essay about the art

Essay on Art

500 words essay on art.

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

What is Art?

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

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

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

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

Importance of Art

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

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

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

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

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

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

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

Conclusion of the Essay on Art

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

FAQ of Essay on Art

Question 1: How can art help us?

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

Question 2: What is the importance of art?

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

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Heilbrunn Timeline of Art History Essays

Impressionism: art and modernity.

Garden at Sainte-Adresse

Claude Monet

Porte de la Reine at Aigues-Mortes

Jean-Frédéric Bazille

La Grenouillère

The Bridge at Villeneuve-la-Garenne

Alfred Sisley

Edouard Manet

Madame Georges Charpentier (Marguerite-Louise Lemonnier, 1848–1904) and Her Children, Georgette-Berthe (1872–1945) and Paul-Emile-Charles (1875–1895)

Auguste Renoir

The Monet Family in Their Garden at Argenteuil

The Dance Class

Edgar Degas

Mademoiselle Bécat at the Café des Ambassadeurs, Paris

Côte des Grouettes, near Pontoise

Camille Pissarro

Mary Cassatt at the Louvre: The Etruscan Gallery

Allée of Chestnut Trees

Young Woman Seated on a Sofa

Berthe Morisot

Two Young Girls at the Piano

Dancers in the Rehearsal Room with a Double Bass

Young Girl Bathing

Young Woman Knitting

The Garden of the Tuileries on a Spring Morning

Margaret Samu Institute of Fine Arts, New York University

October 2004

In 1874, a group of artists called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris that launched the movement called Impressionism. Its founding members included Claude Monet , Edgar Degas , and Camille Pissarro, among others. The group was unified only by its independence from the official annual Salon , for which a jury of artists from the Académie des Beaux-Arts selected artworks and awarded medals. The independent artists, despite their diverse approaches to painting, appeared to contemporaries as a group. While conservative critics panned their work for its unfinished, sketchlike appearance, more progressive writers praised it for its depiction of modern life. Edmond Duranty, for example, in his 1876 essay La Nouvelle Peinture (The New Painting), wrote of their depiction of contemporary subject matter in a suitably innovative style as a revolution in painting. The exhibiting collective avoided choosing a title that would imply a unified movement or school, although some of them subsequently adopted the name by which they would eventually be known, the Impressionists. Their work is recognized today for its modernity, embodied in its rejection of established styles, its incorporation of new technology and ideas, and its depiction of modern life.

Claude Monet’s Impression, Sunrise (Musée Marmottan Monet, Paris) exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or “impression,” not a finished painting. It demonstrates the techniques many of the independent artists adopted: short, broken brushstrokes that barely convey forms, pure unblended colors, and an emphasis on the effects of light. Rather than neutral white, grays, and blacks, Impressionists often rendered shadows and highlights in color. The artists’ loose brushwork gives an effect of spontaneity and effortlessness that masks their often carefully constructed compositions, such as in Alfred Sisley’s 1878 Allée of Chestnut Trees ( 1975.1.211 ). This seemingly casual style became widely accepted, even in the official Salon, as the new language with which to depict modern life.

In addition to their radical technique, the bright colors of Impressionist canvases were shocking for eyes accustomed to the more sober colors of academic painting. Many of the independent artists chose not to apply the thick golden varnish that painters customarily used to tone down their works. The paints themselves were more vivid as well. The nineteenth century saw the development of synthetic pigments for artists’ paints, providing vibrant shades of blue, green, and yellow that painters had never used before. Édouard Manet’s 1874 Boating ( 29.100.115 ), for example, features an expanse of the new cerulean blue and synthetic ultramarine. Depicted in a radically cropped, Japanese-inspired composition , the fashionable boater and his companion embody modernity in their form, their subject matter, and the very materials used to paint them.

Such images of suburban and rural leisure outside of Paris were a popular subject for the Impressionists, notably Monet and Auguste Renoir . Several of them lived in the country for part or all of the year. New railway lines radiating out from the city made travel so convenient that Parisians virtually flooded into the countryside every weekend. While some of the Impressionists, such as Pissarro, focused on the daily life of local villagers in Pontoise, most preferred to depict the vacationers’ rural pastimes. The boating and bathing establishments that flourished in these regions became favorite motifs. In his 1869 La Grenouillère ( 29.100.112 ), for example, Monet’s characteristically loose painting style complements the leisure activities he portrays. Landscapes , which figure prominently in Impressionist art, were also brought up to date with innovative compositions, light effects, and use of color. Monet in particular emphasized the modernization of the landscape by including railways and factories, signs of encroaching industrialization that would have seemed inappropriate to the Barbizon artists of the previous generation.

