativity, materials used, historical connection, and religious value. 

Check out our best essay checkers to ensure you have a top-notch essay.

9 Prompts on Essays About Art

After knowing more about art, below are easy prompts you can use for your art essay:

Is there an art piece that caught your attention because of its origin? First, talk about it and briefly summarize its backstory in your essay. Then, explain why it’s something that made an impact on you. For example, you can write about the Mona Lisa and her mysterious smile – or is she smiling? You can also put theories on what could have happened while Leonardo da Vinci painted the Mona Lisa.

Rather than focusing on mainstream arts like ballet and painting, focus your essay on unconventional art or something that defies usual pieces, such as avant-garde art. Then, share what you think of this type of art and measure it against other mediums.

How did art change over the centuries? Explain the differences between ancient and modern art and include the factors that resulted in these changes.

Are you an artist? Share your creative process and objectives if you draw, sing, dance, etc. How do you plan to be better at your craft? What is your ultimate goal?

To do this prompt, pick two countries or cultures with contrasting art styles. A great example is Chinese versus European arts. Center your essay on a category, such as landscape paintings. Tell your readers the different elements these cultures consider. What is the basis of their art? What influences their art during that specific period?

Like the previous prompt, write an essay about similar pieces, such as books, folktales, or paintings. You can also compare original and remake versions of movies, broadway musicals, etc.

Pick a piece you want to know more about, then share what you learned through your essay. What did the art make you feel? If you followed creating art, like pottery, write about the step-by-step process, from clay to glazing.

Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay.

Since art is a broad topic, you can narrow your research by choosing only the most significant moments in art history. For instance, if you pick English art, you can divide each art period by century or by a king’s ruling time. You can also select an artist and discuss their pieces, their art’s backstory, and how it relates to their life at the time.

If you are interested in learning more, check out our essay writing tips !

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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Beyond the Mainstream: Essays on Modern and Contemporary Art

Abstract:  This selection of essays by a prominent art historian, critic and curator of modern art examines the art and artists of the twentieth century who have operated outside the established art world. In a lucid and accessible style, Peter Selz explores modern art as it is reflected, and has had an impact on, the tremendous transformations of politics and culture, both in the United States and in Europe. An authoritative overview of a neglected phenomenon, his essays explore the complex relationship between art at the periphery and art at the putative center, and how marginal art has affected that of the mainstream. Author:  Peter Selz Publication date:  January 28, 1998 Publication type:  Book

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Critics’ Picks

Best Art Books of 2022

Holland Cotter, Jason Farago and Roberta Smith round up their favorite books, from museum catalogs of high-profile shows to photographs by Native artists to the treasures of Ukraine.

By Jason Farago ,  Holland Cotter and Roberta Smith

Lots of NFT art collections nose-dived in this year’s crypto crash, but a well-stocked library will never lose its value. Museums, galleries and art institutions have not yet lost faith in high-quality print publications in this screened-out century, and even as venues for cultural debate keep shrinking — pour one out for Bookforum , the lively art-adjacent book review that shuttered this week — art publishing remains in fine fettle, with more titles every year than even the most committed bibliomaniac could peruse. My fellow critics and I have selected here some of the best we read in 2022: splashy or studious, affordable or investment-grade, all of them worthy of a space on your shelves. — JASON FARAGO

Jason Farago

Saving Cultures Amid Transformation

‘dare to know: prints and drawings in the age of enlightenment’.

It was the “stay woke” of its day: Sapere aude , “dare to know,” a Latin motto that Immanuel Kant raised to a moral command. This dense and very handsome overview of 18th-century European graphic arts (the catalog of a show on view at Harvard through Jan. 15) takes the form of a dictionary whose 26 chapters, from Antiquities to Zealotry, cast a sharp new glare on the Enlightenment’s transformations in science, economics, religion and liberty. Anatomical studies face off with satires of quack doctors, watercolors of erupting volcanoes with cross-sections of slave ships; and if Enlightenment reason is found somewhat wanting, its philosophers also furnish us tools for its own critique. ( Harvard Art Museums / Yale University Press )

‘Treasures of Ukraine: A Nation’s Cultural Heritage’

This urgent new title introduces us to more than 100 buildings and art objects, from prehistory to the Baroque era to the bomb-shelter present, in the nation we now finally see as the heart of Europe. With chapters on Orthodox icons and Catholic cathedrals, Soviet avant-gardism and nationalist folk crafts, this book illustrates a culture whose very diversity now puts it in danger — and indeed some works pictured, such as stone statues near Kharkiv dating from the 9th to 13th century, have already been destroyed. The Ukraine war is a culture war, and these are the stakes. All proceeds from the book’s sale are being donated to PEN Ukraine. ( Thames & Hudson )

‘Recaptioning Congo’

The curator and Rutgers professor Sandrine Colard organized one of the most ambitious shows I saw this year, at Antwerp’s photography museum: an excavation of photographs from Congo under Belgian colonial rule , by Europeans and Africans, as propaganda and as free expression. The trilingual catalog is even more expansive, and unfolds rare amateur photo magazines, 1930s studio portraiture, missionary and ethnographic documentation, and also wrenching but important photos of colonial atrocities (framed here with uncommon care). A talented slate of African writers, including the novelists In Koli Jean Bofane and Annie Lulu , offers crucial readings. ( Fotomuseum Antwerp / Lannoo )

‘On Bramante’

Is there any application today of Renaissance classicism to our glutted cities, anything the architect of St. Peter’s Basilica can teach builders of condos and duty-free concessions? Pier Paolo Tamburelli, an architect and editor of the now defunct cult magazine San Rocco , insists in this spirited treatise that Donato Bramante’s spatial innovations can propel a new practice of “architecture as public art.” Strange, sometimes flippant, as conversant with Rem Koolhaas as with Pope Leo X, this book is a rare effort to rethink our present deadlocks through historical models — and its ironic Neo-Classicism is beautifully buttressed by Bas Princen’s spare photographs of Bramante nerve centers: Milan’s Santa Maria delle Grazie , where Leonardo painted “The Last Supper,” or the cloisters of Rome’s Santa Maria della Pace. ( MIT Press )

‘In the Name of the Image: Figurative Representation in Islamic and Christian Cultures’

So much of this century’s fanaticism and insularity has rested on a stubborn error about art and religion: Christians like pictures, Muslims don’t. The far richer truth is that the world’s two largest religions both have long histories of creating images and destroying them — as detailed in this learned book, the catalog for a major show I saw last spring at the Museum Rietberg in Zurich. Looking at Byzantine coins, Persian miniatures, and images of Jesus and Muhammad both preserved and scratched out, Axel Langer and a dozen other scholars dissolve the clean Occident-Orient opposition inherited from the 19th century, and reveal how iconophilia and iconophobia go hand in hand. ( Hatje Cantz )

Holland Cotter

Serendipitous Pairs and Single Masterworks

‘speaking with light: contemporary indigenous photography’.

One of the year’s singular beauties was this catalog accompanying an exhibition at the Amon Carter Museum of American Art, Fort Worth (through Jan. 22). The earliest pictures here, dating from the 19th century and taken of Indigenous North Americans by non-Native photographers, emphasize exoticism, controllable otherness. The richly varied work of 20th- and 21st-century Native artists who make up the bulk of the book, edited by John Rohrbach and Will Wilson, moves beyond constricting categories and has the power of poetry. ( Radius Books )

‘Geles Cabrera: Museo Escultórico’

Now 96 and sometimes referred to as Mexico’s “first female sculptor,” for half a century Geles Cabrera produced small-scale, semiabstract cast and carved female forms and displayed them in her own custom-built garden-museum. For a compact career survey, Americas Society created a mini-version of that museum and published a tiny takeaway souvenir catalog that distills the essence of a treasurable artist’s life and work. ( Americas Society/ISLAA (Institute for Studies on Latin American Art )

‘Smokehouse Associates’

For a few years, beginning in 1968, four young New York artists — William T. Williams, Melvin Edwards, Guy Ciarcia and Billy Rose — turned Harlem into abstract art heaven. Calling themselves Smokehouse Associates, they painted neighborhood walls with brilliantly colored abstract murals and enlisted local residents in the creative team. This book, by Eric Booker, was produced by the Studio Museum in Harlem, which came into being at this time (Williams was instrumental in its founding too). It wonderfully catches the energy, in interviews with the original artists and through a generous sheaf of photographs of empty lots being cleaned, walls being prepped, kids playing and pitching in, and artists doing their totally wow-inspiring thing. ( Studio Museum in Harlem ; distributed by Yale University Press )

‘Simone Martini in Orvieto’

The first English-language publication in 30 years devoted to the resplendent 14th-century Tuscan painter focuses on a single altarpiece owned by the Isabella Stewart Gardner Museum in Boston and spins interlocking narratives around it: about the artist himself, about the Umbrian city for which he made important work, about the genre of gold-ground painting he perfected, and about the path that brought the altarpiece to Boston, where it is the centerpiece of an exhibition through Jan. 16. Edited by Nathaniel Silver. ( Yale University Press )

‘Códice Maya de México: Understanding the Oldest Surviving Book of the Americas’

The Gardner publication reads like an adventure story, and so does another study of a single work, this one from the Getty Center in Los Angeles and edited by Andrew D. Turner. The Códice Maya de México, an illustrated book in the form of a paper scroll painted by an unknown Mayan artist around 1100 A.D., remains mysterious in its precise meanings, celestial and earthly. Historians writing in the Getty catalog offer fascinating theories on both. And thanks to a foldout insert, we get to peruse the Codex itself, which is as visually inventive as any graphic novel you’ll ever see. ( Getty Publications)

‘Art in the After-Culture: Capitalist Crisis & Cultural Strategy’

When future art historians seek perspectives on our era of billion-dollar auctions, carbon-footprint art fairs, and market-driven diversity, this collection of essays by the American critic Ben Davis is a text they’ll consult. An alert data hoarder, a shrewd analyst, and a propulsive stylist, Davis views the hot-air balloon called the art world in a broad political context. He writes with the coolness of a sociologist, the passion of someone with a horse in the race, and the smarts to avoid both cheerleading and snootiness. ( Haymarket Books )

‘Beautiful, Gruesome and True: Artists at Work in the Face of War’

While Davis’s restricts his beat primarily to the United States, Kaelen Wilson-Goldie’s trim, tough book takes a global view of current art by focusing on politically minded artists living elsewhere: Amar Kanwar in India, Teresa Margolles in Mexico, and a collective called Abounaddara in Syria. They are among the most persistently daring artists we have, and Wilson-Goldie tells us why. ( Columbia Global Reports )

‘New York: 1962-1964’

Designed to match the physical dimensions of old-time Life magazines, “New York: 1962-1964” is the catalog for a fabulous Jewish Museum exhibition on new American art and culture in the early 1960s, which the museum did much to promote at the time. Even more than the exhibition itself (through Jan. 8), the book, conceived and edited by Germano Celant, is a packed time capsule, one that includes a detailed timeline of three fire-starting years of public violence, disobedience and liberation. With blast-from-the-past (and echoes-in-the-present) images on every page, it has the pull of a fast-paced documentary film. ( The Jewish Museum / Skira )

‘Just Above Midtown: Changing Spaces’

Comparably engaging is the catalog for the Museum of Modern Art’s stellar survey “Just Above Midtown: Changing Spaces” (through Feb. 18), which chronicles a piece of cultural history from a decade later: the brilliant 12-year run of the first Black-owned commercial art space to gate-crash New York’s white art world. Just Above Midtown opened its doors in 1974 and kept them open, on a shoestring budget, for 12 years, giving debut shows to extraordinary artists in the process. The book captures the JAM vibe, and its lead essay by Thomas (T.) Jean Lax, one of the MoMA show’s curators, that gets my vote as best of the year. ( Museum of Modern Art / The Studio Museum in Harlem ).

‘This Must Be the Place: An Oral History of Latin American Artists in New York, 1965-1975’

Finally, rounding out the saga of a city, and an art world, in the process of inclusionary transformation, I found a page-turner in another Americas Society book, the catalog for the exhibition “This Must Be the Place: Latin American Artists in New York, 1965-1975.” It’s a chronicle of young artists who migrated north to the city to visit or to stay; who mingled — or didn’t — with Latino artists already here; and who, by being here, permanently changed what “art” and “American” meant. ( Americas Society/ISLAA (Institute for Studies on Latin American Art. )

ROBERTA SMITH

From Louise Bourgeois to Planet Lace

‘threads of power: lace from the textilmuseum st. gallen’.

It turns out that some books can, indeed, be judged by their covers: Their exterior beauty can signal an interior of visual and textual pleasures. So it is with the handsomely proportioned, lace-embossed exterior of “Threads of Power: Lace From the Textilmuseum St. Gallen” at the Bard Graduate Center (through Jan. 1).

Inside, the history of Lace is told in about 17 highly focused essays that cover a great deal of cultural, political and economic as well as lace-making history without being overwhelming. It’s a big ongoing saga, made newly comprehensible here with the latest research, clear prose and lots of pictures. ( Bard Graduate Center, New York; distributed by Yale University Press )

‘Letters to Gwen John’

This marvel of interwoven narratives hinges on imaginary letters written by a living painter, Celia Paul (born 1959), to an admired deceased one, the Welsh painter Gwen John (1876-1939). Their common ground includes reticent, largely figure painting styles; formative but damaging relationships with difficult older artists (Rodin and Lucian Freud, respectively); and the embrace of solitude as essential to art making, in part because of the domination of male artists. Paul reaches out to John to examine her own life, art, relationships and her work habits, creating a portrait within a self-portrait, flanked by memorable sketches of their feckless lovers. ( New York Review Books )

‘Women Holding Things’

Over the years, Maira Kalman has used her talent for writing and painting in different ways — most often in illustrated books. But rarely has she combined them with such complex resonances as in her latest, “Women Holding Things.” The book’s 85 images — many of them based on appropriated material — constitute a large exhibition; they continue Kalman’s droll evocations of the School of Paris heated up with intensely contemporary reds, magentas and olive greens. With them and their various captions and texts, she pays homage to the people known for holding things together, and includes a few men as well. Depicting relatives, cultural heroes and invented women, Kalman’s images encompass both everyday pleasures and incomprehensible loss, always affirming art’s sustaining grace. ( Harper Design, distributed by HarperCollins Publishers )

‘Louise Bourgeois Paintings’

The catalog “Louise Bourgeois Paintings,” and the revelatory exhibition of the same name at the Metropolitan Museum of Art, are the first of their kind. Together, they introduced 50 examples of the artist’s 100 or so almost entirely unknown paintings. Evincing a singularly personal Surrealism and quantities of red, these works were made between 1938, when Bourgeois first arrived in New York, and 1949, when she turned to her sculpture career. Both show and catalog were overseen by Clare Davies, associate curator in the Met’s department of modern and contemporary art, who has commissioned an insightful essay from the art historian Briony Fer. But there’s another bonus: Beyond the paintings in the show, the catalog reproduces around 25 more, meaning that three-quarters of Bourgeois’s contribution to modern painting can now be seen in one place. ( Metropolitan Museum of Art, New York )

An earlier version of this article misidentified the Italian artist Simone Martini’s region of origin. He was Tuscan, not Umbrian.

How we handle corrections

Jason Farago , critic at large for The Times, writes about art and culture in the U.S. and abroad. In 2022 he was awarded one of the inaugural Silvers-Dudley Prizes for criticism and journalism. More about Jason Farago

Holland Cotter is the co-chief art critic of The Times. He writes on a wide range of art, old and new, and he has made extended trips to Africa and China. He was awarded the Pulitzer Prize for criticism in 2009. More about Holland Cotter

Roberta Smith , the co-chief art critic, regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad. Her special areas of interest include ceramics textiles, folk and outsider art, design and video art. More about Roberta Smith

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.

• All Periods
• All Regions
• Departments / Collections

Ottoman Wedding Dresses, East to West

The Feathered Serpent Pyramid and Ciudadela of Teotihuacan (ca. 150–250 CE)

Teotihuacan (ca. 100 BCE–800 CE)

Stone Masks and Figurines from Northwest Argentina (500 BCE–650 CE)

Maria Monaci Gallenga (1880–1944)