Perhaps the prime site of modernity in the late nineteenth century was the city of Paris itself, renovated between 1853 and 1870 under Emperor Napoleon III. His prefect, Baron Haussmann, laid the plans, tearing down old buildings to create more open space for a cleaner, safer city. Also contributing to its new look was the Siege of Paris during the Franco-Prussian War (1870–71), which required reconstructing the parts of the city that had been destroyed. Impressionists such as Pissarro and Gustave Caillebotte enthusiastically painted the renovated city, employing their new style to depict its wide boulevards, public gardens, and grand buildings. While some focused on the cityscapes, others turned their sights to the city’s inhabitants. The Paris population explosion after the Franco-Prussian War gave them a tremendous amount of material for their scenes of urban life. Characteristic of these scenes was the mixing of social classes that took place in public settings. Degas and Caillebotte focused on working people, including singers and dancers , as well as workmen. Others, including Berthe Morisot and Mary Cassatt , depicted the privileged classes. The Impressionists also painted new forms of leisure, including theatrical entertainment (such as Cassatt’s 1878 In the Loge [Museum of Fine Arts, Boston]), cafés, popular concerts, and dances. Taking an approach similar to Naturalist writers such as Émile Zola, the painters of urban scenes depicted fleeting yet typical moments in the lives of characters they observed. Caillebotte’s 1877 Paris Street, Rainy Day (Art Institute, Chicago) exemplifies how these artists abandoned sentimental depictions and explicit narratives, adopting instead a detached, objective view that merely suggests what is going on.

The independent collective had a fluid membership over the course of the eight exhibitions it organized between 1874 and 1886, with the number of participating artists ranging from nine to thirty. Pissarro, the eldest, was the only artist who exhibited in all eight shows, while Morisot participated in seven. Ideas for an independent exhibition had been discussed as early as 1867, but the Franco-Prussian War intervened. The painter Frédéric Bazille, who had been leading the efforts, was killed in the war. Subsequent exhibitions were headed by different artists. Philosophical and political differences among the artists led to heated disputes and fractures, causing fluctuations in the contributors. The exhibitions even included the works of more conservative artists who simply refused to submit their work to the Salon jury. Also participating in the independent exhibitions were Paul Cézanne and Paul Gauguin , whose later styles grew out of their early work with the Impressionists.

The last of the independent exhibitions in 1886 also saw the beginning of a new phase in avant-garde painting. By this time, few of the participants were working in a recognizably Impressionist manner. Most of the core members were developing new, individual styles that caused ruptures in the group’s tenuous unity. Pissarro promoted the participation of Georges Seurat and Paul Signac, in addition to adopting their new technique based on points of pure color, known as Neo-Impressionism . The young Gauguin was making forays into Primitivism. The nascent Symbolist Odilon Redon also contributed, though his style was unlike that of any other participant. Because of the group’s stylistic and philosophical fragmentation, and because of the need for assured income, some of the core members such as Monet and Renoir exhibited in venues where their works were more likely to sell.

Its many facets and varied participants make the Impressionist movement difficult to define. Indeed, its life seems as fleeting as the light effects it sought to capture. Even so, Impressionism was a movement of enduring consequence, as its embrace of modernity made it the springboard for later avant-garde art in Europe.

Samu, Margaret. “Impressionism: Art and Modernity.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/imml/hd_imml.htm (October 2004)

Further Reading

Bomford, David, et al. Art in the Making: Impressionism . Exhibition catalogue.. New Haven and London: National Gallery, 1990.

Herbert, Robert L. Impressionism: Art, Leisure, and Parisian Society . New Haven: Yale University Press, 1988.

House, John. Monet: Nature into Art . New Haven: Yale University Press, 1986.

Moffett, Charles S., et al. The New Painting: Impressionism 1874–1886 . San Francisco: Fine Arts Museums of San Francisco, 1986.

Nochlin, Linda, ed. Impressionism and Post-Impressionism, 1874–1904: Sources and Documents . Englewood Cliffs, N.J.: Prentice-Hall, 1966.

Rewald, John. The History of Impressionism . Rev. and enl. ed. . New York: Museum of Modern Art, 1961.

Tinterow, Gary, and Henri Loyrette. Origins of Impressionism . Exhibition catalogue.. New York: Metropolitan Museum of Art, 1994. See on MetPublications

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Defining ‘Art’

For a practice that has followed humanity since the dawn of consciousness, the question ‘What is Art?’ is notoriously difficult to answer. The Oxford English Dictionary, typically an authority when it comes to definition, calls art “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.”

When asked to ‘think of an artwork’ there’s a pretty good chance that Oxford’s definition covers what you imagined. Oxford’s definition establishes some crucial distinctions: art is created by humans, so a beautiful tree is not art unless a human has applied their creativity to it, as with a bonsai tree. Also, art may be appreciated for its beauty or emotional power. While many artworks are visually pleasing, ugly or disturbing work is valid, and can be appreciated for its emotional power. So if Oxford has the definition nailed, why have generations of aestheticians, philosophers, writers, artists and academics defined and redefined what they think art is? First, some examples. We’ll begin with the pragmatic. In 1957, the architect Frank Lloyd Wright wrote: “Art is a discovery and development of elementary principles of nature into beautiful forms suitable for human use.” Another practical definition comes to us from Charles Eames: “Art resides in the quality of doing; process is not magic.”

For many artists and writers art is an intensely personal and difficult act, with Oscar Wilde calling art a mode of individualism , the French writer André Gide saying it’s “the point where resistance is overcome” and Italian film director Federico Fellini called art “autobiography . “

For Leo Tolstoy art was something greater than the individual. In his essay What is Art he wrote: “Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man’s emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.” And this is the crux of why art is difficult to define. The Oxford English defines art as an object created with intention, but generations of artists have seen art as many things. And they are all correct, because art is as complicated, diverse and contentious as human nature. No one definition will ever properly encapsulate what art is. So here, in no particular order are Obelisk’s definitions of art:

— Art is a process — Art is communication — Art is an expression of humanness

Reed Enger, "Defining ‘Art’," in Obelisk Art History , Published August 15, 2019; last modified October 12, 2022, http://www.arthistoryproject.com/essays/defining-art/.

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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.

Art Essay Examples and Topics

If you are studying art, chances are that you will have to write a lot of essays during your time in school or college. To receive an excellent grade on them, it is essential that you learn how to write an art essay. Here are the top tips for writing essays on art:

Choose a subject that is interesting to you . For example, if you are interested in graphic art, focus on it in your essay. If you are not sure of what to write about, try searching art essay topics online and choose the one you like most.

Look for sample papers on the topic . If you want to write about a particular movie, look for a film analysis example featuring it. Using this tip, you will be able to get some ideas and add more depth to your writing.

Find relevant scholarly sources . You can search Google Scholar or your school’s library for high-quality articles and books on the subject. Instead of merely citing the information from sources, try to offer some critique. Are the views shared by the author supported by other scholars? Do you agree with their evaluation and why?

Include a personal response . Many forms of art are subject to personal interpretation, and some tutors want their students’ essays to be expressive. This means that you should share your views on the topic and explain why you think the way you do. Doing so will help you to show your understanding of the topic and earn you some extra marks.

Hopefully, these tips will help you to earn an A on your art and design essays! You can explore our site for free essay samples and topics.

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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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Home Essay Samples

Essay Samples on Art

While it may seem easy to compose essays about art, it’s not really so because you have to offer background information in your introduction part and explain why some exhibition or a school of thought is important. This should go to your first paragraph because your purpose is to inspire your readers and provide enough background information. When you already have a prompt that must be followed, determine what kind of essay must be written. It can be a descriptive essay, which is great for a description of the works of art or photography. Some other cases may require working with an explanatory tone where you have to explain why an artist has chosen certain palettes or what has been an inspiration. See various free art essay examples below for inspiration. It also helps to learn how to structure your writing and implement quotes or footnotes that are used to highlight the images. Remember to focus on the ways how to cite images and multimedia elements, depending on the chosen style. Your writing should address every image that you have by checking twice with the grading rubric to ensure that you use the sources that may have already been specified.

What Does Creativity Mean to You

Creativity, an intricate tapestry of imagination and innovation, holds a unique significance for each individual. It is a concept that transcends the boundaries of convention, sparking curiosity and igniting the flames of inspiration. In this essay, we embark on a journey to unearth the meaning...

Censorship of Art and Artists: The Complex Discourse

The intersection of creativity and expression often finds itself entangled in a contentious debate: the censorship of art and artists. This complex issue has sparked discussions across societies and cultures, raising questions about freedom of speech, cultural preservation, and the power dynamics between creators and...