All essays (1056), abraham and david roentgen, abstract expressionism, the achaemenid persian empire (550–330 b.c.), adélaïde labille-guiard (1749–1803), the aesthetic of the sketch in nineteenth-century france, african christianity in ethiopia, african christianity in kongo, african influences in modern art, african lost-wax casting, african rock art, african rock art of the central zone, african rock art of the northern zone, african rock art of the southern zone, african rock art: game pass, african rock art: tassili-n-ajjer (8000 b.c.–), african rock art: the coldstream stone, africans in ancient greek art, afro-portuguese ivories, the age of iron in west africa, the age of saint louis (1226–1270), the age of süleyman “the magnificent” (r. 1520–1566), the akkadian period (ca. 2350–2150 b.c.), albrecht dürer (1471–1528), alexander jackson davis (1803–1892), alfred stieglitz (1864–1946) and american photography, alfred stieglitz (1864–1946) and his circle, alice cordelia morse (1863–1961), allegories of the four continents, the amarna letters, america comes of age: 1876–1900, american bronze casting, american federal-era period rooms, american furniture, 1620–1730: the seventeenth-century and william and mary styles, american furniture, 1730–1790: queen anne and chippendale styles, american georgian interiors (mid-eighteenth-century period rooms), american impressionism, american ingenuity: sportswear, 1930s–1970s, american needlework in the eighteenth century, american neoclassical sculptors abroad, american portrait miniatures of the eighteenth century, american portrait miniatures of the nineteenth century, american quilts and coverlets, american relief sculpture, american revival styles, 1840–76, american rococo, american scenes of everyday life, 1840–1910, american sculpture at the world’s columbian exposition, chicago, 1893, american silver vessels for wine, beer, and punch, american women sculptors, americans in paris, 1860–1900, amulets and talismans from the islamic world, anatomy in the renaissance, ancient american jade, ancient egyptian amulets, ancient greek bronze vessels, ancient greek colonization and trade and their influence on greek art, ancient greek dress, ancient maya painted ceramics, ancient maya sculpture, ancient near eastern openwork bronzes, andean textiles, animals in ancient near eastern art, animals in medieval art, ann lowe (ca. 1898–1981), annibale carracci (1560–1609), anselm kiefer (born 1945), antelopes and queens: bambara sculpture from the western sudan: a groundbreaking exhibition at the museum of primitive art, new york, 1960, antique engraved gems and renaissance collectors, antoine watteau (1684–1721), antonello da messina (ca. 1430–1479), the antonine dynasty (138–193), antonio canova (1757–1822), apollo 11 (ca. 25,500–23,500 b.c.) and wonderwerk (ca. 8000 b.c.) cave stones, architectural models from the ancient americas, architecture in ancient greece, architecture in renaissance italy, architecture, furniture, and silver from colonial dutch america, archtop guitars and mandolins, arms and armor in medieval europe, arms and armor in renaissance europe, arms and armor—common misconceptions and frequently asked questions, art and craft in archaic sparta, art and death in medieval byzantium, art and death in the middle ages, art and identity in the british north american colonies, 1700–1776, art and love in the italian renaissance, art and nationalism in twentieth-century turkey, art and photography: 1990s to the present, art and photography: the 1980s, art and society of the new republic, 1776–1800, art and the fulani/fulbe people, art for the christian liturgy in the middle ages, art nouveau, the art of classical greece (ca. 480–323 b.c.), the art of ivory and gold in northern europe around 1000 a.d., the art of the abbasid period (750–1258), the art of the almoravid and almohad periods (ca. 1062–1269), art of the asante kingdom, the art of the ayyubid period (ca. 1171–1260), the art of the book in the ilkhanid period, the art of the book in the middle ages, art of the edo period (1615–1868), the art of the fatimid period (909–1171), art of the first cities in the third millennium b.c., art of the hellenistic age and the hellenistic tradition, the art of the ilkhanid period (1256–1353), art of the korean renaissance, 1400–1600, the art of the mamluk period (1250–1517), the art of the mughals after 1600, the art of the mughals before 1600, the art of the nasrid period (1232–1492), the art of the ottomans after 1600, the art of the ottomans before 1600, art of the pleasure quarters and the ukiyo-e style, art of the roman provinces, 1–500 a.d., the art of the safavids before 1600, the art of the seljuq period in anatolia (1081–1307), the art of the seljuqs of iran (ca. 1040–1157), art of the seventeenth and eighteenth centuries in naples, art of the sufis, the art of the timurid period (ca. 1370–1507), the art of the umayyad period (661–750), the art of the umayyad period in spain (711–1031), art, architecture, and the city in the reign of amenhotep iv / akhenaten (ca. 1353–1336 b.c.), the art, form, and function of gilt bronze in the french interior, arthur dove (1880–1946), an artisan’s tomb in new kingdom egypt, artistic interaction among cultures in medieval iberia, artists of the saqqakhana movement, the arts and crafts movement in america, the arts of iran, 1600–1800, arts of power associations in west africa, the arts of the book in the islamic world, 1600–1800, arts of the greater himalayas: kashmir, tibet, and nepal, arts of the mission schools in mexico, arts of the san people in nomansland, arts of the spanish americas, 1550–1850, asante royal funerary arts, asante textile arts, the ashcan school, asher brown durand (1796–1886), assyria, 1365–609 b.c., the assyrian sculpture court, astronomy and astrology in the medieval islamic world, asuka and nara periods (538–794), athenian vase painting: black- and red-figure techniques, athletics in ancient greece, augustan rule (27 b.c.–14 a.d.), the augustan villa at boscotrecase, auguste renoir (1841–1919), auguste rodin (1840–1917), augustus saint-gaudens (1848–1907), aztec stone sculpture, the bamana ségou state, barbarians and romans, the barbizon school: french painters of nature, baroque rome, baseball cards in the jefferson r. burdick collection, bashford dean and the development of helmets and body armor during world war i, baths and bathing culture in the middle east: the hammam, the bauhaus, 1919–1933, benin chronology, bessie potter vonnoh (1872–1955), birds of the andes, birth and family in the italian renaissance, the birth and infancy of christ in italian painting, the birth of islam, blackwater draw (ca. 9500–3000 b.c.), blackwork: a new technique in the field of ornament prints (ca. 1585–1635), blown glass from islamic lands, board games from ancient egypt and the near east, body/landscape: photography and the reconfiguration of the sculptural object, the book of hours: a medieval bestseller, boscoreale: frescoes from the villa of p. fannius synistor, botanical imagery in european painting, bronze sculpture in the renaissance, bronze statuettes of the american west, 1850–1915, buddhism and buddhist art, building stories: contextualizing architecture at the cloisters, burgundian netherlands: court life and patronage, burgundian netherlands: private life, byzantine art under islam, the byzantine city of amorium, byzantine ivories, the byzantine state under justinian i (justinian the great), byzantium (ca. 330–1453), calligraphy in islamic art, cameo appearances, candace wheeler (1827–1923), capac hucha as an inca assemblage, caravaggio (michelangelo merisi) (1571–1610) and his followers, carolingian art, carpets from the islamic world, 1600–1800, cave sculpture from the karawari, ceramic technology in the seljuq period: stonepaste in syria and iran in the eleventh century, ceramic technology in the seljuq period: stonepaste in syria and iran in the twelfth and early thirteenth centuries, ceramics in the french renaissance, cerro sechín, cerro sechín: stone sculpture, the cesnola collection at the metropolitan museum of art, charles eames (1907–1978) and ray eames (1913–1988), charles frederick worth (1825–1895) and the house of worth, charles james (1906–1978), charles sheeler (1883–1965), chauvet cave (ca. 30,000 b.c.), childe hassam (1859–1935), chinese buddhist sculpture, chinese calligraphy, chinese cloisonné, chinese gardens and collectors’ rocks, chinese handscrolls, chinese hardstone carvings, chinese painting, the chiton, peplos, and himation in modern dress, the chopine, christian dior (1905–1957), christopher dresser (1834–1904), classical antiquity in the middle ages, classical art and modern dress, classical cyprus (ca. 480–ca. 310 b.c.), classicism in modern dress, claude lorrain (1604/5–1682), claude monet (1840–1926), coffee, tea, and chocolate in early colonial america, collecting for the kunstkammer, colonial kero cups, colossal temples of the roman near east, commedia dell’arte, company painting in nineteenth-century india, conceptual art and photography, constantinople after 1261, contemporary deconstructions of classical dress, contexts for the display of statues in classical antiquity, cosmic buddhas in the himalayas, costume in the metropolitan museum of art, the countess da castiglione, courtly art of the ilkhanids, courtship and betrothal in the italian renaissance, cristobal balenciaga (1895–1972), the croome court tapestry room, worcestershire, the crucifixion and passion of christ in italian painting, the crusades (1095–1291), the cult of the virgin mary in the middle ages, cut and engraved glass from islamic lands, cyprus—island of copper, daguerre (1787–1851) and the invention of photography, the daguerreian age in france: 1839–55, the daguerreian era and early american photography on paper, 1839–60, the damascus room, daniel chester french (1850–1931), daoism and daoist art, david octavius hill (1802–1870) and robert adamson (1821–1848), death, burial, and the afterlife in ancient greece, the decoration of arms and armor, the decoration of european armor, the decoration of tibetan arms and armor, design reform, design, 1900–1925, design, 1925–50, design, 1950–75, design, 1975–2000, the development of the recorder, direct versus indirect casting of small bronzes in the italian renaissance, divination and senufo sculpture in west africa, domenichino (1581–1641), domestic art in renaissance italy, donatello (ca. 1386–1466), drawing in the middle ages, dress rehearsal: the origins of the costume institute, dressing for the cocktail hour, dualism in andean art, duncan phyfe (1770–1854) and charles-honoré lannuier (1779–1819), dutch and flemish artists in rome, 1500–1600, eagles after the american revolution, early cycladic art and culture, early documentary photography, early dynastic sculpture, 2900–2350 b.c., early excavations in assyria, early histories of photography in west africa (1860–1910), early maori wood carvings, early modernists and indian traditions, early netherlandish painting, early photographers of the american west: 1860s–70s, early qur’ans (8th–early 13th century), east and west: chinese export porcelain, east asian cultural exchange in tiger and dragon paintings, easter island, eastern religions in the roman world, ebla in the third millennium b.c., edgar degas (1834–1917): bronze sculpture, edgar degas (1834–1917): painting and drawing, edo-period japanese porcelain, édouard baldus (1813–1889), édouard manet (1832–1883), edward hopper (1882–1967), edward j. steichen (1879–1973): the photo-secession years, edward lycett (1833–1910), egypt in the late period (ca. 664–332 b.c.), egypt in the middle kingdom (ca. 2030–1650 b.c.), egypt in the new kingdom (ca. 1550–1070 b.c.), egypt in the old kingdom (ca. 2649–2130 b.c.), egypt in the ptolemaic period, egypt in the third intermediate period (ca. 1070–664 b.c.), egyptian 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 Essay Examples

Art Essay Examples to Get You Inspired - Top 10 Samples

Published on: May 4, 2023

Last updated on: Jan 30, 2024

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Are you struggling to come up with ideas for your art essay? Or are you looking for examples to help guide you in the right direction? 

Look no further, as we have got you covered!

In this blog, we provide a range of art writing examples that cover different art forms, time periods, and themes. Whether you're interested in the classics or contemporary art, we have something for everyone. These examples offer insight into how to structure your essay, analyze art pieces, and write compelling arguments.

So, let's explore our collection of art essay examples and take the first step toward becoming a better art writer!

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Good Art Essay Examples

In the following section, we will examine a selection of art essay examples that are inspiring for various academic levels.

College Art Essay Examples

Let’s take a look at college art essay examples below:  

The Intersection of Art and Politics: An Analysis of Picasso's Guernica

The Role of Nature in American Art: A Comparative Study

University Art Essay Examples

University-level art essay assignments often differ in length and complexity. Here are two examples:

Gender and Identity in Contemporary Art: A Comparative Study

Art and Activism: The Role of Street Art in Political Movements

A Level Art Essay Examples

Below are some art paper examples A level. Check out: 

The Use Of Color In Wassily Kandinsky's Composition Viii

The Influence of African Art on Pablo Picasso's Les Demoiselles D'avignon

A Level Fine Art Essay Examples

If you're a student of fine arts, these A-level fine arts examples can serve as inspiration for your own work.

The Use Of Texture In Vincent Van Gogh's Starry Night

Exploring Identity Through Portraiture: A Comparative Study

Art Essay Examples IELTS 

The Impact of Art on Mental Health

The Effects of Technology on Art And Creativity

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AP Art Essay Examples

A Comparison of Neoclassical and Romantic Art

An Examination Of The Effects Of Globalization On Contemporary Art

Types of Art Essay with Examples

Art essays can be categorized into different types. Let's take a brief look at these types with examples:

Art Criticism Essay : A critical essay analyzing and evaluating an artwork, its elements, and its meaning.

The Persistence of Memory" by Salvador Dali: A Critical Analysis

Art History Essay: A comprehensive essay that examines the historical context, development, and significance of an artwork or art movement.

The Renaissance: A Rebirth of Artistic Expression

Exhibition Review: A review of an art exhibition that evaluates the quality and significance of the artwork on display.

A Review of the Metropolitan Museum of Art's Exhibition

Contemporary Art Essay: An essay that explores and analyzes contemporary art and its cultural and social context.

The Intersection of Technology and Art in Contemporary Society

Modern Art Essay: An essay that examines modern art and its significance in the development of modernism.

Cubism and its Influence on Modern Art [insert pdf]

Art Theory Essay: An essay that analyzes and critiques various theories and approaches to art.

Feminist Art Theory: A Critical Analysis of its Impact on Contemporary Art [insert pdf]

Additional Art Essay Example

Let’s take a brief look at some added art essay samples:

Artwork Essay Example

Artist Essay Example

Advanced Higher Art Essay Example

Common Art Essay Prompts

Here are some common art essay topics that you may encounter during your coursework:

• Describe a piece of artwork that has inspired you.
• A comparative analysis of Leonardo da Vinci's Mona Lisa and Michelangelo's David.
• Analyze the cultural significance of a particular art movement.
• Discuss the relationship between art and politics.
• Compare and contrast two works of art from different time periods or cultures.
• The representation of identity in art
• The Evolution of Artists' Paintings:
• From Traditional to Contemporary Art
• The representation of identity in Frida Kahlo's self-portraits.
• The significance of oil on canvas in the history of art.
• The significance of the Mona Lisa in the Italian Renaissance

Art Essay Topics IELTS

Here are some art essay topics for IELTS students. Take a look: 

• The value of art education.
• The role of museums in preserving art and culture.
• The impact of globalization on contemporary art.
• The influence of technology on art and artists.
• The significance of public art in urban environments.

Tips For Writing a Successful Art Essay

Here are some tips for writing a stand-out art essay:

• Develop a clear thesis statement that guides your essay: Your thesis statement should clearly and concisely state the main argument of your essay.
• Conduct thorough research and analysis of the artwork you are writing about : This includes examining the visual elements of the artwork, researching the artist, and considering the historical significance.
• Use formal and precise language to discuss the artwork: Avoid using colloquial language and instead focus on using formal language to describe the artwork.
• Include specific examples from the artwork to support your arguments: Use specific details from the artwork to back up your analysis.
• Avoid personal bias and subjective language: Your essay should be objective and avoid using personal opinions or subjective language.
• Consider the historical and cultural context of the artwork: Analyze the artwork in the context of the time period and cultural context in which they were created.
• Edit and proofread your essay carefully before submitting it: Ensure your essay is well-organized, coherent, and free of grammatical errors and typos.
• Use proper citation format when referencing sources: Follow the appropriate citation style guidelines and give credit to all sources used in your essay.
• Be concise and focused in your writing: Stick to your main thesis statement and avoid going off-topic or including irrelevant information.
• Read your essay aloud to ensure clarity and coherence: Reading your essay out loud can help you identify inconsistencies or any other mistakes.

The Bottom Line!

We hope that the art essay examples we've explored have provided you with inspiration for your own essay. Art offers endless possibilities for analysis, and your essay is a chance to showcase your unique opinions.

Use these examples as a guide to craft an essay that reflects your personality while demonstrating your knowledge of the subject.

Short on time? Let CollegeEssay.org help you! All you have to do is to ask our experts, " write college essay for me " and they'll help you secure top grades in college.

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How to Write an Essay on Art: Topic Ideas and Best Art Centers In Africa

As we’ve stated before, we will provide you with all the information you might need to master crafting a good art essay, but before we can dive into what are the most interesting art topics you can use for your paper, it’s important to review the basics.

This is why we’ll cover the definition of what an art essay is, how to write it, and some examples you can use as reference.

What Is Art Essay 

Art essays are essays that essentially analyze bodies of artwork, be it a painting, a musical piece, a book, Japanese calligraphy, or even a work of architecture. It’s an essay about art, and what makes the whole of this work of art. Interpretation, keen observation, and research are all needed to produce a decent essay about art.

Analysis can range from the visuals to the aesthetics, to the time period it was created in. But how do all of these elements work? That’s what the analysis will convey in words. Later on in this guide, we’re going to go through all the potential topics which could arise. 

How To Write An Art Essay?

Most essays fall into a certain category and have a standard outline of how they’re written, this includes art essays. When it comes to writing an art essay, it’s important to remember that no matter what the topic is, the outline of how the essay will be written normally stays the same. 

No need to worry. In the following paragraphs, we will be showing you art essay introduction examples, examples in general, and many valuable tips. Use this information to craft an excellent essay on art, whether it’s a short essay on art or a long one. 

Let’s start with the outline, then we’ll be moving on to the different types of art essays, and we’ll be looking over tips on how to improve your writing.

Art Essay Outline

The standard outline for this type of essay is: 

• Introduction: Strong art essay examples have an introduction that clearly conveys the position of the writer. It should have a hook that grabs the reader’s attention, declare what the essay will convey as a whole, and have a thesis statement in the last sentence of the introduction. Some students place the thesis statement in the first line of the main body, which is appropriate as well. 
• Main Body: The paragraphs in the main body should support and convey what has already been stated in the introduction. The points should be analyzed extensively in the paragraphs, and they should be organized in a coherent fashion. Don’t go off-topic.
• Conclusion: This part should repeat the claim in the thesis statement and back it up with some final supporting arguments. It should be concise and short, and it shouldn’t present any new ideas. It should help the reader rethink and review what he just read. It is the final front to convince the reader why your point should be taken seriously.

This is simple and common enough to follow, and if you’ve written an essay before, this outline should be familiar to you already.

Essay On Art Types

Art essays analyze works of art, but the way in which the topics will be handled have certain differences. It’s not really dependent on the topic of your essay. It can be primitive art, horror art, political cartoon, European art, Asian art, Mayan art, Middle-Age art, a dive into the renaissance era or the lives of influential artists, comparison of various art movements; you name it. But it’s more about how you talk about it than what you’re talking about. Here are the most common types: 

Argumentative: Proving a point by backing up with credible arguments. Example: “Are video games a modern form of art?”.

Cause and Effect: An essay that highlights a cause and then extensively analyzes and highlights its effects. Example: “What sparked the era of the Renaissance in the art world?”.

Compare and Contrast: This one is pretty self-explanatory. An essay on art which is a compare and contrast type, will draw comparisons on two elements. Example: “Compare contemporary architecture to ancient architecture”. 

Example Of Art Critique Essay

Here is an example from specialists.

Tips On How To Write Art Essay

You don’t necessarily have to be a college student with a design major or go to art school to be able to write about world art. Lacking an art education is in no way a disqualifying factor from talking about, say, art's influence on academic writing, ancient Egyptian art, Muslim art, or even Chinese circus art. An essay about art does not simply describe the artwork in question. It needs to analyze in-depth and satisfy the requirements of the writing task. It’s also important to be sure that the sources you’re using are credible. Don’t forget to reference and cite them throughout your essay when it’s needed. 

Lastly, when stuck on a topic, it helps to ask questions to yourself. Consider the following: 

• In your perspective, what did the creator want to convey through his work?
• What impression does it leave on you personally? 
• Does the creator use certain symbols and images that provoke certain emotions or is the artwork vague? 
• What is the mood of the piece? 
• When was it created, and what possible external factors might have influenced its creation? 

Asking yourself relevant questions like the ones above will definitely provide a sense of clarity.

Art Essay Example

Here is a template for you on "Art Analysis of Mona Lisa":

Quotes On Art To Write Essay

What is a good quote about art? Well, there are actually many of them lingering on the internet from artists and prodigies from the past and the present. They touch on virtually every art style and can help you define art topics better if you build them around those. For those who feel uninspired, perhaps refreshing your perspective by reading these quotes will spark the fire once more. 

On that note, if you’re a fan of the arts and want to have more time indulging yourself in that world, then you might want help with your homework.

Here are some quotes that will make you think twice: 

• “Art is a collaboration between God and the artist, and the less the artist does, the better” (André Gide)
• “Art enables us to find ourselves and lose ourselves at the same time” (Thomas Merton) 
• “Art should comfort the disturbed and disturb the comfortable” (Banksy)

Art Essay Topics To Write On

If you are looking for options and ideas on what you should write about in your essay, then keep reading because we’re going to be looking at the plethora of topics you can choose from in the following paragraphs. We’re giving you plenty of options. This will help you find a topic that is ideal and won’t be too boring or uninteresting to work with.

Topics On Different Epochs

The epochs, or "Epoque" in french, speak of the different eras of art’s timeline. From the Renaissance up till now, there are numerous epochs with different trends. That’s why you won’t run out of topic ideas if you choose to write about one of the epochs. Here are some easy-to-get-into topics on the different art epochs for your essay: 

• Compare Baroque to Renaissance
• The Beauty of Rococo
• The Emergence of Art Nouveau 
• Compare Contemporary Art to Abstract Expressionism 
• The Lasting Influence of Futurism 
• The Era of Symbolism 

And if you want to look at more options simply type in "art timeline" on your search engine, since there are many remaining epochs that are intriguing and worthwhile.

Art: Compare And Contrast Topics

Compare and contrast essays are pretty straightforward, but perhaps you’re still conflicted as to what topic you should be using. Here are some solid topic ideas for compare and contrast essays: 

• Compare Realism and Naturalism 
• Compare Gothic and Romanesque 
• What are the differences and similarities between the Dada movement and the postmodern movement? 
• Compare Art Deco and Art Nouveau 
• Compare Pop art and Pop Surrealism
• Compare Roman Mythology and Greek Mythology 
• Compare the artwork of Ancient India and China
• What are the differences between the Renaissance and the Neoclassicism works of art?
• Romanticism vs. Impressionism 
• Cubism vs. Dadaism 
• Surrealism vs. Abstract Expressionism 
• Minimalism vs. Contemporary Art 

The goal of the essay is to find the differences in both elements, but it is also important to include the similarities between the two since this adds more depth to your analysis than only including the differences. 

Art Therapy Topics Ideas

Art therapy is the merging of the fields of psychotherapy and art and is used to help individuals improve their cognitive brain functions. It is also used to help self-awareness and self-esteem and to decrease stress levels. Art therapy is quite an interesting topic to write about, but if you’re feeling stuck, then here are some fresh ideas on what you can write about: 

• The Art Therapy Industry
• Art Therapy for Trauma Survivors
• Art Therapy for Children and Families
• The Positive Impact of Art Therapy
• The Benefits of Art Therapy For Your Psyche
• Art Therapy and The Elderly
• Art Therapy to Reduce Stress Levels And Find Inner Peace
• Techniques Used in Art Therapy 

Consider the options stated above and choose one for your essay topics about art. This particular field should be quite interesting for students who are intrigued by human psychology and the art world and might prove fulfilling to research.

Art History Topics

Art history is the study of visual culture, from paintings to sculptures, and architecture. Additionally, art history provides us with the complex story of human history and civilization through the study of these artworks and designs. Art history covers everything, starting from prehistoric art all the way to contemporary.

If you’re going to write an art essay, chances are that you’re already enrolled in an art history class. Here are some interesting art history topics to consider: 

• The Secrets of The Mona Lisa 
• Leonardo Da Vinci’s Works
• Occult Art In Ancient Religion
• Hermetic Art 
• Medieval Art 
• Megalithic Sites 
• The Ancient Pyramids of Egypt 
• Easter Island’s Heads
• The Techniques Used in Renaissance Art 
• The Emergence of Realism 
• Christian Art 

Choose one of the topics above if you’ve found an ideal subject to cover and if you haven’t you can still use one of our ideas to make a practice essay. Practicing your writing before handing in the essay will surely help your grades. Look at our art essay example for more clarity.

Argumentative Essay Topics On Art

If you want to prove an argument and your point through sharp analysis and by showing credible proof of your claims, then write an argumentative essay on art. There is a lot to be said and covered but for those who have no ideas on what topic they should write about in their argumentative essay, then let’s look at some:

• Money Laundering Through Art
• Why Contemporary Art Feels Soulless compared to earlier epochs
• Is the art world too rigid?
• Do art schools kill individuality? 
• The importance of the existence of art 
• How art reflects society’s current conditions 

Choose what to do with our art argumentative topics, and keep on reading since we will present an example of an art analysis essay at the end of this guide. 

Cause And Effect Topics: Art

Cause and effect essays are exactly what they sound like. It’s an art essay about an event. Students will write extensively about the cause of the event, and its long-term and short-term effects. There are many major happenings in art history that can be referenced for a cause-and-effect essay. However, for those who are struggling to come up with ideas, let’s take a look at some of ours: 

• Why were the world fairs destroyed right after being built? 
• What sparked the Renaissance movement? 
• What sparked the period of Romanticism?
• How did WWI affect artists and their artwork?
• How did WWII affect artists and their artwork? 
• How has religious doctrine affected the artwork of its culture? 
• How has art evolved in modern times? 
• Why is there such a stark difference between ancient architecture to modern architecture? 
• What caused the emergence of pop art? 

Artists’ Bio Topics

Writing about artists’ bios is essential to having a complete understanding of the artwork and the artist. Their motives and life story will always have a great impact on their work, therefore it can be interesting to write an essay about their lives. Here are some ideas:

• Leonardo da Vinci
• Donato di Niccolò di Betto Bardic
• Raffaello Sanzio da Urbino
• Michelangelo di Lodovico Buonarroti Simoni
• Francois Boucher
• Jean-Antoine Watteau
• Jean-Honoré Fragonard
• Kazimir Malevich 
• Pablo Picasso 
• Piet Mondrian 
• Frida Kahlo 
• Jackson Pollock 
• Georgia O'Keeffe
• Salvador Dali 
• Jorge Luis Borges
• Isabel Allende
• Nobel Laureate Gabriel García Márquez
• Cindy Sherman 
• Liu Xiaodong 
• Cecily Brown 
• Miquel Barcelo 
• Takashi Murakami 
• Günther Förg
• Luo Zhongli 
• Pierre Albert-Birot 
• Guillaume Apollinaire 
• Louis Aragon 
• Alice Bailly 
• Johannes Baader 
• Johannes Theodor Baargeld
• Claude Monet
• Berthe Morisot
• Camille Pissarro
• Alfred Sisley
• Auguste Renoir
• Mary Cassatt and Edgar Degas

Explore Diverse and Rich East African Art

The diversity of East African art history is mirrored in the people and cultures that make up the continent. Examining the richness and vibrancy of East African culture art will provide you with countless ideas for your next art essay. African art contains an incredible range of items, mediums, and subjects, from the complex cave art of South Africa's Cederberg Mountains to the abstract masks of several ethnic groups. 

For Western observers, one startling feature of African art may be how unlike it is to historical paintings created in the European Renaissance style, which strongly focuses on vanishing-point vision and a certain kind of naturalistic portrayal.

In the same way, traditional African art center East should be studied independently for the themes and motifs that run across much of it, such as creating objects and costumes for ceremonial and religious use.

To give you some ideas, you can consider the following topic ideas on East African arts and crafts from our essay writer :

• The Development and History of Traditional Crafts in East Africa Over Time
• Natural Materials Used in East African Arts and Crafts
• The Contribution of Art and Craft to East African Cultural Traditions
• The Impact of East African Art and Craft on Modern Fashion and Interior Design
• The Effect of Tourism on the Arts and Crafts Sector in East Africa

And if you'd rather have a PRO craft you an uncontested paper, then ask us - ' write my essay for me ,' and we'll take care of it right away.

4 Best East African Art Gallery Centers

You could now be driven to research the history of East African art making and base your essay on this fascinating culture. However, we have yet to supply you with additional information that you will find beneficial in furthering your understanding of African art and craft. Let's now explore a few of the most noteworthy East African art centers, such as museums and galleries, that have a major role in advancing this field in the region.

Zeitz Museum of Contemporary Art Africa, Cape Town, South Africa

In 2017, Cape Town welcomed the opening of the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA). It is the largest museum in the world devoted to modern African art and its diaspora, created by the highly regarded London-based Heatherwick Studio.

What's important is that Zeitz MOCAA supports and advances the careers of African artists by giving them a venue to display their work and interact with viewers. The museum also sponsors initiatives that allow artists to expand their networks and gain new skills.

The museum has also significantly boosted the local economy by luring visitors and generating employment in the cultural sector. The Zeitz MOCAA Foundation also supports cultural organizations and initiatives across Africa, which furthers the growth not only of South African art but the overall continent's cultural sector.

Circle Art Gallery, Nairobi, Kenya

Established in 2012 in Nairobi, Kenya, Circle promotes modern East African art. They want to develop a robust and long-lasting art market for East African artists by assisting and promoting the most cutting-edge and fascinating artists working in the area. 

This East African art gallery has enhanced exposure for renowned and young artists, both abroad and domestically, through group and solo exhibits as well as involvement with international art events. 

They are creating a solid and persistent market for East African artists by collaborating closely with local, nationwide, and foreign investors and curators. They are constantly modifying their programming and improving existing web platforms to keep showcasing insightful and tough contemporary art from East Africa.

Zoma Museum, Addis Ababa, Ethiopia

The Zoma Museum, a distinctive establishment honoring famous East African art, architecture, and culture, is situated in Addis Ababa, Ethiopia. Utilizing green building methods and materials, the museum's design itself places a strong emphasis on sustainability. The structure has solar power and rainwater collection elements that decrease energy use and carbon impact. The museum is an example of environmentally friendly building techniques and encourages environmental awareness.

This African art center East also strives to promote and conserve Ethiopia's rich cultural legacy while giving up-and-coming artists a place to display their creations. Additionally, the Zoma Museum Foundation contributes to local development initiatives, providing clean water and healthcare services.

The museum is a gathering place for intellectuals, artists, and fans of the arts, allowing them to interact and share knowledge. The museum's activities and displays foster intercultural awareness and understanding while highlighting Ethiopia's rich creative legacy worldwide.

Murumbi African Heritage Collection, Nairobi, Kenya

African art pieces, antiquities, and publications that make up the Murumbi African Heritage Collection were put together by Joseph and Sheila Murumbi, two influential figures in Kenya's political and cultural history. 

The significance of this collection lies in the fact that it safeguards African cultural heritage. Many of the items in the collection are rare and priceless representations of significant times in history and cultural customs. In order to prevent their loss or destruction, the collection acts as a depository for these priceless items.

For academics, students, and the general public, the Murumbi Collection also offers priceless educational materials. The collection consists of books, images, and other items that shed light on Kenyan history and politics, as well as the art and culture of Africa as a whole.

If you've discovered a whole new passion for researching vibrant East African art making and wishing - 'I prefer to ask someone to write my essay on this amazing culture,' contact us for immediate assistance.

Art Analysis Essay Example

Here is an example of an art analysis essay from our professional writers. Check the one on "The Critique of Dali’s The Persistence of Memory":

Dali's use of color for everything else besides the three clocks and the ghostly figure is dark and heavy. On the other hand, the colors he uses for the central figures are very light. This naturally leads our eye to them, and it could be conveying that these figures are the dream-like elements that always appear in surrealist works of art.

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165 Artists Essay Topics & Examples

In case you’re writing about contemporary artists or art history, we have a whole lot of interesting ideas for you! Our experts have collected visual art essay topics and examples right below.

🏆 Best Art Essay Topics & Examples

⭐ interesting art topics to write about, 📑 good research topics about art, 📌 simple visual art essay topics, 👍 good artists & art essay topics, ❓ art essay questions.