Why I Want to Study Architecture: the Power of Design

The world around us is a tapestry of structures, spaces, and designs that shape our lives and experiences. From towering skyscrapers to quaint houses, every architectural marvel carries a story and a vision. The allure of architecture, with its blend of artistic expression, technical precision,...

• Architecture

The Impact of Technology on Art: A Modern Renaissance

Introduction The influence of technology on art is an evolving narrative that reflects the symbiotic relationship between human creativity and innovative tools. From the early use of simple tools to create cave paintings to the digital art technologies of today, the integration of technology in...

• Art History
• Impact of Technology
• Renaissance

Exploring Feminist Literary Criticism: Unveiling Mona Lisa Smile

Introduction Self-assessment and criticism help us improve our skills and the ways in which we communicate our ideas and perspectives with others. In this feminist literary criticism essay, I will be critiquing and analysis of the movie Mona Lisa Smile. Firstly, I will explain why...

• Literary Criticism

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Frida Kahlo: Exploring Her Biography Through the Film 'Frida'

In the 2002 film “Frida” directed by Julie Taymor, illustrates the life of Frida Kahlo based on the book Frida: A Biography of Frida Kahlo by Hayden Herrera. Who is Frida Kahlo? Her biography in this essay is explored with the help of the film...

• Film Analysis
• Frida Kahlo

Debate Surrounding Graphic Novel and Relation to Literature

Introduction In the past years, the noise about graphic novels has been constantly increasing. A graphic novel is basically a novel in comic-strip format, a book made up of comics’ content. However, they are not the same as comics. Unlike comic books, graphic novels are...

• Graphic Novel
• Visual Arts

Depicting Trauma: Symbolism in Graphic Novels

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Understanding Graphic Novels: Context and Analysis for Reading

Introduction Graphic novels are stories illustrated in comic form but have the length of a novel. “The term graphic novel was invented in 1970 however, the time of its origin is not concluded yet” (“Levitz”). Graphic novels have been debated for decades since some readers...

Jhene Aiko: Exploring the Artistry and Emotions in her Music

The artist I have chosen to write about is Jhene Aiko who is categorized in the R&B and Hip-Hop genre. Jhene Aiko is a popular singer who writes her music under the influence of cannibis, under the influence of therapeutic instruments and while having a...

• Famous Person
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The Joy of Painting: Exploring the Life and Legacy of Bob Ross

Who is Bob Ross, or rather, who was he? During the 80s and 90s, he was an artist who specialized in painting, hosting an instructional painting show on PBS called The Joy of Painting. Though Bob Ross has long since passed on, one will find...

The Uniqueness of Australian Artwork: Exploring Artists' Perceptions

Australian artists provide a unique way of displaying the Australian landscape. John Olsen is one of these artists, who uses symbolism to create a sense of movement. This is conveyed through his spontaneous linear line work as seen in Onkaparinga Hill, blue wren and fox...

Artistic World of Peter Doig: an Insight Into His Life and Work

Peter Doig is a contemporary Scottish artist I found that peaked my interest from his art work to his personal life. I’d like to start off by giving a brief background of the artist seeing that a lot of his work is landscapes from where...

• Contemporary Art

Being an Artist: My Passion, Place of Freedom and Courage

I remember constantly wondering if there was a way that I could make my life meaningful or if it even had meaning. I was just a thirteen year old starting to figure out her own self. My life revolved around wanting to please the people...

• About Myself

Sculpture From Dura Europas: the Head of a Bearded God

One of the artworks in the Yale art gallery is the Head of a Bearded God. This sculpture of bearded man that looks old and wise. This piece has curly hair, bushy eyebrows, and very wide/big eyes. The piece is is classified as a sculpture,...

Kashimiri Papier Mache Art: a Unique Dying Art Form

Kashmir has been wrought in conflict and upheaval for decades now, but its wonderful valleys give us a unique gift of native craftsmanship – Papier Mache art. Kashmir’s rich cultural past is often overlooked due to its troublesome political past. Its handicrafts and shawls (from...

The Art of the Meddah: Exploring Turkish Forms of Storytelling

Culture is the conglomeration of the beliefs and art forms of societiesm across places, along a long-time frame. And quite evidently, the Republic of Turkey has an extremely long history and a resultantly rich diversity in its culture. Throughout its history, the Turkish land was...