• Artist’s Role in Society: Cultures, Traditions, Ideas, and Moral Responsibilities These artists support the best national ideas and traditions in order to make every society successful. Artists can “encourage their followers to support the best activities and decisions in the society”.
• Revolutionary Art in America: Society and Artists This paper will highlight the purpose of revolutionary art in the society and at the same time discuss how revolutionary art has affected art and artists in America.
• Responsibility of Artists to Address Social Problems in Their Work In light of the significant power that art and by extension artists hold, there arises the question of whether artists have a responsibility to address social problems through their works.
• Art and Society: Goals and Duties of Artists Therefore, it can be asserted that one of the roles of art is to preserve the cultural trait and heritage of a community or society. This is both to the user of the artistic material […]
• The Challenges Emerging Artists Are Facing in Emerging Art Scenes The Flemish art period between the fifteenth and seventeenth centuries involved significant and dynamic events in the historical mark in the field of artistry.
• “The Eco Artists Turning Trash Into Treasure” by Webster It is interesting to see how artists can convey the message and bring awareness to the environmental impact of the modern human lifestyle, which generates large amounts of waste and pollution.
• Leonardo da Vinci – Artist, Scientist, Inventor The painting “The Amo Valley” also portrayed some of the best artistic styles. This talent made it easier for Leonardo da Vinci to produce the best paintings.
• How and Why Do Advertisers Use Specific Works of Art or Artists to Sell Their Products? The role of the art in the adverts is to give an image to the company and its products. In all the artistic values, the most comprehensive is space as it is a combination of […]
• Art History: A Close Study of a Chinese Artist Cai Guo-Qiang His unique skills in artwork have led to the advancement of his signature in most events. His inspiration has ensured that he remains in the limelight in most of his solo works.
• The Job of the Artist Is to Always Deepen the Mystery Among a variety of definitions of art, it is possible to say that it is one of the forms of education, and artists become the best educators who use their skills and experience.
• Pablo Picasso, Jackson Pollock: The Revolutionary Modern Artists The essay addresses the contribution of these famous artists to their particular art movements and in general, the world of art.
• Principles of Design in Female Artists’ Works Displayed in the Louvre In Peace Bringing Back Abundance, the level of precision while showing the figures is less intense than in the other painting, which creates a sense of lightness and sanctity.
• Optical Illusion: Technique to Artist and Designer The main aim of this paper is to reveal how optical illusion fascinates and deceives as influenced by art and design spearheaded by artists and designers of the modern day.
• Photography: An Artist Statement In the first image, I arranged the details in the composition to guide the observer through the place I captured by the camera. With the help of the play of the light and shadow, I […]
• The Rise of Virtuoso Artists in the 18th Century While it is true that ornamentation played a very important role in the early baroque music performance and that it was instrumental to the early sociento style of music, there is no denying fact that […]
• Women Writers and Artists About Social Problems The uniqueness of Mary Cassatt’s style is that she depicts the natural desires and values of women, women, and their hopes.
• Great Women Artists in the World History The first overreaching cause of the absence of great female artist throughout history was the subjugated position of women as a gender in the majority of societies.
• Social Media and Female Artist Representation Such a project has been facilitated by the emergence of new media, characterized by the emergence of both the internet and social media.
• Illustrators Artists and Designers They have indeed been a great influence in my interest to art and design and have greatly contributed to the economic growth, political and social enhancement of their nations.
• Arabic Calligraphy and Contemporary Artists Arabic calligraphy is a form of art involving the use of the Arabic language and alphabet. In the old town of Jeddah, for instance, artists have blended Arabic calligraphy with graffiti to create calligraffiti.
• Edward Ruscha, an American Artist Ruscha was born in 1937 in Omaha, the largest city in Nebraska, and is currently based in Culver City, California. In 1969, Ruscha also worked as a guest professor of art at the University of […]
• Pre-Raphaelite Artists The Pre-Raphaelites artists opted to go back to the aspects of art that involved copious details, complex compositions of Italian and Flemish art, in addition to the use of intense colors.
• Modernist Art: Pablo Picasso and Umberto Boccioni Early 20th-century European culture, which was characterized by a growing interest in the avant-garde and a rejection of conventional art forms, fostered the success of both artists, due to the fact that their experimentation and […]
• Jiro Takamatsu, a Japanese Artist In “The Temperature of the Sculpture,” Takamatsu may have used the materials and tools available to him to express this change in Japanese society.
• The Determinants of Self-Employment for Artists Working in the free art market has advantages: diversity is encouraged, and the artist is not limited to just painting and sketching.
• The Discussion of Women Artists For the situation to change, it is important to talk more about artists the heroines of the past, their contemporaries, and their heritage.
• Salvador Dali: Artist in the Area of Surrealism Art Salvador Dali was among the most prominent artists in the area of surrealism art. It “balances a rational vision of life with one that asserts the power of the unconscious and dreams”.
• Artists Peter Paul Rubens and Katharina Grosse Exemplified by the works of Peter Paul Rubens and Katharina Grosse, artworks have transitioned from the Flemish Baroque to the Gagosian style, where an artist enjoys the interplay of architecture, sculpture, and painting.
• Primavera 2021: Young Australian Artists Exhibition It identifies itself with the goals of the Aboriginal population of the country and engages in activities to support their cultural heritage. The institution is also on the frontline to showcase a number of activities […]
• Ron English: The Famous Graffiti Artist This paper explores and analyses the aspects of graffiti – a form of painting and the work of one of the most famous and talented graffiti artists.
• The Appearance of an Artist The musician’s wardrobe also influences the perception of performance, and it is important for performers not only of popular music, but also of classical music.
• Ai Weiwei as a Contemporary Art Artist The meaning of human rights and the destiny of the Chinese people are of primary significance for the artist, so many of his works reflect the issues that Weiwei recognizes and wants to eliminate.
• Jean Michel Basquiat and Zainul Abedin as Outstanding Artists The artist’s imagination gives the paintings a magical realism that reflects the actual situations in the world and the spirit of the time the master lived.
• Paul Benny’s Work: Artist Presentation Paul Benney’s artwork mainly deals with painting of people’s portraits. The themes of his work touch on issues embraced daily.
• An Analysis of Two Works by Digital Artists: Smith and Cutts This artwork is summoned to stress the peaceful nature of the protests and to show the inadequate response on the part of the authorities.
• David Hockney: The Pop Artist and His Works The “Day Pool with 3 Blues” is a picture of extreme simplicity, and it is necessary to mention, that the advantage of this particular canvass is the feelings, that arise when the picture is viewed.
• An Artist-Entrepreneur’s Lean Startup Therefore, in the case of Sikander, the first key factor in ensuring the success of her project’s business model is having a stable customer base.
• DaWangGang Artist: Exploring Music Interculturalism This paper discusses the role and the place of the Chinese musical band Dawanggang in the world that is still defined by the tension between the Occident and Orient.
• The Legacy of Artemisia Gentileschi: One of the Greatest Female Artists of the 16th-17th Centuries During her active years, Gentileschi had to face a great deal of adversity and social resistance, which was not unusual for driven and ambitious women of her era.
• “The Smoking Plant” Project: Artist Statement It is the case when the art is used to pass the important message to the observer. The live cigarette may symbolize the smokers while the plant is used to denote those who do not […]
• Romanticism. Artists Associated With the Movement Art dealt mostly with issues of motive and realism while other forms of art dealt with the darkness of the community on one hand and its magnificence on the other.
• Leonardo Da Vinci – The Greatest Artist of Renaissance In the modern day, Leonardo da Vinci is considered by many to be the greatest artist and possibly even the greatest person of all time. The greatness of Leonardo is evidenced by the description of […]
• Juan Luis Guerra a Dominican Artist Also, he is predominantly linked with the popular Dominican music genre known as bachata, though partly true, he exploits the elementals of bachata tempo with elements of bolero in his works. The impact of his […]
• Artist Willem de Kooning and Critic Harold Rosenberg the Language and Concepts The kind of art the artists in this movement did put America on the international stage and dimmed the light for Paris, which had been the center of art in the world.
• Marcelle Ferron and Celine Dion: Canadian Artists Moreso she learnt to be strong and fought for the rights of women and was straight forward in her approaches about life.
• Crossover Artists in the 1970s However, if analyze the peculiarities of each style, it is quite easy to find out the difference and be amazed of how rich and wonderful the world of music is.
• Colonialism in the Work of Some Artists In the second half of the past century, the American art world shattered the traditional views on the tradition to passively depict the objects.
• The Usefulness of Social Art History: Artists and Periods in History In trying to understand the role or relevance of social art in art and design analysis, a particular artist that has been the subject of this debate was Andy Warhol.
• Artist-Promotion Relation: Commercialization and Art Through Orlean’s article, the artist-promotion relation, in addition to being a commercially successful marketing move, it could be sensed that the author views this relationship as a step of closing the gap between the art […]
• Origin and History of Salsa Music, Greatest Artists It is important to note that the youth loves and have interest in music than adults and this is why salsa was heavily affected.
• Tetsumi Kudo Artist and His Artwork “Your Portrait” Artists express their feelings and emotions, their points of view on different events in the past, their views of the future with the help of art.
• Andy Warhol: An American Pop-Artist In the process of describing the creative process of Andy Warhol it is evident how closely the word ‘Genius’ is intertwined with their creativity.
• European Baroque: Artists, Features, Ideas The style of Baroque was spread all over the European continent in different expressions of art from 1590 and until the beginning of the eighteenth century. Many outstanding artists are representing the style and epoch […]
• Angony Rising: Melbourne Native Artist His art is popular because of the way that he is able to reveal his experience through the bold figures and forms of primitive art.
• Analysis of Creative Process of Notable Artists In addition, Parody was a fundamental constituent of Bach’s creative process, and the Lutheran Masses are excellent illustrations of that process.
• Canadian Artists: Emily Carr and Jack Bush My opponents may argue that this is a way of self-expression but in this case, the expressive means are very limited and narrow.
• Studies in Contemporary Art and Artists The paper is claimed to review some of the most known contemporary artists, and define the particularities, that may be regarded as mnemonic traces of their arts.
• The Origins of Poetry of Famous Americans Artists Realizing this is the origin of his own poems, Whitman may have extrapolated this concept to all poets in the above statement, suggesting that the origin of all poems is in the lives of the […]
• Artist Bibliography on Elizabeth Catlett Although she went to the university to study printing she has stated in her earlier interviews that she changed to painting because of the influence of James A Porter.
• Tracey Moffatt: Australian Artist Her photography masterpieces are permanently included in the collections of the Tate Gallery in London and the Museum of Modern Art in New York.
• Langston Hughes: Artist Impact Analysis Once this is allowed to happen, Hughes is sure that the brilliance, creativity and spirit of his people will be recognized for the beautiful substance it has as will the contributions the black race has […]
• Frida: The Biography of The Legendary Mexican Artist The plot revolves around two prominent events in Frida’s life – the trolley car accident in 1929 that breaks her back and dooms her to a life of excruciating pain, and her marriage to Diego […]
• Jenny Holzer as a Contemporary Artist Although she lives and works in New York, her work is known throughout the country for its biting reflections on political issues of the day, coupled with her blatant attempt to involve the average consumer […]
• Early Childhood Memories Impact on Artists’ Journey The reason for childhood memories to have such profound importance for the development of one’s artistic style and attributes can be explained by the acquisition of the executive function that occurs during early childhood.
• Artists’ Legal Advice Services Definition ALAS has shown to foster collaboration with artists through holding events during which artists share their experiences and ask for the advice of the organization’s team.
• Gustave Courbet: Revolutionary Artist of Romanticism While the clergy is visible from the background of the work, the decision by the painter to focus on the dog in the foreground was even more appalling.
• Artists in Jazz Music and Dance Development The core areas in this study will include; the presentation, the ensemble, the musical instruments, and the memories of the events.
• Artist as a Genius: Johann Sebastian Bach Bach’s talent was evident from his mastery of the organ and the violin, as well as the great pieces that he composed.
• Collaborating With Artists in the Luxury Brand Industry As the conventional approaches to product development fail to support the concept of exclusivity in the present-day environment, the collaboration of luxury brands with artists comes to the rescue of the very essence of luxury […]
• Robert Smithson: Extraordinary Artist The works on the website made me realize that Smithson was a person who paid much attention to the environment and the way it influences and is influenced by the population of the Earth.
• Contemporary Female Artists in Turkey The secrecy associated with Islam and gender roles in some parts of Asia has further compounded this mystery because few people know what to make of the place of women in traditional Islamic societies and […]
• Decoloniality in Art and Artist as Ethnographer The review is divided into three main sections including the identification of the main arguments and the explanation of their worth, the evaluation of the supportive material and the clarification of methodological framework, and, finally, […]
• Pollaiuolo vs. Titian: Two Renaissance Artists Comparison For instance, in the fourteen century and at the beginning of the fifteenth century, “the profile form of a portrait head, largely inspired by antique coins,” was widespread.
• Robert Wilson: Artist and His Beliefs It is possible to say that by examining these qualities, one can better appreciate the achievements of Robert Wilson. This is one of the challenges Robert Wilson is ready to face.
• Artist Marcel Duchamp and His Works Duchamp claimed that the main purpose of art was intellectual satisfaction; he shared that he was tired from the expression “stupid as a painter,” and that attitude had to be changed.
• Gibran Khalil Gibran-Lebanon Writer and Artist Gibran’s mother settled in Boston together with a young Gibran, his two younger sisters, and his half brother. Holland was a member of the European avant-garde-movement and he acted as a tutor and mentor to […]
• A.A. Bronson’s Through the Looking Glass: His Personal Identity as a Canadian Artist Thus, his work Through the Looking Glass is the one of the best works that reflect the author’s vision of reality and the one that reflects the author’s sense of Canadian identity.
• Living as a Non-Speaking English Artist in English Speaking Country The efficient performance of a non-English speaking artist as well as his or her participation in the growth of the economy of a host English speaking nation is to a larger extent, influenced by cultural […]
• Popular Street Artists In an effort to discredit the Bank of England, Banksy satirically replaced the words ‘Bank of England’ with ‘Banksy of England.’ During the Notting Hill Carnival, a certain individual dished out the fake money to […]
• A Written Analysis of Other Artists’ Works The composition of the painting The composition of the picture seems to be of a particular importance, as numerous elements of the painting, including texture, forms, lines, etc.show the depth or perspective of the author’s […]
• The Life of an Artist: “Just Kids” by Patti Smith Patti never thought of disclosing to anybody the change that had occurred in her relationship with Robert but she discovered that it was important for her to find something different.
• A Portrait of the Artist as a Young Man by James Joyce The most unique aspect of the book is the author’s innovative use of sense to describe the thoughts and feelings of the character.
• Melancholy Caused by Fasting: An Artist in the Modernist Period In the personality of the hunger artist, we may notice the generalized character of a modernist artist, and in the actions of fasting, we may recognize the characteristics of modernism as an epoch in history […]
• Post-Colonial and Contemporary British Muslim Artists The art presented by these Muslims bears the attitude portrayed by the British society towards them and the Islamic religion as a whole and the artists’ own views on Islam.
• How Director is Able to Yield Higher Productivity of the Artists? Through the above analysis it could be said that through effective thought-process, observation and thorough planning, a director is able to yield higher productivity of the directors.
• Arts and Artists Being Affected by Today’s Realities Arts and artists have inevitably been affected and influenced by advancement in technologies, changes in global communication, and an accelerated tempo of globalization in various ways.
• The Artist’s State of Mind: Van Gogh’s “The Starry Night” The painting also has a tree that also stretches to the sky; it is the tallest feature in the village. The choice of color in the painting is also an indication of the painter’s mood.
• Fu Baoshi as One of the Most Famous Chinese Artists Fu Baoshi is one of the most famous Chinese artists who contributed greatly into the development of the national art. One of his works reveals aspirations of Chinese people who lived in the middle of […]
• Artists in Exile: How Refugees From Twentieth-Century War and Revolution Transformed the American Performing Arts, by Joseph Horowitz Knowledge of the type of music in that era is will help in the understanding of the book especially the German way of expressing inner motion.
• One Holy Image By Two Great Artists One of the most important themes in the western art is religion, and one of the most inspiring images for may be each of the greatest artists has been the Virgin Mary.
• The Contemporary Artists and Their Contributions Since childhood, she admired the work of Mexican and Southwest artists and this drove her to apply their employment of warm colors in her individual paintings.
• The Role of an Artist: Anne Deavere Smith and Tod Hackett In comparison to one literary character, Tod Hackett from The Day of the Locust by Nathanael West, Anna Deavere Smith does not want to lose her mind and be guided by the current events; she […]
• Artist Report: Antonio Puleo The postures of the children during the photography add strength to the morality theme, which is a major focus in the whole documentary. The process of growing up and sexuality is one of the key […]
• Chinese Art (Zhang Hongth: Studio Visit and Artist Talk) In a wide-ranging discussion, he touched on humor, the cathartic value of defacing the iconic image of a dictator, China’s imperiled environment, the dangers of political art in that country, and his feelings as a […]
• Madness and Art: Is The Artist a Holy Madman? The members of the movement known as l’Art Brut, and others, drew a connection between art and madness, art and mysticism, and art and outsider status for whatever reason.
• To What Extent Do Artists Using Collaborative Strategies Influence Society?
• The History of Women Artists During the Early Centuries in Italy
• Graffiti : How The Rise Of Graffiti Has Digitally Its Artists
• The Importance Of Art As A Guideline For Future Artists
• Three Unforgettable Artists Since The 1960’s: Heart, Brian Mc Knight, And Pink
• Impressionist Artists Georges Seurat and Camille Pissaro
• The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism
• The Lack Of Known Women Artists In Pre Modern Art
• Women Artists And The Female Form
• The World Through the Eyes of the Artists of the Harlem Renaissance the Early Modern Period
• Beneath the Rainbow: Enchanting Stories and Poems from Kenya, Illustrated by African Artists
• Comparison Of Musical Artists Rage Against The Machine And Writer George Orwell
• The Multicultural Influences of the Silk Road on Artists in the Tang Dynasty
• Transformation in the Artwork of Contemporary Artists
• Censorship In Music Children Artists Problems
• Distinctive Features in the Works of Kazakh and Russian Artists
• The Use of the Uncanny by Artists or Designers in Their Work
• Conflict & Tension: What Writers Can Learn From How Visual Artists Use Contrast
• The Role That Visual Artists Play In Our Modern Day Society
• The Importance of the Works of Art by Colombian Artists
• Graphic Design: A Superb Career Option For Technology Savvy Artists
• The Mexican Artists: The Artists on the Go for the Next Masterpiece
• Female Artists And Its Effects On Society
• A Graphic Cosmogony: Artists Imagine How the Universe Was Born
• How Geographic Differences Influenced American Artists
• Kandinsky on the Spiritual Element in Art and the Three Responsibilities of Artists
• The Moral Rights of Artists: Droit Moral ou Droit Pécuniaire
• The Link Between Artists and Bipolar Disease
• The Life and Painting Works of Pop Artists Andy Warhol
• Understanding Abstract Art Artist Artists Subject
• The Musical Tradition, Impact and Influential Artists of the Blues Musical Style
• The Shaping of Renaissance and the Artists During the Period
• Visual Artists Transmit the Values and Beliefs of Society
• The Portrayal of Female Artists
• The Rap Industry Has Been At War With New Artists Trying For Change Raps
• An Analysis of the Design and the Importance of Marketing for Post Collegiate Artists
• Use Of Art Criticism On The Artists Personal Opinions
• An Analysis of Formalist and Avant-Garde Artists in the Modern Art
• Why There are No Great Women Artists by Linda Nochlin
• Vincent Van Gogh Is One Of History’s Most Famous Artists
• How Has African Art Changed and Inspire European Art?
• Does the Self Referentiality of Postmodern Art Speak Only to the Elite Audience?
• How Did Ancient Greece Emulate the Egyptians and Left an Everlasting Legacy of Science, Art, and Trade?
• Can Art Change the Way We View the World?
• How Do Anthropologists Interpret Cave Art?
• Are Autographs Integrating the Global Art Market?
• How Do Architecture, Art, Science, and Spirituality Relate to Each?
• Can Art Still Play a Subversive Role in Society?
• How Are Science and Art Similar?
• Should Art and Music Education Be Included in School Education?
• How Did Islamic Beliefs Affect Islamic Art?
• What Are the Stages of the Creative Process?
• How Does Art Activity Shape Identity?
• Can Manufactured Bands Ever Be Classified as ‘Good’ Art?
• How Does Art Affect Child Development?
• Are Art Works Forgeable?
• How Can Art Change the World?
• Can Shock Art and Its Development in Time Still Be Considered as Art?
• How Can Art Overcome Depression?
• Does Art Imitate Life, or Does Life Imitate Art?
• How Do Art Critics Challenge and Provoke Artists and Audiences?
• Are Photography and Printmaking Art?
• How Has Art Changed Since the Middle Ages?
• Does Art Influence Culture, or Does Culture Influence Art?
• How Has Art Influenced the Views of the Public and Art Establishments?
• Are the Aztec Codices Art or Language?
• How Do Artists Express Anger and Protest Through Their Art?
• Does Gallery Lighting Have an Impact on Appreciation of Art?
• How Can Adlerian Art Therapy Impact Sexual Abuse?
• Why Is the Modern Art So Bad?
• Chicago (A-D)
• Chicago (N-B)

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Boris Groys

Professor of philosophy at the european graduate school / egs..

Boris Groys (b.1947) is a philosopher, essayist, art critic, media theorist and an internationally renowned expert on Soviet-era art and literature, specifically, the Russian avant-garde. He is a Global Distinguished Professor of Russian and Slavic Studies at New York University, a Senior Research Fellow at the Staatliche Hochschule für Gestaltung Karlsruhe, and a professor of philosophy at The European Graduate School / EGS. His work engages radically different traditions from French poststructuralism to modern Russian philosophy, yet is firmly situated at the juncture of aesthetics and politics. Theoretically, Boris Groys’s work is influenced by a number of modern and post-modern philosophers and theoreticians, including Jacques Derrida, Jean Baudrillard, Gilles Deleuze and Walter Benjamin.

Born in the former German Democratic Republic, Groys grew up in the USSR. He studied philosophy, mathematics, and logic at Leningrad State University (now Saint Petersburg State University). While a student, he immersed himself in the unofficial cultural scenes taking place in Leningrad and Moscow, and coined the term “Moscow conceptualism.” The term first appeared in the essay “Moscow Romantic Conceptualism,” published in 1979, in the art magazine  A-YA . During this time in the Soviet Union, Groys published widely in a number of samizdat magazines, including  37  and  Chasy . Between 1976 and 1981, Boris Groys held the position of Research Fellow in the Department of Structural and Applied Linguistics at Moscow State University. At the end of this fellowship, he left the Soviet Union and moved to the Federal Republic of Germany.

In 1992, Groys earned his doctorate in philosophy from the Universität Münster, where he also served as an assistant professor in philosophy from 1998-1994. During this time, Groys was also a visiting professor in the Department of Slavic Languages and Literature at the University of Pennsylvania, followed by another appointment at the University of Southern California, also in the Department of Slavic Languages and Literature. From 1994 to 2009, Groys was Professor of Art History, Philosophy, and Media Theory at the Staatliche Hochschule für Gestaltung Karlsruhe, where he remains a senior research fellow. In 2001, he was the Director of the Academy of Fine Arts Vienna, and from 2003 to 2004, he spearheaded the research program  Post-Communist Condition , at the Federal Cultural Foundation of Germany. He assumed the position of Global Distinguished Professor in the Faculty of Arts and Science at New York University in 2005 and in 2009 he became a full Professor of Russian and Slavic Studies at NYU. Groys is also a senior Fellow at the International Center for Cultural Studies and Media Theory at the Bauhaus Universität (Weimar); a member of the Association Internationale des Critiques d’Art (AICA); and has been a senior scholar at the Courtauld Institute of Art (London); and a fellow at the International Research Center for Cultural Studies (IFK, Vienna), Harvard University Art Museum, and the University of Pittsburg.

In the Anglo-American world, Boris Groys is best known as the author of  The Total Art of Stalinism  (1992), and for introducing the western world to Russian postmodernist writers and artists. His contributions stretch across the field of philosophy, politics, history, and art theory and criticism. Within aesthetics, his major works include  Vanishing Point Moscow  (1994) and  The Art of Installation (1996). His philosophical works include  A Philosopher’s Diary  (1989) , The Invention of Russia  (1995), and  Introduction to Antiphilosophy  (2012). More recently, he has also published  Under Suspicion: A Phenomenology of the Media  (2000) , Ilya Kabakov: The Man Who Flew into Space from his Apartment  (2006) ,  and  The Communist Postscript  (2010). In addition to these works, other significant works in art, history, and philosophy include:  History Becomes Form: Moscow Conceptualism  (2010),  Going Public  (2010),  Art Power  (2008),  The Total Enlightenment: Conceptual Art in Moscow 1960-1990  (2008),  Dream Factory Communism: The Visual Culture of the Stalin Period  (2004),  Apotropikon  (1991), and  Thinking in Loop: Three Videos on Iconoclasm, Ritual and Immortality  (DVD, 2008), which is a trilogy of video-text syntheses, wherein Groys reads the composed text superimposed onto a collage of footage fragments taken from movies and film documentations.

As a prominent contemporary art theorist and critic, Boris Groys has also curated a number of notable exhibitions, including:  Fluchtpunkt Moskau  at Ludwig Forum (1994, Aachen, Germany),  Dream Factory Communism  at the Schirn Gallery (2003-2004, Frankfurt, Germany),  Privatizations  at the KW Institute of Contemporary Art (2004, Berlin, Germany),  Total Enlightenment: Conceptual Art in Moscow 1960–1990 at the Kunsthalle Schirn (2008-2009 Frankfurt, Germany; Fundación Juan March, Madrid, Spain),  Medium Religion  with Peter Weibel at the Center for Art and Media Karlsruhe (2009, Karlsruhe, Germany),  Andrei Monastyrski  for the Russian Pavilion at the 54th Venice Biennale (2011, Venice, Italy),  After History: Alexandre Kojève as a Photographer , at BAK Utrecht (2012, Netherlands).

While Boris Groys teaches, lectures, and writes on philosophy, politics, and history, it has been his work in aesthetics, and his co-mingling of ideas through aesthetics, that has brought him the most recognition and where he has made his most significant contributions. Groys proposes and underscores the involvement of the Russian avant-garde in the Bolshevik movement as well as in the early stages of the Bolshevik State. Following this premise, Groys’s work explores the implications of this relationship. One of his fundamental theses is that these artists––like their political counterparts––tried to outpace the developments of modernity, and so, they, like the Bolsheviks themselves, attempted to skip the steps supposed to be necessary and constitutive of historical progress.

While it is widely acknowledged in modern Russian art history that an opposition developed among artists during the revolutionary period between those constituting an avant-garde and those complicit with the state sanctioned art of the Soviet Union, Boris Groys contends that this was the result of a split and not a continuation of a pre-Revolutionary division. More specifically, Groys posits a more refined understanding of the period such that these artists cannot be simply and uniformly grouped as having been in partnership with the state Party and then, slowly, over the period split off into an opposing position. Indeed, he contends that much of the avant-garde remained on the ideological side of the state Party well past its early stages. Moreover, these artistic developments entered the political field and thereby became its extension. Under the leadership of the state, Soviet realism helped fulfil the avant-garde’s dream of demiurgic power. It is in this respect that Groys then posits the relationship between romanticism and twentieth century Russian avant-garde art. The partnership between Soviet realism and the state Party’s ideology resulted in (authorized) artworks as understood as the realization of socialism, thereby abolishing the supposed boundaries between life, art, and politics. According to Groys, the  Lenin Mausoleum  stands as the embodiment of this achievement of synchrony. Complicating and pushing this position further, Groys finds this phenomenon not at all exclusive to the Soviet Union, but in fact points to its uncanny parallel in the readymades of Marcel Duchamp.

Much of Groys’s work has centered on exploring the consequences of this suture resulting in a particular framework in which to think post-Stalinist art. With the fall of Stalinism, and its “iron laws of history,” Russian artists, both of the post-Stalin period of the Soviet Union and the post-Cold War period, have had to confront the difficult task of overcoming a notion of utopia without falling out of history, or rather, how to dissolve the notion of teleology without falling into the abyss of the end of history. Within this framework, Groys investigates not only the historical, political, and aesthetic relations in the Soviet Union and Russia, but as well specific artistic and literary works such as those by Ilya Kabakov, Komar and Melamid, and Prigov.