The Way Technologies Transform Already Existing Art Forms

Compelling games are not the consequences of accidents, any more than are riveting novels, movies, or music. Creators for all these medias draw on well-established set of strategies and techniques to create a particular emotional experience. Musicians, for example, may create tension through reiteration and...

How Shemistry Influenced the History and Presentation of Art

Chemistry is everywhere in our life. Of course, chemistry is also closely related to art. There are many forms of art, such as oil painting, gouache, watercolor and so on. These painting forms are inseparable from products such as pigments and watercolors, which are based...

Critical Understanding of the Sculptural Art of Alexander Calder

Calder was an American sculptor from Pennsylvania. His father, Alexander Stirling Calder was a sculptor and his mother a painter. Him and his family were constantly on the move around the country throughout Calder’s childhood due to his dads work. And through this Calder was...

Discussion on the Relationship Between Intelligence and Creativity

The relationship between intelligence and creativity has been subjected to research for many years. Unfortunately, there is yet no consensus on how these constructs are related. The connection between intelligence and creativity is that they are functions of the brain that handle data to determine...

• Intelligence

Do Schools Kill Creativity: the Issues of Music Education

In the TEDx video entitled, 'Do schools kill creativity?' Sir Ken Robinson discusses what he believes to be the main problem with our education system, providing a series of funny anecdotes and facts appropriate for his argument. After watching this video about 'Do schools kill...

Creative and Critical Thinking: Combining the Achievements of Thought

Creative, one word that can be interpreted in many ways whether in thoughts which is include ways of thinking and actions and also in verbal form. Critical, on the other side refers to the ability to analyse information objectively and make a reasoned judgment. It...

• Critical Thinking

Culture, Art and Creativity: the Way They Are Related

Art is a reflection of your thinking, your ideas, and your surroundings, the artist adopts his or her surroundings and then by using their imagination, outside thinking and their perspective they present a new face of it in front of the world. Art and creativity...

• Cultural Anthropology

Accessing the World of Theatre: Musicals and Music Theatre

Goodwin (2019) states music theatre is a type of stage performance using music from various forms such as ballets, operas, cabarets, and contemporary music. Musical theatre uses different techniques (e.g. music, dance, songs, acting as well as spoken dialogue) to tell a story to the...

Drawing for Architecture: A Key to Understanding Complex Designs

Architecture the word from Latin is called “architectura” originally from the Greek “arkhitekton”. Architectural drawing has never been taken for granted. All things we design and sketch are from our thinking to our hands. Therefore, drawings are the main development to architectural projects. When designing,...

Architecture: Bridging Vision into Reality

Architecture can be defined in various ways, but if I were to define it, I would simply use these following words, ‘Architecture is an abstract language that bridges a vision into reality.’ I think everyone would agree that architecture is best paired with great effort...

• Interior Design

The Development of Nationalism & Regionalism in Australian Architecture

Introduction From the 1880s, “nationalism” and “regionalism” had been started to be two of the keywords on the Australian development of architecture. These two words point toward the nation’s sake of rejecting foreign architectural approaches and seeking of the local architectural characteristics in Australia. During...

• Modern Architecture

Architecture: A Means to Improve People's Quality of Life

Introduction  “Architecture is about finding imaginative, creative solutions to improving people’s quality of life.” - Alejandro Aravena Architecture was born approach back in the prehistoric age, once the first man determined to come back up with shelters made up of twigs and bones. architecture isn't...

• Quality of Life

Architecture and its Role in Nation Building: A Critical Review

Brief introduction on architecture and how its spaces are perceived The universal definition of architecture as a synthesis of ‘art’ and ‘science’ is inadequate in the present democratic, globalized, and information world of the 21st century. Many modern good-looking buildings with sound structures have been...

Romanticism Paintings Analysis: The Raft of Medusa and Liberty Leading the People

I will be focusing on romanticism that is based on emotions and sublimity. I will be displaying the features of romantic art by analysing two paintings from the 19th century. These are The Raft of Medusa by Theodore Gericault (1819; Louvre Museum, Paris), oil on...

• Romanticism

The Ideas Behind The Persistence of Memory and Pillars of Society

George Grosz, Pillars of Society (1926) George Grosz was born in Berlin on July 26, 1893, he studied at Dresden Art Academy and began his career as a cartoonist. He later joined a Dada movement in 1917. And he was a famous figure in Neue...

• Salvador Dali

The Persistence of Memory, Starry Night and Analysis of Other Paintings

Dreams are something that everyone is or was able to have at one point in their life. Dreams are defined as, 'a series of thoughts, images, and sensations occurring in a person's mind during sleep.' Many artists create their artworks from their dreams or other...

• Vincent Van Gogh

The System Of Education: If I Could Change The World

If I could change the world, I would completely change the system of education. It hasn't changed for hundreds of years, and the current system was designed in the Industrial Age. This means, that children in school have to obey every order and do only...

• Importance of Education

Expressive Art: Is Graffiti Art Or Vandalism

 Throughout time graffiti has received both overwhelming support and intense backlash. Some view it as a form of expressive art while others consider it a complete destruction of property. However, despite the amount of differentiation, charisma and personality graffiti can bring into cities, it is...

Why Is Art Important For Human

Art is not a necessary part of survival. So why does it matter? Oftentimes art is overlooked and viewed as an unimportant skill or ability to have. However, art has many qualities that one can benefit from. It is a stress reliever that allows people...

The Doll`s House" By H. Ibsen: Nora Helmer Character Analysis

Nora Helmer is a good wife and mother. She does all she can for her family, especially her husband. Considering all the things she does, and the lengths she went to to make sure her husband could regain his health, it was not enough in...

• A Doll's House

Why Is Graffiti Are Not Vandalism

Why is graffiti art not vandalism? According to the Mural Arts Philadelphia website, the village’s first legitimate effort to eradicate graffiti started with the form of the Anti-Graffiti Network in the 1980s. Some people assay that its vandalism, and some assay that its artifice. Park...

My Take On Comedy: From Tartuffe To Sylvia And Cards Against Humanity

Defining comedy is extremely difficult. When something happens that makes you laugh, whether that is in a play or in real life, it’s difficult to pin down why you laughed, to begin with. I find myself defining comedy as a series of events that went...

Attitudes Towards Consumerism in Contemporary Art

In this essay I will be using information gathered from my own personal research, studio research and relevant topics discussed throughout the lectures. Whilst also, considering social, economic, and cultural factors. I will be discussing and analyzing attitudes towards consumerism in Contemporary Art. Built from...

• Consumerism

One of the Most Common Forms of Theatre

Throughout this essay the focus of various practitioners will be explored thoroughly from the paths of life they took and how they became so successful, to the impact that their work had on other practitioners and in general the industry itself. The industry of theatre...

The Practice of Art Forgery and Monet's Aesthetic Flaws

A forgery is a work that is not genuine to its proclaimed origins, however, is presented as a genuine article, and is so acting with the intention to deceive. The practice of art forgery is as well established and mature as the practice of creating...

• Claude Monet

Visual Verbal Essay on Wilfred Owen and Franz Marc

This essay explores two artists, Franz Marc, Brett Whitely and two of their artworks depicting animal scenes. Franz Marc’s ‘Tiger’, ‘Blue Horse 1’ and Brett Whitley’s Giraffe and Hyena. These four artworks will be compared and contrasted using the structural and the subjective frame. In...

• Wilfred Owen

The Role of Creative Industries in the United Kingdom

In this essay I will go over and talk about the creative industries and the role they play in the United Kingdom, I will look at the history and the development of the Creative Industries and their sectors. I will then look at the wider...

• Great Britain

African Art: West African Sculpting 

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Caravaggio's Sacrifice of Isaac by Abraham Due to Divine Intervention

First of all, there are several juxtapositions present throughout the painting. For example, there is a dichotomous relationship between the cold sensuality in the foreground and the pastoral beauty in the background. Secondly, Caravaggio manages to convey the sensational struggle present between the unconditional loyalty...

Greetings From the 1970s Contemporary Photography

The term contemporary refers to things happening in the same period of or in the style of the present or recent times so when referring to contemporary photography that is only basic modern 21st-century pictures or videos.. Over the past years, something called 'the medium'...

• Photography

Claude Monet and Modern Art Today

“Claude Monet” was a famous French painter who used to catch his everyday life's best minutes on canvas. “Claude Monet” was born on 14 November 1840 and His father was a businessman and his mother was a singer. He is one of the most praised...

The World’s Wife Borrowed From Other Texts

It is often that literature, whether being a poem or a book, often provides a voice for those who lack one. The work by Carol Ann Duffy is an accumulation of poems titled 'The World's Wife', first published in 1999 and the present works through...