Without pronouncement, Boris Groys’s work, in all its varied forms, appears to follow a sustained thesis: art is a symptom of society. While the majority of his work is within aesthetics, his thesis is not exclusive to aesthetics. Rather, Groys tends to think politics, and philosophy, with and through the medium of art. This idea is underscored in a conversation between John-Paul Stonard and Boris Groys while he was Visiting Professorial Fellow at the Courtauld Institute of Art Research Forum, which was transcribed and published in the Institute’s journal,  immediations  (Vol.1, No. 4, 2007). In response to Stonard’s question as to whether “philosophers have a naturally closer relationship with artists than do art historians?” Groys responded, “We can look at artists in two ways. First, as if we were biologists, trying to construct a neo-Darwinian story of ‘art species’; how artists developed, how they succeeded, failed, survived. In these terms art history is formulated a little like botany or biology. The second way of considering art history is as part of the history of ideas. We have the history of philosophy, the history of science, the history of cultural history, just as we can have the history of art. So the question is whether we define art history more like botany, or more like the history of philosophy – and I tend more to the latter, because, as I have suggested, the driving force of art is philosophical.”

––Srdjan Cvjeticanin

Kommunisticheskiy Postskriptum , Groys, Boris. Kommunisticheskiy Postskriptum. Ad Marginem, 2014.  ISBN: 5911031817

Google: Words beyond Grammar/Google: Worte jenseits der Grammatik , Groys, Boris. Google: Words beyond Grammar/Google: Worte jenseits der Grammatik. Hatje Cantz, 2011.  ISBN: 3775728953

Unter Verdacht: Eine Phänomenologie der Medien , Groys, Boris. Unter Verdacht: Eine Phänomenologie der Medien. Carl Hanser Verlag, 2010.  ISBN: 3446236023

Under Suspicion: A Phenomenology of Media , Groys, Boris. Under Suspicion: A Phenomenology of Media. Translated by Carsten Strathausen. Columbia University Press, 2012.  ISBN: 0231146183

Going Public , Groys, Boris. Going Public. Sternberg Press, 2010.  ISBN: 1934105309

History Becomes Form: Moscow Conceptualism , Groys, Boris. History Becomes Form: Moscow Conceptualism. MIT Press, 2010.  ISBN: 0262014238

Einführung in die Anti-philosophie , Groys, Boris. Einführung in die Anti-philosophie. Carl Hanser, 2009.  ISBN: 3446234047

An Introduction to Antiphilosophy , Groys, Boris. An Introduction to Antiphilosophy. Translated by David Fernbach. Verso, 2012.  ISBN: 0231146183

Art Power , Groys, Boris. Art Power. MIT Press, 2008.  ISBN: 0262518686

Drei Videos über das Ikonoklastische: Rituelle und Unsterbliche/Thinking in Loop: Three Videos on Iconoclasm, Ritual and Immortality. , Groys, Boris. Drei Videos über das Ikonoklastische: Rituelle und Unsterbliche/Thinking in Loop: Three Videos on Iconoclasm, Ritual and Immortality. ZKM/Hatje Cantz, 2008.  ISBN: 3775723374

Die Kunst des Denkens , Groys, Boris. Die Kunst des Denkens. Philo Fine Arts, 2008.  ISBN: 3865726399

Ilya Kabakov. The Man Who Flew into Space from His Apartment , Groys, Boris. Ilya Kabakov. The Man Who Flew into Space from His Apartment. Afterall/MIT Press, 2006.  ISBN: 1846380049

Das Kommunistische Postskriptum , Groys, Boris. Das Kommunistische Postskriptum. Suhrkamp, 2006.  ISBN: 351812403X

The Communist Postscript , Groys, Boris. The Communist Postscript. Verso, 2010.  ISBN: 1844674304

Le Post-scriptum Communiste , Groys, Boris. Le Post-scriptum Communiste. Translated by Olivier Mannoni. Libella/Maren Sell, 2008.  ISBN: 2355800057

Postscriptum Comunista , Groys, Boris. Postscriptum Comunista. Translated by Gianluca Bonaiuti. Metemi Melusine, 2008.  ISBN: 8883536738

Die Muse im Pelz , Groys, Boris. Die Muse im Pelz. Literaturverlag Droschl, 2004.  ISBN: 3854206720

Topologie der Kunst , Groys, Boris. Topologie der Kunst. Carl Hanser, 2003.  ISBN: 3446203680

Kommentarii k Iskusstvu , Groys, Boris. Kommentarii k iskusstvu. KhZh, 2003.  ISBN: 5901116089

Politik der Unsterblichkeit: Vier Gespräche mit Thomas Knöfel , Groys, Boris. Politik der Unsterblichkeit: Vier Gespräche mit Thomas Knöfel. Carl Hanser, 2002.  ISBN: 3446201394

Politique de l’Immortalité , Groys, Boris. Politique de l’Immortalité. Quatre entretiens avec Thomas Knoefel. Translator Olivieri Mannon. Maren Sell Editeurs, 2005.  ISBN: 2350040232

Dialogi , Groys, Boris, and Ilya Kabakov. Dialogi. Ad marginem, 1999.  ISBN: 593321003X

Logik der Sammlung , Groys, Boris. Logik der Sammlung. Carl Hanser, 1997.  ISBN: 3446189327

Kunst-Kommentare , Groys, Boris. Kunst-Kommentare. Passagen, 1997.  ISBN: 3851652916

Die Kunst der Installation , Groys, Boris, and Ilja Kabakov. Die Kunst der Installation. Carl Hanser, 1996.  ISBN: 3446185275

Die Erfindung Russlands , Groys, Boris. Die Erfindung Russlands. Carl Hanser, 1995.  ISBN: 3446180516

Über das Neue , Groys, Boris. Über das Neue. Versuch einer Kulturökonomie. Carl Hanser, 1992.  ISBN: 3446165428

On the New , Groys, Boris. On the New. Translated by G. M. Goshgarian. Verso, 2014.  ISBN: 1781682925

Sobre lo Nuevo , Groys, Boris. Sobre lo Nuevo. Pre-textos, 2005.  ISBN: 848191648X

Du Nouveau , Groys, Boris. Du Nouveau: Essai d’économie culturelle. Jacqueline Chambon, 1995.  ISBN: 2877111156

Zeitgenössische Kunst aus Moskau: Von der Neo-Avantgarde zum Post-Stalinismus ,Groys, Boris. Zeitgenössische Kunst aus Moskau: Von der Neo-Avantgarde zum Post-Stalinismus. Klinkhardt u. B., 1991.  ISBN: 3781403033

Die Kunst des Fliehens , Groys, Boris, and Ilya Kabakov. Die Kunst des Fliehens. Carl Hanser, 1991.  ISBN: 3446160779

Dnevnik filosofa , Groys, Boris. Dnevnik Filosofa. Beseda/Sintaksis, 1989.

全体芸術様式スターリン/ Zentai Geijutsu Yōshiki Sutārin , Groys, Boris. 全体芸術様式スターリン/ Zentai Geijutsu Yōshiki Sutārin. Translated by Ikuo Kameyama and Yoshiaki Koga. 現代思潮新社, 2000.  ISBN: 4329004119

Gesamtkunstwerk Stalin , Groys, Boris. Gesamtkunstwerk Stalin. Translated by Desiderio Navarro. Pre-textos, 2008.  ISBN: 848191925X

Lo Stalinismo Ovvero l’Opera d’Arte Totale , Groys, Boris. Lo Stalinismo Ovvero l’Opera d’Arte Totale. Translated by Emanuela Guercetti. Garzanti, 1992.  ISBN: 8811598346

The Total Art of Stalinism: Russian Avant-Garde, Aesthetic Dictatorship, and Beyond. , Groys, Boris. The Total Art of Stalinism: Russian Avant-Garde, Aesthetic Dictatorship, and Beyond. Translated by Charles Rougle. Verso, (1992) 2011.  ISBN: 1844677079

Staline: Oeuvre d’Art totale , Groys, Boris. Staline: Oeuvre d’Aart totale. Jacqueline Chambon, 1990.  ISBN: 2877110370

Gesamtkunstwerk Stalin , Groys, Boris. Gesamtkunstwerk Stalin. Die Gespaltene Kultur in der Sowjetunion. Translated by Gabriele Leupold. Carl Hanser, (1988) 2008.  ISBN: 3446187863

Edited Works

Moscow Symposium: Conceptualism Revisited

Groys, Boris, ed.  Moscow Symposium: Conceptualism Revisited . Sternberg Press, 2012.  ISBN: 3943365115

Empty Zones: Andrei Monastyrski and Collective Action

Groys, Boris, Claire Bishop, and Andrei Monastyrski, eds.  Empty Zones: Andrei Monastyrski and Collective Action . Black Dog, 2011.  ISBN: 1907317341

Die totale Aufklärung: Moskauer Konzeptkunst 1960-1990/The Total Enlightenment: Conceptual Art in Moscow 1960-1990

Groys, Boris, Max Hollein, and Manuel Fontan del Junco, eds.  Die totale Aufklärung: Moskauer Konzeptkunst 1960-1990/The Total Enlightenment: Conceptual Art in Moscow 1960-1990 . Exhibition catalogue. Hatje Cantz, 2008.  ISBN: 377572124 X

Die Neue Menschheit

Groys, Boris, and Michael Hagemeister, eds.  Die Neue Menschheit . Suhrkamp, 2005.  ISBN: 351829363 X

Am Nullpunkt

Groys, Boris, and Aage Hansen-Löve, eds.  Am Nullpunkt . Suhrkamp, 2005.  ISBN: 3518293648

Zurück aus der Zukunft. Osteuropäische Kulturen im Zeitalter des Postkommunismus

Groys, Boris, and Anne von der Heiden, eds.  Zurück aus der Zukunft. Osteuropäische Kulturen im Zeitalter des Postkommunismus . Suhrkamp, 2005.  ISBN: 3518124528

Privatisierungen/Privatisations

Groys, Boris, ed.  Privatisierungen/Privatisations . Revolver, 2004.  ISBN: 3865882285

Dream Factory Communism: The Visual Culture of the Stalin Era

Groys, Boris, and Max Hollein, eds.  Dream Factory Communism: The Visual Culture of the Stalin Era . Hatje Cantz, 2003.  ISBN: 377571328 X

Kierkegaard

Groys, Boris, ed.  Kierkegaard . Schriften. Diederichs, 1996.  ISBN: 3424012874

Fluchtpunkt Moskau

Groys, Boris, ed. Fluchtpunkt Moskau. Cantz, 1994.  ISBN: 3893226125

Utopia i Obmen

Groys, Boris, ed.  Utopia i Obmen . Izd-vo Znak, 1993.  ISBN: 5877070010

Today’s Legacy of Classical Modernism

Thinking Media and the Man-Machine Relation

Alexandre Kojève

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Nonfiction Books » Essays

The best essays: the 2021 pen/diamonstein-spielvogel award, recommended by adam gopnik.

WINNER OF the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay

Had I Known: Collected Essays by Barbara Ehrenreich

Every year, the judges of the PEN/Diamonstein-Spielvogel Award for the Art of the Essay search out the best book of essays written in the past year and draw attention to the author's entire body of work. Here, Adam Gopnik , writer, journalist and PEN essay prize judge, emphasizes the role of the essay in bearing witness and explains why the five collections that reached the 2021 shortlist are, in their different ways, so important.

Interview by Benedict King

Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick

Nature Matrix: New and Selected Essays by Robert Michael Pyle

Terroir: Love, Out of Place by Natasha Sajé

Maybe the People Would be the Times by Luc Sante

1 Had I Known: Collected Essays by Barbara Ehrenreich

2 unfinished business: notes of a chronic re-reader by vivian gornick, 3 nature matrix: new and selected essays by robert michael pyle, 4 terroir: love, out of place by natasha sajé, 5 maybe the people would be the times by luc sante.

W e’re talking about the books shortlisted for the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay . As an essayist yourself, or as a reader of essays, what are you looking for? What’s the key to a good essay ?

Let’s turn to the books that made the shortlist of the 2021 PEN Award for the Art of the Essay. The winning book was Had I Known: Collected Essays by Barbara Ehrenreich , whose books have been recommended a number of times on Five Books. Tell me more. 

One of the criteria for this particular prize is that it should be not just for a single book, but for a body of work. One of the things we wanted to honour about Barbara Ehrenreich is that she has produced a remarkable body of work. Although it’s offered in a more specifically political register than some essayists, or that a great many past prize winners have practised, the quiddity of her work is that it remains rooted in personal experience, in the act of bearing witness. She has a passionate political point to make, certainly, a series of them, many seeming all the more relevant now than when she began writing. Nonetheless, her writing still always depends on the intimacy of first-hand knowledge, what people in post-incarceration work call ‘lived experience’ (a term with a distinguished philosophical history). Her book Nickel and Dimed is the classic example of that. She never writes from a distance about working-class life in America. She bears witness to the nature and real texture of working-class life in America.

“One point of giving awards…is to keep passing the small torches of literary tradition”

Next up of the books on the 2021 PEN essay prize shortlist is Unfinished Business: Notes of a Chronic Re-Reader by Vivian Gornick.

Vivian Gornick is a writer who’s been around for a very long time. Although longevity is not in itself a criterion for excellence—or for this prize, or in the writing life generally—persistence and perseverance are. Writers who keep coming back at us, again and again, with a consistent vision, are surely to be saluted. For her admirers, her appetite to re-read things already read is one of the most attractive parts of her oeuvre , if I can call it that; her appetite not just to read but to read deeply and personally. One of the things that people who love her work love about it is that her readings are never academic, or touched by scholarly hobbyhorsing. They’re readings that involve the fullness of her experience, then applied to literature. Although she reads as a critic, she reads as an essayist reads, rather than as a reviewer reads. And I think that was one of the things that was there to honour in her body of work, as well.

Is she a novelist or journalist, as well?

Let’s move on to the next book which made the 2021 PEN essay shortlist. This is Nature Matrix: New and Selected Essays by Robert Michael Pyle.

I have a special reason for liking this book in particular, and that is that it corresponds to one of the richest and oldest of American genres, now often overlooked, and that’s the naturalist essay. You can track it back to Henry David Thoreau , if not to Ralph Waldo Emerson , this American engagement with nature , the wilderness, not from a narrowly scientific point of view, nor from a purely ecological or environmental point of view—though those things are part of it—but again, from the point of view of lived experience, of personal testimony.

Let’s look at the next book on the shortlist of the 2021 PEN Awards, which is Terroir: Love, Out of Place by Natasha Sajé. Why did these essays appeal?

One of the things that was appealing about this book is that’s it very much about, in every sense, the issues of the day: the idea of place, of where we are, how we are located on any map as individuals by ethnic identity, class, gender—all of those things. But rather than being carried forward in a narrowly argumentative way, again, in the classic manner of the essay, Sajé’s work is ruminative. It walks around these issues from the point of view of someone who’s an expatriate, someone who’s an émigré, someone who’s a world citizen, but who’s also concerned with the idea of ‘terroir’, the one place in the world where we belong. And I think the dialogue in her work between a kind of cosmopolitanism that she has along with her self-critical examination of the problem of localism and where we sit on the world, was inspiring to us.

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Last of the books on the shortlist for the 2021 Pen essay award is Maybe the People Would Be the Times by Luc Sante.

Again, here’s a writer who’s had a distinguished generalised career, writing about lots of places and about lots of subjects. In the past, he’s made his special preoccupation what he calls ‘low life’, but I think more broadly can be called the marginalized or the repressed and abject. He’s also written acute introductions to the literature of ‘low life’, the works of Asbury and David Maurer, for instance.

But I think one of the things that was appealing about what he’s done is the sheer range of his enterprise. He writes about countless subjects. He can write about A-sides and B-sides of popular records—singles—then go on to write about Jacques Rivette’s cinema. He writes from a kind of private inspection of public experience. He has a lovely piece about tabloid headlines and their evolution. And I think that omnivorous range of enthusiasms and passions is a stirring reminder in a time of specialization and compartmentalization of the essayist’s freedom to roam. If Pyle is in the tradition of Thoreau, I suspect Luc Sante would be proud to be put in the tradition of Baudelaire—the flaneur who walks the streets, sees everything, broods on it all and writes about it well.

One point of giving awards, with all their built-in absurdity and inevitable injustice, is to keep alive, or at least to keep passing, the small torches of literary tradition. And just as much as we’re honoring the great tradition of the naturalist essay in the one case, I think we’re honoring the tradition of the Baudelairean flaneur in this one.

April 18, 2021

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Adam Gopnik

Adam Gopnik has been a staff writer at the New Yorker since 1986. His many books include A Thousand Small Sanities: The Moral Adventure of Liberalism . He is a three time winner of the National Magazine Award for Essays & Criticism, and in 2021 was made a chevalier of the Legion d'Honneur by the French Republic.

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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.

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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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It is difficult to assess Margarita Tupitsyn’s new book,  Moscow Vanguard Art, 1922–1992 , because of its strong spirit of partisanship. It covers wide historical ground and brings in a lot of new material gathered from primary sources, but it is also unabashedly selective, its choices circumscribed by the author’s personal history. A well-known art historian and curator of Russian and Soviet avant-garde art, Tupitsyn belongs to the generation of intellectuals who came of age during the period of stagnation and decline of the Soviet Union. The history she narrates belongs to this period fully and inextricably. Her important contribution to the field is to be one of the first and most consistent specialists to write about the formerly marginal subject of Russian and Soviet art, which has come to the attention of mainstream art history in the West only in the past fifty years. The author’s personal participation in this history forms an important part of the book and contributes to its strengths and weaknesses. Beginning in the 1970s, she was first a participant and later an organizer of the key events and exhibitions described in her book. Thus, her narration comes not only from her vast knowledge of history and theoretical literature, but also from her own experience. This personal element is reflected in the fact that Tupitsyn writes only about artists from Moscow, Russia’s capital and its largest and most developed city, where she was born and raised and socialized with many of the artists she describes in her book. This focus is a positive aspect of the book, as the author narrows down the topic to what she knows best. Tupitsyn’s decision to embrace “vanguard” art under a wide chronological umbrella is more problematic because she traces a direct parallel between the avant-garde of the early 1920s and experiments conducted by Moscow artists after Stalin’s death during the Khrushchev and Brezhnev eras. Tupitsyn talks about art in terms of its accepting or, the contrary, confronting the dominant political structure. This argument makes sense within an oppositional framework of a “left” versus “right” political struggle, but it dismisses a “gray” area in-between, which may be most interesting of all in the realm of aesthetics as it questions and often negates the polar divisions. In this sense, Tupitsyn’s reading of “vanguard” art is limited by its insertion into this oppositional structure.