• Drama (Play Genre)

Typography: From Billboards to Street Signs

Typography is everywhere we look, in the books we read on the websites we visit even in everyday life, from billboards to street signs, product packaging and even on your mobile phone. It is the art and technique of designing and arranging type. Today the...

• Advertising

Rebellious Aspect to Monet’s Personality

Claude Monet is an artist who continues to be adored and held in high esteem even to this day. There may be many who perhaps are not familiar with the name, yet still at least recognise one piece of his work. His paintings are a...

Edgar Degas and His Way of Critics

Mary Cassatt was born in 1844. She was born in what is now known as Pittsburgh, Pennsylvania and died on June 14, 1926 at her French home right outside of Paris. Mary was raised in Philadelphia where she spent her childhood with a social privilege...

• Edgar Degas
• Impressionism

The Principles of Art: Movement, Unity, Harmony, Variety

If you were to ask someone “what is art essay”, the majority of people in the world would think of art and immediately their mind would shoot to a painting. The truth is, art is so much more than just a painting. There are thousands...

• Art Movement

Fairy Tale Black Swan Is a Story of a Ballerina

“Black Swan” is not the fairy tale of “swan lake” but a story of a ballerina, Nina. The story begins with the change of the company, the old lead dancer Beth is about to leave. The stage needs a new lead dancer who can act...

The Book Caesar's Commentarii de Bello Calico

One may call war a side effect of human civilization. Nevertheless, it is in a war that people show their best virtues: courage, loyalty, strength, perseverance, and honesty. Nothing is surprising in the fact that texts on this subject have existed since the writing appeared....

Comparing Two Great Pieces by Pablo Picasso and by Francisco Goya

Today I will be comparing and contrasting two great pieces called “GUERNICA” by Pablo Picasso and “THE THIRD OF MAY” by Francisco Goya.The “GUERNICA” by Pablo Picasso was hard to understand at first but the longer you look at it you understand it is a...

• Pablo Picasso

Black Swan is About Destructive Nature of Ballet

Nina Portman is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica who exerts a suffocating control over her life. When artistic director...

The Development of Islamic Art

Islamic art is created not only for the Muslim faith, but it consists of artworks such as textiles, architecture, paintings and drawings that were produced in the regions that were once ruled by Muslim empires. Artists from various disciplines take part in collaborative projects and...

• History of Islam
• Islamic Art

Role of Cultural and Religious Pluralism

Cultural pluralism is a term used when smaller groups within a larger society maintain their own unique cultural identities. Migration is a key process that makes significant contribution to the growth of urbanism. Often immigrants belonging to particular region, language, religion ,tribe etc tend to...

• Art and Religion
• Religious Pluralism

John Berger: Understanding His Artwork

John Berger is a remarkable man who enlighten us with his knowledge using one of his brilliant essays “Ways of Seeing.” Berger has concurred the ability to fully understand any artwork and to recognize what is visible before him. He clarifies that there is a...

• John Berger

America’s Contemporary Multimedia Artist Jeff Koons

Jeff Koons is one of America’s most popular contemporary multimedia artists, who believes that art can change lives, give vastness and expand your parameters. Koons was born in York, Pennsylvania in 1955. He studied at the Maryland Institute College of Art in Baltimore and the...

• American Culture

The Sistine Chapel Ceiling by Michelangelo

The Sistine Chapel Ceiling (Italian: Volta Della Cappella Sistina), painted by Michelangelo somewhere in the range of 1508 and 1512, is a foundation work of High Renaissance craftsmanship. The Creation of Adam' is one of the nine ceiling boards in the Sistine Chapel portraying scenes...

• Michelangelo

History of Medieval And Byzantine Art Movements

A painting wealthy in color typical for St.George on a rearing white horse, shown against a rocky landscape, slaying the winged monster as it appears before him. An angel crowns St.George with a martyr’s crown, symbolizing the triumph of good over evil. The tower on...

• Byzantine Empire

The Power Of Photography: Capturing Emotions With Camera

Photographs help people preserve memories with its technology, but what is actually happening is much more interesting when thought about in more depth. A moment in time is captured forever, so long as the photograph is kept in good shape. It is the closest people...

Jackson Pollock as an Influential America Artist

The painter Jackson Pollock was an influential America painter and a key person to the abstract expressionist movement. He was born in Cody , Wyoming in 1912 and he was the youngest of 5 brothers. He grew up in Arizona and Chico, California he moved...