As an actual participant of the many events she chronicles, Tupitsyn certainly has a story to tell. The book captures this story vividly, documenting it with numerous illustrations and photographs, some featuring the author herself. In the introduction to the book, she explains some of her choices by referencing her interest in the particularity of a “milieu” surrounding the artist, “with its perpetual mechanism of conversing” (1). Tupitsyn’s story is connected with the tradition of experimental and political art or “art in context,” which, she explains, demonstrably veers away from the concept of aesthetic purity propagated by Clement Greenberg in particular. Bearing in mind the specificity of Tupitsyn’s point of view, the book uncovers layers of history from published and unpublished sources. As a counterbalance to her personal involvement in the history she writes, Tupitsyn aptly quotes liberal philosophers, cultural critics, and art historians from Ernst Bloch to Michel Foucault and her teacher Rosalind Krauss to make or amplify her argument about the experimental nature of avant-garde thinking and production and its continuity through generations of Moscow artists.

The book has seven chapters, roughly a chapter per decade of the narrated history. The first two cover the decades before World War II, before the author’s lifetime. Tupitsyn begins with a story of an ideological and personal rivalry between Kazimir Malevich, the leading painter of nonobjective art, and a certain Evgeny Katsman, his brother-in-law, who turned out to be among the leading propagandists of conservative visual culture, later endorsed by Stalin and the officially supported Academy of Arts. Tupitsyn weaves an intricate narrative based on Katsman’s diaries, which reads almost like a detective novel. It reveals Katsman as a man ruthless in his attempts to destroy his rival both in art and in life, going as far as meeting with Stalin personally to plead the cause against the avant-garde. Tupitsyn makes Katsman’s diary a foil against which she develops her story of the foundation and functioning of such conservative artistic collectives as AKhRR (Association of Artists of Revolutionary Russia) and Malevich, the protagonist of the avant-garde’s fight against the reactionary tendencies exemplified by the ideology propagated by Katsman. In this chapter, she touches on the key issues of this standoff: the debate about the teaching tendencies in VKhUTEMAS (Higher Artistic-Technical Workshops); the progressive role of Anatoly Lunacharsky, who promoted avant-gardists in the early 1920s; and the government support behind Die Erste Russische Ausstellung in Berlin in 1922, to which apparently only “left” artists were invited. It was interesting to learn, for example, that AKhRR was founded as a reaction to this exclusion as well as a means to associate with the Wanderers, an established group of nineteenth-century realist painters whose agenda, Tupitsyn insists, was much more progressive in its day than that of AKhRR. Tupitsyn’s listings of AKhRR’s exhibitions and her detailed chronicling of its confrontations with theoreticians affiliated with LEF (Left Front of the Arts) is helpful in reminding the reader of the fundamental difference between the approaches of the “right” and the “left” artistic factions: the rear guard aspired to study the conditions of people’s everyday lives and “depict [them] naturalistically,” while the avant-garde “imagined the proletariat not as subject of art, but as its participatory force” (11). This formulation of the pivotal ideological difference between the conservative and the progressive factions in Soviet art touches on the question of the conservatives’ idealization, the progressives’ utopia, and the loss of the reality principle in both camps. Tupitsyn weaves in the stories about other artists, such as Vladimir Tatlin, Alexander Rodchenko, and El Lissitzky, but in her choosing the Malevich-Katsman rivalry as the guiding thread of her argument, she creates a structure resembling that of a phallic, pre-oedipal standoff. In this dualistic confrontation, the raging competitors need each other in order to release their aggression against one another, but in fact the enemy they fight is invincible, because without it, their existence would be devoid of sense. This penchant toward analyzing art from the political perspective of the fight of the “left” against the “right” without giving the issues of aesthetics any consideration makes Tupitsyn argue against a growing interest of Western scholars in a comprehensive study of Socialist Realism, which she raises in the second chapter of her book.

In line with other histories of Soviet nonconformist art, Tupitsyn locates the possibility for a continuation of the spirit of the avant-garde with the death of Stalin, the concomitant end of terror, and the onset of Khrushchev’s thaw. The period from the 1940s to the 1950s is associated for the author with the resurgent interest of the Moscow artists in abstraction. In chapter 3, the author traces the development of this line of artistic thought in the work of Vladimir Nemukhin, Lydia Masterkova, Vladimir Yankilevsky, among others, including such relatively unknown names in the West as Vladimir Slepian and Mikhail Chernyshov. Artists doing three-dimensional work in open air, such as Francisco Infante, Lev Nussberg, and his Movement Group are also included, as well as early works by Ilya Kabakov and Erik Bulatov. Kabakov and Bulatov are well-known artists who resurface in subsequent chapters dedicated chiefly to performance and immigrant art from the 1970s and continuing through the 1980s and 1990s. While developing a convincing chronology of key exhibitions and events that spurred the development of the underground art scene, Tupitsyn excludes several notable names. In the section on abstractionists, important artists, such as Mikhail Shvartsman, are absent, for example. In the section on immigrant art in New York, a recently deceased Leonid Lamm is missing. This is especially surprising because Tupistyn worked with Lamm, having included him in her Sots Art exhibition at the New Museum in 1986, and authored essays and even a book about him. The reader is left guessing about the criteria of the author’s selection. The book has an index, but at times the page numbers do not correspond to the exact mention of a name, as is the case with the group Medical Hermeneutics.

Tupistyn’s book continues an impressive series of her publications, produced in the course of more than thirty-five years. She has always been a strong voice of support for the kind of art she writes about—politically involved and outspoken—which in many ways reflects her own personality. Perhaps partisanship in writing histories is not necessarily a bad thing; in fact, nowadays it may be impossible to write a good history without taking sides and making clear which ideology you support. In this particular book, however, the author pushes this principle to its limit, making the reader wonder what is missing as a result of the personal choices she made.

Natasha Kurchanova Independent Art Historian

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Marx and Engels On Literature and Art

Source : Marx Engels On Literature and Art . Progress Publishers. Moscow 1976; Transcribed : by Andy Blunden .

This volume offers the reader a selection of both excerpts and complete works and letters by Karl Marx and Frederick Engels, giving their views on art and its place in society. Though it contains far from all that was written by the founders of scientific communism on this subject, it will nevertheless acquaint the reader with Marx’s and Engels’ most important ideas about artistic work.

Karl Marx and Frederick Engels had an excellent knowledge of world art and truly loved literature, classical music, and painting. In their youth both Marx and Engels wrote poetry; in fact Engels at one time seriously contemplated becoming a poet.

They were well acquainted not only with classical literature, but also with the works of less prominent and even of little known writers both among their contemporaries and those who lived and worked in more distant times. They admired Aeschylus, Shakespeare, Dickens, Fielding, Goethe, Heine, Cervantes, Balzac, Dante, Chernyshevsky and Dobrolyubov, and mentioned many other less famous people who had also made their mark in the history of literature. They also displayed a great love for popular art, for the epics of various nations and other types of folklore: songs, tales, fables and proverbs.

Marx and Engels made extensive use of the treasures of world literature in their own works., Their repeated references to literary and mythological figures, and use of aphorisms, comparisons and direct quotations, masterfully woven into their works, are a distinctive feature of their style. The writings of Marx and Engels are notable not only for profundity of content, but also for their exceptional artistic merits. Wilhelm Liebknecht gave high praise to Marx’s style, citing his The Eighteenth Brumaire of Louis Bonaparte as an example. “If ever hatred, scorn and passionate love of liberty were expressed in burning, devastating, lofty words,” wrote Liebknecht, “it is in The Eighteenth Brumaire, which combines the indignant severity of a Tacitus with the deadly satire of a Juvenal and the holy wrath of a Dante. Style here is the stilus that it was of old in the hand of the Romans, a sharp stiletto, used to write and to stab. Style is a dagger which strikes unerringly at the heart” ( Reminiscences of Marx and Engels , Moscow, 1956, p. 57).

Marx and Engels used artistic imagery to express their thoughts more forcefully and vividly in their journalistic and polemical works, and even in their fundamental theoretical works such as Capital and Anti-D�hring. Marx’s pamphlet Herr Vogt, directed against Karl Vogt who was slandering the proletarian party, is one of the most striking examples. The biting sarcasm of this pamphlet is particularly effective due to the author’s skilful use of works by classical writers such as Virgil, Plautus, and Persius, by the medieval German poets Gottfried von Strassburg and Wolfram von Eschenbach, and also by such classics of world literature as Balzac, Dickens, Schiller and Heine.

Their superb knowledge of world art helped Marx and Engels to elaborate genuinely scientific aesthetic principles. The founders of scientific communism were thus not only able to answer the complex aesthetic questions of the previous age, but also to elaborate a fundamentally new system of aesthetic science. They did so only as a result of the great revolutionary upheaval they had brought about in philosophy by creating dialectical and historical materialism and laying down the foundations for the materialist conception of history. Though Marx and Engels have left no major writings on art, their views in this field, when collected together, form a harmonious whole which is a logical extension of their scientific and revolutionary Weltanschauung. They explained the nature of art and its paths of development, its tasks in society and social aims. Marxist aesthetics, like the whole teaching of Marx and Engels, are subordinated to the struggle for the communist reorganisation of society.

When developing their theory of aesthetics, Marx and Engels naturally based themselves on the achievements of their predecessors. But the main aesthetic problems — and above all the problem of the relationship between art and reality — were solved by them in a fundamentally new way, on the basis of materialist dialectics. Idealist aesthetics considered art as a reproduction of the ideal, standing over and* above actual reality. The origin of any art form, its development, flowering, and decay, all remained incomprehensible to the art theoreticians and historians of the pre-Marxian period, inasmuch as they studied these in isolation from man’s social existence.

Marx and Engels considered it absolutely impossible to understand art and literature proceeding only from their internal laws of development. In their opinion, the essence, origin, development, and social role of art could only be understood through analysis of the social system as a whole, within which the economic factor — the development, of productive forces in complex interaction with production relations — plays the decisive role. Thus art, as defined by Marx and Engels, is one of the forms of social consciousness and it therefore follows that the reasons for its changes should be sought in the social existence of men.

Marx and Engels revealed the social nature of art and its development in the course of history and showed that in a society with class antagonisms it was influenced by class ‘contradictions and by the politics and ideologies of particular classes.

Marx and Engels gave a materialist explanation of the origin of the aesthetic sense itself. They noted that man’s artistic abilities, his capacity for perceiving the world aesthetically, for comprehending its beauty and for creating works of art appeared as a result of the long development of human society and were the product of man’s labour. As early as in his Economic and Philosophic Manuscripts of 1844 , Marx pointed to the role of labour in the development of man’s capacity to perceive and reproduce the beautiful and to form objects also “in accordance with the laws of beauty” (Marx and Engels, Collected Works, Vol. 3, Moscow, 1975, p. 277).

This idea was later developed by Engels in his work Dialectics of Nature, in which he noted that efforts of toil “have given the human hand the high degree of perfection required to conjure into being the pictures of a Raphael, the statues of a Thorwaldsen, the music of a Paganini” (see pp. 128-29 of this book). Thus both Marx and Engels emphasise that man’s aesthetic sense is not an inborn, but a socially-acquired quality.

The founders of Marxism extended their dialectical view of the nature of human thought to analysis of artistic creativity. In examining the development of art together with that of the material world and the history of society, they noted that the content and forms of art were not established firmly once and for all, but that they inevitably developed and changed according to definite laws along with the development of the material world and of human society. Each historical period has inherent aesthetic ideals and produces works of art corresponding to its particular character and unrepeatable under other conditions. Comparing, for example, the works of Raphael, Leonardo da Vinci and Titian, Marx and Engels emphasised that “Raphael’s works of art depended on the flourishing of Rome at that time, which occurred under Florentine influence, while the works of Leonardo depended on the state of things in Florence, and the works of Titian, at a later period, depended on the totally different development of Venice” (p. 177).

The fact that the level of development of society and its social structure determine the content of artistic works and the prevalence of any particular literary or artistic genre was seen by Marx as the main reason that art in different periods never repeats itself and, in particular, that there was no possibility to create the mythology or epic poetry similar to those of the ancient Greeks under the conditions of the nineteenth century. “Is the conception of nature and of social relations which underlies Greek imagination and therefore Greek (art),” wrote Marx, “possible when there are self-acting mules, railways, locomotives and electric telegraphs?” (p. 83).

It goes without saying that Marxism has a far from open-and-shut understanding of the relations between the forms of social consciousness (and of art in particular) and their economic basis. For Marx and Engels, any social formation constituted a complex and dynamic system of interacting elements, each influencing the other — a system in which the economic factor is the determining one only in the final analysis. They were in no way inclined to qualify art as a passive product of the economic system. On the contrary, they emphasised that the various forms of social consciousness — including, of course, artistic creation — actively influence the social reality from which they emerge.

As if to forestall sociological vulgarisations of the problems of artistic creation, Marx and Engels drew attention to the fact that social life and the ideology of particular classes are reflected in art in a far from mechanistic manner. Artistic creativity is subordinate to the general laws of social development but, being a special form of consciousness, has its own distinctive features and specific patterns.

One of art’s distinctive features is its relative independence as it develops. The fact that works of art are connected historically with particular social structures does not mean that they lose their significance when these social structures disappear. On this point Marx cites the art and epic poetry of the ancient Greeks which “still give us aesthetic pleasure and are in certain respects regarded as a standard and unattainable ideal” (p. 84). He also provides a profound explanation for this phenomenon: Greek art reflected the naive and at the same time healthy, normal perception of reality characteristic of mankind in those early stages of its development, the period of its childhood; it reflected the striving for “natural veracity,” with its unique attractiveness and special charm for all (p. 84).

This example expresses an important Marxist aesthetic principle: in looking at works of art as basically reflections of particular social conditions and relationships, it is imperative also to see the features that make the lasting value of these works.

Marx and Engels considered as another particular feature of art the fact that its periods of upsurge do not automatically coincide with social progress in other fields, including that of material production. Thus Marx wrote in the Introduction to his Economic Manuscripts of 1857-1858: “ As regards art, it is well known that some of its peaks by no means correspond to the general development of society; nor do they therefore to the material substructure” (p. 82 of this book). Marx and Engels saw the reason for this imbalance between the development of art and of society as a whole in the fact that the spiritual culture of any period is determined not only by the level of development of material production — the “material basis” of society — but also by the character of the social relations peculiar to that period. In other words, such factors as the specific character of social relations, the degree of development of class antagonisms and the existence in any period of specific conditions for the development of man’s individuality, all have an important bearing on art, determining its nature and development.

As far as capitalist society is concerned, this imbalance, according to Marx and Engels, must be considered as an expression of capitalism’s fundamental contradiction, the contradiction between the social nature of production and the private form of appropriation. From his analysis of the contradictions of capitalism, Marx draws a conclusion which is of extraordinary importance for aesthetics, namely that “capitalist production is hostile to certain branches of spiritual production, for example, art and poetry” (p. 141). This proposition in no way denies the development of literature and art under capitalism, but means that the very nature of the capitalist system of exploitation is in profound contradiction with the humanist ideals which inspire genuine artists. The more conscious artists are of the contradiction, between their ideals and the capitalist reality, the louder and clearer do their works (often despite the class origin of the very author) protest against the inhumanity of capitalist relations. Bourgeois society’s hostility towards art begets, even in bourgeois literature, criticism of capitalism in one form or another, with capitalist reality being depicted as one filled with tragic collisions. This, in Marx’s and Engels’ opinion, is a dialectical feature of the development of art under capitalism. It is for this very reason that bourgeois society has produced Shakespeare, Goethe, Balzac and other writers of genius who were capable of rising above their epoch and class environment and condemning with immense artistic power the vices of the capitalist system of exploitation.

In their works, Marx and, Engels set forth a number of profound ideas on the class nature of art in a society of antagonisms. They showed that even great writers, who were able, often despite their own class positions, to give a true and vivid picture of real life, were, in a class society, pressured by the ideas and interests of the ruling classes and frequently made serious concessions to these in their works. Taking Goethe, Schiller, Balzac, and other writers as examples, Marx and Engels found that the contradictions peculiar to them were not the result of purely individual features of their psychological make-up, but an ideological reflection of real contradictions in the life of society.

The founders of Marxism emphasised that art was an important weapon in the ideological struggle between classes. It could reinforce just as it could undermine the power of the exploiters, could serve to defend class oppression or, on the contrary, contribute to the education and development of the consciousness of the toiling masses, bringing them closer to victory over their oppressors. Marx and Engels therefore called for a clear distinction to be made between progressive and reactionary phenomena in feudal and bourgeois culture and put forward the principle of the Party approach to art that it be evaluated from the position of the revolutionary class.

While showing that a link existed between art and the class struggle, Marx and Engels always fought against attempts to schematise this problem. They pointed out that classes were not static and unchangeable but that class interrelationships changed in the course of history, the role of the classes in the life of society undergoing complex metamorphoses. Thus, in the period of struggle against feudalism, the bourgeoisie was able to create considerable spiritual values, but having come to power as a result of the anti-feudal revolutions, it gradually began to reject the very weapon it had itself forged in the struggle against feudalism. The bourgeoisie accomplishes this break with its revolutionary past when a new force appears on the historical arena — the proletariat. Under these conditions, attempts by individual members of the bourgeois intelligentsia, in particular cultural and artistic figures, to gain a deeper understanding of reality, to go beyond the framework of bourgeois relations and express their protest against these in some art form, inevitably lead them to conflicts with official bourgeois society and to their departure from bourgeois positions.

Marx and Engels apply their dialectical and materialist theory of knowledge to analysis of art and literature. In their opinion, artistic creation is one of the ways of reflecting reality and, at the same time, of perceiving and apprehending it; it is also one of the strongest levers of influencing the spiritual development of humanity. This approach to art forms the basis of the materialist understanding of its social importance and prominent role in the progress of society.

Naturally enough, when examining literature and art, Marx and Engels concentrated their attention on the problem of realism — the most accurate depiction of reality in an artistic work.

They considered realism, as a trend in literature and a method of artistic creation, to be the supreme achievement of world art. Engels formulated what is generally recognised as the classical definition of realism. “Realism, to my mind,” he wrote, “implies, besides truth of detail, the truthful reproduction of typical characters under typical circumstances” (p. 90). Realistic representation, Marx and Engels emphasised, is by no means a mere copy of reality, but a way of penetrating into the very essence of a phenomenon, a method of artistic generalisation that makes it possible to disclose the typical traits of a particular age. This is what they valued in the work of the great realist writers such as Shakespeare, Cervantes, Goethe, Balzac, Pushkin and others. Marx described the English realists of the 19th century — Dickens, Thackeray, the Bront�s, and Gaskell — as a brilliant pleiad of novelists “whose graphic and eloquent pages have issued to the world more political and social truths than have been uttered by all the professional politicians, publicists and moralists put together” (p. 339). Engels developed a similar line of thought when analysing the works of the great French realist writer Balzac. Writing about the Com�die humaine, he noted that Balzac gave the reader “a most wonderfully realistic history of French society ... from which, even in economic details (for instance the re-arrangement of real and personal property after the Revolution) I have learned more than from all the professed historians, economists and statisticians of the period together” (p. 91).

Marx and Engels set out some very important ideas about realism in their letters to Lassalle in the spring of 1859, in which they sharply criticise his historical drama Franz von Sickingen dealing with the knights’ rebellion of 1522-23, on the eve of the Peasant War in Germany. These two letters are of great. significance because they contain a statement of the fundamental principles of Marxist aesthetics (pp. 98-107).

Marx’s and Engels’ demands on the artist include truthfulness of depiction, a concrete historical approach to the events described and personages with live and individual traits reflecting typical aspects of the character and psychology of the class milieu to which they belong. The author of genuinely realistic works communicates his ideas to the reader not by didactic philosophising, but by vivid images which affect the reader’s consciousness and feelings by their artistic expressiveness. Marx and Engels considered that Lassalle had carried even further some of the weaknesses in the artistic method of the great German poet and playwright Schiller — in particular his penchant for abstract rhetoric, which resulted in his heroes becoming abstract and one-dimensional declaimers of certain ideas. In this regard they preferred Shakespeare’s realism to Schiller’s method. Both pointed out to Lassalle that, in imitating Schiller, he was forgetting the importance for the realist writer to* combine depth of content and lofty ideals with efforts to achieve a Shakespearian ability to depict genuine passions and the multiple facets of the human character.

In their letters to Lassalle, Marx and Engels also touched upon the question of the links between literature and life, between literature and the’ present day. Marx by no means condemned Lassalle for his intention to draw an analogy between the events of the 16th century described in the play and the situation in the mid-19th century, and to bring out the truly tragic collision which “spelled the doom ... of the revolutionary party of 1848-1849” (p. 98). He saw the author’s mistake in his incorrect, idealistic interpretation of this collision, in the reduction of the reasons for it to the allegedly age-old abstract “tragedy of revolution,” which lacks any concrete historical or class content. Marx criticised Lassalle not for the political tendency of his drama, but for the fact that it was essentially mistaken from the point of view of the materialist conception of history and of the world outlook of the proletarian revolutionaries. Marx and Engels were highly critical of attempts to place literature above politics and of the theory of “art for art’s sake.” They insisted that the works of realist writers should reflect a progressive world outlook, be permeated with progressive ideas and deal with truly topical problems. It was in this sense that they welcomed tendentiousness in literature, interpreted as ideological and political partisanship. “I am by no means opposed to tendentious poetry as such,” wrote Engels to the German writer Minna Kautsky on November 26, 1885. ‘Aeschylus, the father of tragedy, and Aristophanes, the father of comedy, were highly partisan poets, Dante and Cervantes were so no less, and the best thing that can be said about Schiller’s Kabale und Liebe is that it represents the first German political problem drama. The modern Russians and Norwegians, who produce excellent novels, all write with a purpose” (p. 88). Marx and Engels were at the same time resolute opponents of stupid tendentiousness — bare-faced moralising, didacticism instead of artistic method, and abstract impersonations instead of live characters. They criticised the poets in the “Young Germany” literary movement for the artistic inferiority of their characters and attempts to make up for their lack of literary mastery with political arguments. Engels provides an apt definition of genuine tendentiousness in his letter to Minna Kautsky: “I think however that the purpose must become manifest from the situation and the action themselves without being expressly pointed out and that the author does not have to serve the reader on a platter the future historical resolution of the social conflicts which he describes” (p. 88).

Both Marx and Engels were deeply convinced that progressive literature had to reflect truthfully the deep-lying, vital processes of the day, to promulgate progressive ideas, and to defend the interests of the progressive forces in society. The modern term the Party spirit in literature expresses what they understood by this. They felt that the very quality that was lacking in Lassalle’s play — the organic unity of idea and artistry — was the sine qua non of genuinely realistic art.

In setting out the principles of materialist aesthetics and the fundamental and most general laws governing the development of art, the founders of scientific communism laid the basis of Marxist literary and art criticism and proposed the primary tenets of the materialist interpretation of the history of art and literature. In their works and correspondence, they threw new light on the most important questions of the historical and literary process and revealed such aspects in the works of both classical and contemporary writers which were beyond the comprehension of bourgeois literary historians. In the present collection, the reader will find Marx’s and Engels’ views of the artistic works of the most important ages in mankind’s history — their evaluation of art in ancient and medieval times, of Renaissance culture and literature, of literature in the period of the Enlightenment, and, finally, of the work of the romantic and realist writers of the 19th century. In addition, the reader will discover the attitude of the founders of Marxist aesthetics towards the main literary and artistic trends in general and their opinions on individual writers and other artists.

Marx’s and Engels’ view of ancient art has already been discussed briefly above. Let us now turn to their evaluation of the art of other ages.

Their genuinely scientific explanation of the specific features of the social system and culture of medieval times is of exceptional interest. Marx and Engels stripped away the romantic idealisation of the Middle Ages and, at the same time, demonstrated the inconsistency of the abstract view held by the Enlighteners that this was merely an age of social and cultural regression. They pointed out that the transition from slave-owning to feudal society was historically inevitable and showed that the establishment of the feudal mode of production was a step forward in the development of human society, compared to the reign of slavery which had preceded it. This enabled Marx and Engels to form a new approach to medieval culture and art and point out those features in them which reflected the progressive course of historical development. Engels wrote that “. . as a result of the intermingling of nations in the early Middle Ages new nationalities gradually developed” (Marx/Engels, Werke, Bd. 21, S. 395), the appearance of which was a prerequisite for further social and cultural development of mankind. Analysing various epic poems of the early Middle Ages such as the Elder Edda and other Icelandic and Irish sagas, Beowulf, the Lay of Hildebrand and the Chanson de Roland, Marx and Engels showed that they reflected the gradual transition from the earliest stages of the tribal system to new levels of social consciousness connected with the early period of the formation of European nationalities. The epic and national-heroic poetry of the Middle Ages is notable, as Engels pointed out, for characteristics which show their new cultural-historical and aesthetic quality, as compared with the classical epic poetry of the ancient world. The same also applies to the later lyric poetry of the feudal Middle Ages — the medieval romance lyrics, best exemplified by the works of the Provencal troubadours. In his The Origin of the Family, Private Property and the State Engels wrote that “no such thing as individual sex love existed before the Middle Ages” (p. 215). For this reason, he said, the appearance and poetic glorification of individual love in the Middle Ages was a step forward compared to antiquity. Moreover, the medieval love poems influenced the following generations and prepared the ground for the flowering of poetry in the modern age.

Marx and Engels formulated and substantiated a new view of the Renaissance, one which differed radically from the views of earlier bourgeois cultural historians and also in many ways from those of contemporary and later bourgeois historiography. This new understanding of the basic historical meaning of the Renaissance in Western Europe was presented by Engels in its most developed form in 1875-76 in one of his versions for the Introduction to the Dialectics of Nature (pp. 251-53). Engels emphasised that, contrary to the traditional view of bourgeois science, the Renaissance must not be seen as merely an upheaval in the ideological and spiritual life of the times. The origins of this new age, he states, should be sought above all in the economic and political. changes that brought about the transition from the Middle Ages to modern times. Engels penetrated to the very essence of the phenomena which made possible the immense leap forward in the culture, literature and art of that period, some achievements of which remained unequal led even in the more mature bourgeois society. The art of the Renaissance, as Engels noted, developed not in a period of already settled bourgeois society but “in the midst of the general revolution” (Frederick Engels, Dialectics of Nature, Moscow, 1974, p. 21). Social relations were at that time in a state of constant flux and change and had not yet become, as they did in mature bourgeois society, a force which to a certain extent limited the development of personal initiative, talent and capabilities but, on the contrary, actively contributed to their development. Because of its revolutionary character this age, the one of “the greatest progressive revolution that mankind had so far experienced,” stated Engels, “called for giants and produced giants ... in power of thought, passion and character, in universality and learning.” This is why “the men who founded the modern rule of the bourgeoisie had anything but bourgeois limitations” (pp. 252-53).

Engels also noted that “the heroes of that time were not yet in thrall to the division of labour, the restricting effects of which, with its production one-sidedness, we so often notice in their successors” (p. 253). To clarify his idea, Engels described Leonardo da Vinci who “was not only a great painter but also a great mathematician, mechanic and engineer, to whom the most diverse branches of physics are indebted for important discoveries” and reviewed the work of Albrecht D�rer, a “painter, engraver, sculptor, and architect” and inventor of a fortification system. Engels also pointed to the great diversity of interests and erudition of other Renaissance figures (p. 253).

Marx’s and Engels’ evaluation of the Renaissance as an age of “the general revolution,” “the greatest progressive revolution,” explains the warm sympathy they felt for the “giants” of that age. They saw the great men of the Renaissance not just as outstanding scholars, artists, or poets, but, at the same time, as great revolutionaries in world science and culture.

Engels considered the most important trait of the heroes of the Renaissance to be that “they almost all live And pursue their activities in the midst of the contemporary movements, in the practical struggle; they take sides and join in the fight, one by speaking and writing, another with the sword, many with both” (p. 253). It is not difficult to see that this was also what Engels expected of the artists of the future. Referring to the ability of the people of the Renaissance to live by the interests of their time, to “take sides,” Engels emphasised those traits which lifted them above the level of the professionally narrow, armchair science of the bourgeoisie, and above the level of the 19th-century bourgeois writers and artists who preached “non-partisanship” and “pure art.” These traits brought the great men of the Renaissance closer to the ideals of socialist culture and of the revolutionary movement of the working class.

Marx and Engels considered Dante one of the great writers whose works announced the transition from the

Middle Ages to the Renaissance. They saw him as a poet and thinker of genius and, at the same time, as an inflexible warrior whose poetic works were infused with Party spirit (Marx and Engels, Collected Works, Vol. 6, Moscow! 1976, p. 271) and were inseparable from his political ideals and aspirations. According to Wilhelm Liebknecht, Marx knew the Divina Commedia almost by heart and would often declaim whole sections of it aloud. Marx’s “Introduction” to Capital in fact ends with the great Florentine’s proud words: “Go your own way, and let people say what they will!” The author of Capital placed Dante among his most beloved poets — Goethe, Aeschylus, and Shakespeare. Engels called Dante a person of “unequalled classic perfection” (p. 247) and “a colossal figure” (p. 248). Marx and Engels held the great Spanish writer Cervantes in high esteem too. Paul Lafargue noted that Marx set the author of Don Quixote, together with Balzac, “above all other novelists” (p. 439). Finally, Marx’s and Engels’ admiration for Shakespeare, one of their most beloved writers, is known to all. Both considered his plays with their far-ranging depiction of the life of his time and their immortal characters to be classical examples of realist drama. Lafargue wrote that Marx “made a detailed study” of Shakespeare’s works. “His whole family had a real cult for the great English dramatist” (p. 438). Engels shared his friend’s views on Shakespeare. On December 10, 1873, he wrote to Marx. “There is more life and reality in the first act of the Merry Wives than in all German literature” (p. 260).

The most important comment by the founders of scientific communism about classicism, the literary movement of the 17th-18th centuries, was made by Marx in a letter to Lassalle on July 22, 1861 (p. 269). On the basis of a materialist understanding of the development of culture, Marx in his letter rejected the unhistorical idea that classicism was the result of a misunderstanding of the laws of classical drama and of classical aesthetics, with their famous principle of the three unities. He pointed out that, though the theoreticians of classicism had misunderstood classical Greek drama and Aristotle’s Poetics, this was no accident or a misunderstanding of history, but a historical inevitability. Classicist playwrights “misunderstood” Aristotle because the “misunderstood” Aristotle corresponded exactly to their taste in art and their aesthetic requirements, formed by the specific social and cultural conditions of the time.

Unlike previous historians of culture who were unable to understand the class content of ideas, Marx and Engels uncovered the social, class-historical basis of the ideas of the 18th-century Enlightenment. They showed that the Enlightenment was not just a movement in social thought, but an ideological expression of the interests of the progressive bourgeoisie, which was rising up to struggle against feudal absolutism on the eve of the Great French Revolution.

Marx and Engels held in high esteem the heritage of the English and French 18th-century Enlighteners including their fiction and works on aesthetics. Their comprehensive analysis of the activity of the Enlighteners explains its close links with the life of society and the class struggle during the preparation for the French bourgeois revolution and draws a line between the moderately bourgeois and the democratic elements in their heritage.

Marx’s and Engels’ works and letters show that they had a superb knowledge of both English and French philosophical and economic literature and fiction of the age of the Enlightenment. They do not merely mention Defoe, Swift, Voltaire, Diderot, Rousseau, the Abb� Pr�vost, Beaumarchais, but give laconic and at the same time brilliantly profound and accurate evaluations of them, while also using their works to draw generalisations concerning the most important aspects of literary life in the age of the Enlightenment.

It should also be noted that Marx included Denis Diderot among his favourite writers. He delighted in Diderot’s novels, especially Le Neveu de Rameau, which he called a “unique masterpiece” (p. 279). Engels shared his friend’s

opinion on Diderot and wrote in 1886: “If ever anybody dedicated his whole life to the ‘enthusiasm for truth and justice’ — using this phrase in the good sense — it was Diderot, for instance” (p. 279).

Marx and Engels also wrote about the leading men of the Enlightenment in Germany — Lessing, Goethe, Schiller, Herder, Wieland. Revealing the economic and socio-political conditions in Germany, whose feudal division and reactionary small-power absolutist system had been hardened as a result of the Thirty Years’ War (1618-48), they showed that these conditions had made a definite mark on the ideas and feelings of the majority of the most prominent figures of the “great age of German literature” (p. 346). Together with the rebellious spirit and indignation at the social system of the time that were characteristic of German classical literature, it also reflected the feelings of the petty bourgeoisie (the predominating social stratum in Germany) whose inherent characteristic was admiration for and servility towards the powers that be. “Each of them was an Olympian Zeus in his own sphere,” Engels wrote about Goethe and Hegel, “yet neither of them ever quite freed himself from German Philistinism” (p. 349). In spotlighting not only the strong, but also the weaker points in Goethe, Schiller, and other German writers and thinkers of that period, Marx and Engels in no way sought to belittle their immense, world-wide importance. This is confirmed by Marx’s attitude towards Goethe, who, as already mentioned, was one of his most beloved poets. Contemporaries who knew Marx well stated that he was a constant reader of the great German poet’s works. In their writings and conversations, both Marx and Engels frequently quoted from Faust and other works by Goethe. In 1837 the young Marx, while still a student at Berlin University, wrote an epigram defending Goethe against the Lutheran pastor Pustkuchen, who was one of the leaders in the struggle of German reactionaries of the 1830s against the poet. Engels devoted one of his essays in literary criticism to an analysis of Goethe’s

work. This was “German Socialism in Verse and Prose” (pp. 361-74) in which he attacked the aesthetics of German philistine “true socialism.”

Marx’s and Engels’ analysis of West European romanticism is of great importance to the elaboration of a genuinely scientific history of literature. Considering romanticism a reflection of the age beginning after the Great French Revolution, of all its inherent social contradictions, they distinguished between revolutionary romanticism, which rejected capitalism and was striving towards the future, and romantic criticism of capitalism from the point of view of the past. They also differentiated between the romantic writers who idealised the pre-bourgeois social system: they valued those whose works concealed democratic and critical elements under a veneer of reactionary utopias and naive petty-bourgeois ideals, and criticised the reactionary romantics, whose sympathies for the past amounted to a defence of the interests of the nobility. Marx and Engels were especially fond of the ‘Works of such revolutionary romantics as Byron and Shelley.

Marx’s and Engels’ evaluation of the works of 19th-century realist writers has already been mentioned. Marx and Engels considered realist traditions to be the culmination of the whole of the previous literary process. Engels traced their development and enrichment in the works of Guy de Maupassant, of the creators of the Russian realist novel of the second half of the 19th century, and of Norway’s contemporary dramatists. Marx and Engels had a lively interest in Russia and attached great importance to the Russian revolutionary movement. To be better able to follow the development of the economic and social life of Russia, they both learnt Russian. They were well acquainted not only with socio-economic and journalistic writings in Russia, but also with the country’s fiction. They both read the works of Pushkin, Turgenev, Saltykov-Shchedrin, Chernyshevsky, and Dobrolyubov in Russian, while Marx also read Gogol, Nekrasov, and Lermontov in the original. Engels was also acquainted with English translations of the works of Lomonosov, Derzhavin, Khemnitser, Zhukovsky, Batyushkov, and Krylov. Marx and Engels thought Pushkin’s Eugene Onegin to be an amazingly accurate depiction of Russian life in the first half of the 19th century. Both were especially fond of Chernyshevsky and Dobrolyubov. Engels considered these revolutionary writers “two socialist Lessings” (p. 414) and Marx called Chernyshevsky a “great Russian scholar and critic” (p. 415), while comparing Dobrolyubov “as a writer to Lessing and Diderot” (p. 415).

Characteristic of Marx and Engels was their profoundly internationalist approach to literature and art. They paid equal attention to the art of all nations, European and non, European, large and small, believing that every people makes its own unique contribution to the treasure-house of world art and literature. Their interests included the development of art and literature in England, France, Germany, Italy, Spain, and Russia as well as the artistic and cultural treasures of the East or of such small countries as Ireland, Iceland, and Norway. judging by their notes, the ancient cultures of the indigenous inhabitants of the New World also came within their field of vision.

Marx and Engels had a special attitude towards the democratic and revolutionary poets and writers who were close to the proletariat. Throughout their lives, they strove to draw the best progressive writers of their time to the side of the socialist movement and to educate and temper them, while helping them to overcome the weaker aspects of their work. Marx and Engels actively contributed to the formation of a proletarian revolutionary trend in literature.

Marx’s influence on the work of the great German revolutionary poet Heinrich Heine was immense. They met in Paris in 1843. The prime of Heine’s political lyrics and satire comes in 1843-44, when he was in close and friendly contact with Marx. Marx’s influence on Heine is clear in such remarkable works as his poems The Silesian Loom Workers and Germany. A Winter Tale. All his life Marx admired Heine, who was one of the favourite poets in Marx’s family. Engels was in complete agreement with his friend’s sympathies and considered Heine to be “the most eminent of all living German poets” (p. 375). In their struggle against German reaction, Marx and Engels often quoted from Heine’s bitingly satirical poems. Marx’s and Engels’ ideological influence played an exceptional role in Heine’s development as an artist and helped him to realise that the communist revolution would inevitably be victorious.

Marx and Engels were close friends of the German poets Georg Weerth and Ferdinand Freiligrath, with whom they worked side by side on the Neue Rheinische Zeitung during the revolution of 1848-1849, Engels called Weerth “the German proletariat’s first and most important poet” (p. 402). After Weerth’s death, Marx and Engels carefully collected his literary works. In the 1880s Engels vigorously promoted these in the German Social-Democratic press.

It was only thanks to ‘Marx’s and Engels’ influence that Freiligrath became, in 1848-49, one of the classics of German revolutionary poetry. His poems written at that time are closely linked to Marx’s and Engels’ ideas and are his best. The care and attention Marx and Engels showed for Freiligrath is a good example of their attitude towards revolutionary poets and of how they tried to help them in their noble cause. When Marx recommended Freiligrath to his comrade Joseph Weydemeyer, in 1852, for work on the journal Revolution, he specially asked Weydemeyer to write a friendly, praising letter to the poet to encourage him. It is no coincidence that Freiligrath’s importance as a poet began to decline as soon as he moved away from Marx and Engels in the 1850s.

Marx and Engels had close links with many French and English revolutionary writers, in particular with the Chartist leader Ernest Jones. His best poems, written in the latter 1840s, show the influence of Marx’s and Engels’ ideas.

After Marx’s death, Engels continued in the 1880s and 1890s to keep careful track of the revolutionary writings of those English authors who were ideologically close to the English socialist movement. This can be seen from Engels’ letter to the writer Margaret Harkness (pp. 89-92) who had sent him her short story “A Poor Girl,” his numerous comments about the plays of the English socialist Edward Aveling, and his notes on the ideological development of a number of other writers.

Important statements by Engels on the subject of proletarian art can also be found in his letters written toward the end of his life to German Social-Democratic leaders.

In this way, Marx and Engels strove to foster a new type of writer and artist who, assimilating the finest traditions of classical literature, would take an active, creative part in the proletariat’s struggle for emancipation, proceeding from a broad understanding of the experiences and the tasks of the revolutionary struggle.

This collection also contains valuable statements by Marx and Engels on the flowering of art in the future communist society. The founders of Marxism saw the contradictions in the development of art under capitalism as a manifestation of the antagonistic nature of bourgeois society as a whole and considered the solution of these problems to be possible only after the proletarian revolution and the social reorganisation of society.

Marx and Engels showed brilliant foresight in anticipating the basic traits of the new, communist society. Communism is above all true freedom for the all-round and harmonious development of the individual. “The realm of freedom,” said Marx, ‘actually begins only where labour which is determined by necessity and mundane considerations ceases...” (p. 183).

Labour freed from exploitation becomes, under socialism, the source of all spiritual (and aesthetic) creativity. Marx and Engels point out that only given true economic, political, and spiritual freedom can man’s creative powers develop to the full and that only proletarian revolution offers unbounded opportunities of endless progress in the development of literature. The great historical mission of the proletariat consists in the communist rebuilding of the world. It was in the proletariat that Marx and Engels saw the social force which could change the world and provide for further progress not only in economics and politics, but also in culture, the force which would bring about the conditions required for the full realisation of mankind’s higher moral and aesthetic values.

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The best AI image generators to try right now

If you've ever searched Google high and low to find an image you needed to no avail, artificial intelligence (AI) may be able to help. 

With AI image generators, you can type in a prompt as detailed or vague as you'd like to fit an array of purposes and have the image you were thinking of instantly pop up on your screen. These tools can help with branding, social media content creation, and making invitations, flyers, business cards, and more.

Also: ChatGPT no longer requires a login, but you might want one anyway. Here's why

Even if you have no professional use for AI, don't worry -- the process is so fun that anyone can (and should) try it out.

OpenAI's DALL-E 2 made a huge splash because of its advanced capabilities as the first mainstream AI image generator. However, since its initial launch, there have been many developments. Other companies have released models that rival DALL-E 2, and OpenAI even released a more advanced model known as DALL-E 3 , discontinuing its predecessor. 

To help you discover which models are the best for different tasks, I put the image generators to the test by giving each tool the same prompt: "Two Yorkies sitting on a beach that is covered in snow". I also included screenshots to help you decide which is best. 

Also: DALL-E adds new ways to edit and create AI-generated images. Learn how to use it

While I found the best overall AI image generator is Image Creator from Microsoft Designer , due to its free-of-charge, high-quality results, other AI image generators perform better for specific needs. For the full roundup of the best AI image generators, keep reading. 

The best AI image generators of 2024

Image creator from microsoft designer (formerly bing image creator), best ai image generator overall.

• Powered by DALL-E 3
• Convenient to access
• Need a Microsoft account
• In preview stage

Image Creator from Microsoft Designer is powered by DALL-E 3, OpenAI's most advanced image-generating model. As a result, it produces the same quality results as DALL-E while remaining free to use as opposed to the $20 per month fee to use DALL-E. 

All you need to do to access the image generator is visit the Image Creator website and sign in with a Microsoft account. 

Another major perk about this AI generator is that you can also access it in the same place where you can access Microsoft's AI chatbot, Copilot (formerly Bing Chat) . 

This capability means that in addition to visiting Image Creator on its standalone site, you can ask it to generate images for you in Copilot. To render an image, all you have to do is conversationally ask Copilot to draw you any image you'd like. 

Also:   How to use Image Creator from Microsoft Designer (formerly Bing Image Creator)

This feature is so convenient because you can satisfy all your image-generating and AI-chatting needs in the same place for free. This combination facilitates tasks that could benefit from image and text generation, such as party planning, as you can ask the chatbot to generate themes for your party and then ask it to create images that follow the theme.

Image Creator from Microsoft Designer f eatures:  Powered by:  DALL-E 3 |  Access via:  Copilot, browser, mobile |  Output:  4 images per prompt |  P rice:  Free 

DALL-E 3 by OpenAI

Best ai image generator if you want to experience the inspiration.

• Not copyrighted
• Accurate depictions
• Confusing credits

OpenAI, the AI research company behind ChatGPT, launched DALL-E 2 in November 2022. The tool quickly became the most popular AI image generator on the market. However, after launching its most advanced image generator, DALL-E 3, OpenAI discontinued DALL-E 2. 

DALL-E 3 is even more capable than the original model, but this ability comes at a cost. To access DALL-E 3 you must be a ChatGPT Plus subscriber, and the membership costs $20 per month per user. You can access DALL-E 3 via ChatGPT or the ChatGPT app.

Using DALL-E 3 is very intuitive. Type in whatever prompt you'd like, specifying as much detail as necessary to bring your vision to life, and then DALL-E 3 will generate four images from your prompt. As you can see in the image at the top of the article, the renditions are high quality and very realistic.

OpenAI even recently added new ways to edit an image generated by the chatbot, including easy conversational text prompts and the ability to click on parts of the image you want to edit. 

Like with Copilot, you can chat and render your images on the same platform, making it convenient to work on projects that depend on image and text generation. If you don't want to shell out the money,  Image Creator by Designer  is a great alternative since it's free, uses DALL-E 3, and can be accessed via Copilot.

DALL-E 3 features: Powered by:  DALL-E 3 by OpenAI |  Access via:  ChatGPT website and app |  Output:  4 images per credit |  Price:  ChatGPT Plus subscription, $20 per month

ImageFX by Google

The best ai image generator for beginners.

• Easy-to-use
• High-quality results
• Expressive chips
• Need a Google account
• Strict guardrails can be limiting

Google's ImageFX was a dark horse, entering the AI image generator space much later than its competition, over a year after DALL-E 2 launched. However, the generator's performance seems to have been worth the wait. The image generator can produce high-quality, realistic outputs, even objects that are difficult to render, such as hands. 

Also: I just tried Google's ImageFX AI image generator, and I'm shocked at how good it is

The tool boasts a unique feature, expressive chips, that make it easier to refine your prompts or generate new ones via dropdowns, which highlight parts of your prompt and suggest different word changes to modify your output.

ImageFX also includes suggestions for the style you'd like your image rendered in, such as photorealistic, 35mm film, minimal, sketch, handmade, and more. This combination of features makes ImageFX the perfect for beginners who want to experiment. 

ImageFX from Google: Powered by:  Imagen 2  | Access via:  Website |  Output:  4 images |  Price:  free 

DreamStudio by Stability AI

Best ai image generator for customization.

• Accepts specific instruction
• Open source
• More entries for customization
• Paid credits
• Need to create an account

Stability AI created the massively popular, open-sourced, text-to-image generator, Stable Diffusion. Users can download the tool and use it at no cost. However, using this tool typically requires technical skill. 

Also :  How to use Stable Diffusion AI to create amazing images

To make the technology readily accessible to everyone (regardless of skill level), Stability AI created DreamStudio, which incorporates Stable Diffusion in a UI that is easy to understand and use. 

One of the standouts of the platform is that it includes many different entries for customization, including a "negative prompt" where you can delineate the specifics of what you'd like to avoid in the final image. You can also easily change the image ratio -- that's a key feature, as most AI image generators automatically deliver 1:1. 

DreamStudio features: Powered by:  SDXL 1.0 by Stability AI  | Access via:  Website |  Output:  1 image per 2 credits |  Price:  $1 per 100 credits |  Credits:  25 free credits when you open an account; buy purchase once you run out

Dream by WOMBO

Best ai image generator for your phone.

• Remix your own images
• Multiple templates
• One image per prompt
• Subscription cost for full access

This app took the first-place spot for the best overall app in Google Play's 2022 awards , and it has five stars on Apple's App Store with 141.6K ratings. With the app, you can create art and images with the simple input of a quick prompt. 

An added plus is this AI image generator allows you to pick different design styles such as realistic, expressionist, comic, abstract, fanatical, ink, and more. 

Also :  How to use Dream by WOMBO to generate artwork in any style

In addition to the app, the tool has a free desktop mobile version that is simple to use. If you want to take your use of the app to the next level, you can pay $90 per year or $10 per month.

Dream by WOMBO f eatures: Powered by:  WOMBO AI's machine-learning algorithm |  Access via:  Mobile and desktop versions |  Output:  1 image with a free version, 4 with a paid plan |  Price:  Free limited access

Best no-frills AI image generator

• Unlimited access
• Simple to use
• Longer wait
• Inconsistent images

Despite originally being named DALL-E mini, this AI image generator is NOT affiliated with OpenAI or DALL-E 2. Rather, it is an open-source alternative. However, the name DALL-E 2 mini is somewhat fitting as the tool does everything DALL-E 2 does, just with less precise renditions. 

Also :  How to use Craiyon AI (formerly known as DALL-E mini)

Unlike DALL-E 2, the outputs from Craiyon lack quality and take longer to render (approximately a minute). However, because you have unlimited prompts, you can continue to tweak the prompt until you get your exact vision. The site is also simple to use, making it perfect for someone wanting to experiment with AI image generators. It also generates six images, more than any other chatbot listed. 

Craiyon f eatures: Powered by:  Their model |  Access via :  Craiyon website  |  Output:  6 images per prompt |  Price:  Free, unlimited prompts 

Best AI image generator for highest quality photos

• Very high-quality outputs
• Discord community
• Monthly cost
• Confusing to set up

I often play around with AI image generators because they make it fun and easy to create digital artwork. Despite all my experiences with different AI generators, nothing could have prepared me for Midjourney -- in the best way. 

The output of the image was so crystal clear that I had a hard time believing it wasn't an actual picture that someone took of my prompt. This software is so good that it has produced award-winning art .

However, I think Midjourney isn't user-friendly and it confuses me. If you also need extra direction, check out our step-by-step how-to here: How to use Midjourney to generate amazing images and art .

Another problem with the tool is that you may not access it for free. When I tried to render images, I got this error message: "Due to extreme demand, we can't provide a free trial right now. Please subscribe to create images with Midjourney."

To show you the quality of renditions, I've included a close-up below from a previous time I tested the generator. The prompt was: "A baby Yorkie sitting on a comfy couch in front of the NYC skyline." 

Midjourney f eatures: Powered by:  Midjourney; utilizes Discord |  Access via:  Discord |  Output:  4 images per prompt |  Price:  Starts at $10/month

Adobe Firefly

Best ai image generator if you have a reference photo.

• Structure and Style Reference
• Commercial-safe
• Longer lag than other generators
• More specific prompts required

Adobe has been a leader in developing creative tools for creative and working professionals for decades. As a result, it's no surprise that its image generator is impressive. Accessing the generator is easy. Just visit the website and type the prompt of the image you'd like generated. 

Also: This new AI tool from Adobe makes generating the images you need even simpler

As you can see above, the images rendered of the Yorkies are high-quality, realistic, and detailed. Additionally, the biggest standout features of this chatbot are its Structure Reference and Style Reference features. 

Structure Reference lets users input an image they want the AI model to use as a template. The model then uses this structure to create a new image with the same layout and composition. Style Reference uses an image as a reference to generate a new image in the same style. 

These features are useful if you have an image you'd like the new, generated image to resemble, for example, a quick sketch you drew or even a business logo or style you'd like to keep consistent. 

Another perk is that Adobe Firefly was trained on Adobe Stock images, openly licensed content, and public domain content, making all the images generated safe for commercial use and addressing the ethics issue of image generators. 

Adobe Firefly f eatures:  Powered by:  Firefly Image 2 |  Access via:  Website |  Output:  4 images per prompt |  P rice:  Free 

Generative AI by Getty Images

Best ai image generator for businesses.

• Commercially safe
• Contributor compensation program
• Personalized stock photos
• Not clear about pricing
• Not individual-friendly

One of the biggest issues with AI image generators is that they typically train their generators on content from the entirety of the internet, which means the generators use aspects of creators' art without compensation. This approach also puts businesses that use generators at risk of copyright infringement. 

Generative AI by Getty Images tackles that issue by generating images with content solely from Getty Images' vast creative library with full indemnification for commercial use. The generated images will have Getty Images' standard royalty-free license, assuring customers that their content is fair to use without fearing legal repercussions.

Another pro is that contributors whose content was used to train the models will be compensated for their inclusion in the training set. This is a great solution for businesses that want stock photos that match their creative vision but do not want to deal with copyright-related issues. 

ZDNET's Tiernan Ray went hands-on with the AI image generator. Although the tool did not generate the most vivid images, especially compared to DALL-E, it did create accurate, reliable, and useable stock images. 

Generative AI by Getty Images f eatures:  Powered by:  NVIDIA Picasso |  Access via:  Website |  Output:  4 images per prompt |  P rice:  Paid (price undisclosed, have to contact the team)

What is the best AI image generator?

Image Creator from Microsoft Designer is the best overall AI image generator. Like DALL-E 3, Image Creator from Microsoft Designer combines accuracy, speed, and cost-effectiveness, and can generate high-quality images in seconds. However, unlike DALL-E 3, this Microsoft version is entirely free.

Whether you want to generate images of animals, objects, or even abstract concepts, Image Creator from Microsoft Designer can produce accurate depictions that meet your expectations. It is highly efficient, user-friendly, and cost-effective.

Note: Prices and features are subject to change.

Which is the right AI image generator for you?

Although I crowned Image Creator from Microsoft Designer the best AI image generator overall, other AI image generators perform better for specific needs. For example, suppose you are a professional using AI image generation for your business. In that case, you may need a tool like Generative AI by Getty Images which renders images safe for commercial use. 

On the other hand, if you want to play with AI art generating for entertainment purposes, Craiyon might be the best option because it's free, unlimited, and easy to use. 

How did I choose these AI image generators?

To find the best AI image generators, I tested each generator listed and compared their performance. The factors that went into testing performance included UI/UX, image results, cost, speed, and availability. Each AI image generator had different strengths and weaknesses, making each one the ideal fit for individuals as listed next to my picks. 

What is an AI image generator?

An AI image generator is software that uses AI to create images from user text inputs, usually within seconds. The images vary in style depending on the capabilities of the software, but can typically render an image in any style you want, including 3D, 2D, cinematic, modern, Renaissance, and more. 

How do AI image generators work?

Like any other AI model, AI image generators work on learned data they are trained with. Typically, these models are trained on billions of images, which they analyze for characteristics. These insights are then used by the models to create new images.

Are there ethical implications with AI image generators?

AI image generators are trained on billions of images found throughout the internet. These images are often artworks that belong to specific artists, which are then reimagined and repurposed by AI to generate your image. Although the output is not the same image, the new image has elements of the artist's original work not credited to them. 

Are there DALL-E 3 alternatives worth considering?

Contrary to what you might think, there are many AI image generators other than DALL-E 3. Some tools produce even better results than OpenAI's software. If you want to try something different, check out one of our alternatives above or the three additional options below. 

Nightcafe is a multi-purpose AI image generator. The tool is worth trying because it allows users to create unique and original artwork using different inputs and styles, including abstract, impressionism, expressionism, and more.

Canva is a versatile and powerful AI image generator that offers a wide range of options within its design platform. It allows users to create professional-looking designs for different marketing channels, including social media posts, ads, flyers, brochures, and more. 

Artificial Intelligence

The best ai chatbots: chatgpt isn't the only one worth trying, google and mit launch a free generative ai course for teachers, dall-e adds new ways to edit and create ai-generated images. learn how to use it.

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The best online marketplaces to sell your crafts and art.

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Selling your creations online is as simple as listing products, marketing them to potential buyers, ... [+] and fulfilling orders when placed.

Many popular online marketplaces cater to selling arts and crafts, allowing artists and crafters to earn money while pursuing their hobbies .

Selling your creations online is as simple as listing products, marketing them to potential buyers, and fulfilling orders when placed.

Best Websites To Sell Handmade Items

This article covers the best online marketplaces to sell your crafts and arts online.

Etsy is the leading global marketplace for human-made or custom-designed products.

It aims to preserve the human touch in a heavily automated commerce industry, so apart from craft supplies, it exclusively caters to goods handmade or designed by sellers.

Creating a seller account on Etsy is free, but you must pay $0.20 every time you list a product. The platform also deducts 6.5% of each customer’s payment as a commission fee.

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Gmail and youtube hackers bypass google s 2fa account security, it s going to zero legendary billionaire predicts rapid cataclysmic u s dollar collapse and a 5 trillion post halving bitcoin price boom, amazon handmade.

Amazon Handmade is a community exclusively curated for verified artisans who want to follow their passion and sell their crafts worldwide.

Through this platform, artisans can sell their handmade goods on Amazon and reach more than 300 million active customers worldwide annually.

Unlike regular Amazon sellers, approved Amazon Handmade sellers can get their Professional selling account fee, which costs $39.99 per month, waived.

They can also skip the platform's numerous listing and payment fees, as Amazon Handmade will only deduct a 15% referral fee from each sale’s total amount, with no hidden fees.

eBay is another popular online marketplace that lets sellers sell various secondhand or new items, including arts and crafts.

When using eBay's platform to sell your creations, you must pay various fees, such as insertion, final value, and international fees.

In return, your products have the potential to reach over 130 million eBay users worldwide. You are also protected against malicious buyers and unexpected shipping issues.

Big Cartel is an eCommerce platform that lets artists and small businesses create simple online stores for their products.

Through this platform, you can create a website dedicated to selling your arts and crafts, making your business appear professional, legitimate, and accessible.

Big Cartel offers a free plan, but sellers looking to expand their inventory and reach a larger customer base may subscribe to paid plans that provide more e-commerce features.

Cratejoy helps small business owners sell goods, such as arts and crafts, through subscription boxes.

For $24.99 monthly, subscription box sellers can sell their products on a marketplace with 4 million monthly page views. Alternatively, for $59 monthly, Cratejoy helps sellers design an exclusive and customizable eCommerce website.

iCraft’s marketplace is open to artists and crafters who want to set up a shop and sell their handmade creations to over 1.3 million international customers. Mass-produced and redistributed products are banned from this platform, keeping the competition exclusive to artisans who handmade their crafts.

iCraft charges a one-time $25 registration fee and a monthly subscription fee that ranges from $10 to $15.

indieCart is a user-friendly and affordable marketplace for artisans who create handmade items such as jewelry, facemasks, and pottery.

It only costs $7.50 per month to run an indieCart store that reaches approximately 20,000 registered shoppers, and you won’t have to worry about listing, final value, and other hidden fees.

How To Get Started Selling Arts And Crafts Online

It’s often better to initially focus on selling goods that fall under one niche, as it can be easier to tailor your marketing efforts to a single target market.

Once you have a clear idea of what to sell, choose an online platform to sell your creations on, create your online store, and start marketing your store and products so you can reach your intended audience and make sales.

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