• Jackson Pollock

The Girl Who Loved Caravaggio by Belle Ami

The Girl Who Loved Caravaggio by Belle Ami is a romantic suspense thriller and the second book in the Out of Time series. High on the success of finding a centuries-old Leonardo da Vinci painting, Angela Renatus, and her fiance Alex Caine are on a...

The Portrayal of the Culture of Death and Afterlife in Art

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Art Nouveau and Modernist Movements in Art

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The Most Important Art Essays of the Year

What were the ideas that had everyone talking?

Atmosphere from the Zombie Formalism panel.

It was an eventful year for art writing, with plenty of shifts in the landscape, as new publications opened (including this one), or popped up , or reinvented themselves . But beneath all the institutional shuffles, what were the ideas that got people excited? To try to answer that question, I polled colleagues, but the final selection below is obviously a personal one. It reflects the world around me, and is weighted towards pieces that reflect my own location and  my own sense of this year’s troubled qualities .  In any case, here are a few of the pieces of writing that I think are touchstones of 2014:

Holland Cotter, “ Lost in the Gallery-Industrial Complex, ” New York Times , January 17, 2014 It’s a little crazy to me that Cotter’s fretful, sweeping state-of-the-scene piece is already a year old. But it stands in here for all the angst of money in a year of record auction prices and continued angst about inequality .

Jason Farago, “ Learning to Live With MoMA ,” Frieze blog, January 17, 2014 Amid all the outcry around MoMA’s annexation of the Folk Art Museum building, Farago did the best, to my taste, of getting to the heart of what was really at stake by placing it within the longer arc of change in the museum’s identity going back to its failed encounter with Rem Koolhaas.

Christian L. Frock, “ Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene ,” KQED, February 7, 2014 Frock’s multipart series (here’s the second: “ Priced Out: San Francisco’s Changing Values and Artist Exodus “) captured the voices of a Bay Area arts community trying to stay afloat in a sea of “disruptive” tech money, but testifies to a conversation artists were having seemingly everywhere artists were found (see also Jen Graves’s “ How Artists Can Fight Back Against Cities That Are Taking Advantage of Them ”).

Trevor Paglen, “ Overhead: New Photos of the NSA and Other Top Intelligence Agencies Revealed ,” Creative Time Reports, February 10, 2014 If you haven’t been paying attention to what Marisa Mazria Katz has been up to for the last two years at Creative Time Reports —essentially, supporting artists in finding new ways to cover the news—you should be. In February, the publication teamed up with The Intercept to launch this Paglen photo essay, serving up images that immediately became a kind of visual shorthand for the sinister powers of government surveillance in the age of Snowden.

Walter Robinson, “ Flippers and the Rise of Zombie Formalism ,” Artspace Magazine, April 3, 2014 If there is an essay that touched off more discussion this year, then I can’t think of what it was. The tongue-in-cheek “Zombie Formalism” label, applied either to that funky-junky art-school look or used as a diagnosis of an art world obsessed with “artificial milestones” and the “simulacrum of originality” in general, is now lodged deep in the conversation .

Eunsong Kim and Maya Isabella Mackrandilal, “ The Whitney Biennial for Angry Women ,” The New Inquiry, April 4, 2014 This unsparing, percussive manifesto denouncing the Biennial and the art establishment in general set the stage for many of the debates of the year. It was, as the authors summed it up in their conclusion, “[a] demand for the impossible: decolonization, decentering, radical thinking, radical action, radical making.”

Helen Molesworth, review of the Whitney Biennial , Artforum , May 2014 The Whitney Biennial always draws fire. But this is really less of a review than a curator’s series of frustrated questions for her peers about the profession and its fundamental aims.

Jamilla King, “ The Overwhelming Whiteness of Black Art ,” Colorlines, May 21, 2014 This is one from well outside the regular circle of art coverage—but King’s thoughtful piece about Kara Walker’s A Subtlety  and the demographics of the art audience opened up a conversation that reverberated throughout the piece’s run, culminating with “We Are Here,”  an event for people of color to view Walker’s work together, to experience it as the majority.

Rahel Aima, “ Christian Marclay Goes to Bollywood ,” The New Inquiry, May 21, 2014 Christian Marclay’s epoch-making The Clock toured the world telling the story of a day through film clips culled mainly from Western film. He follows it up with  a supercut of Bollywood dream sequences set in Switzerland , destined to be shown in a chairlift in Gstaad, and Aima considers the cultural asymmetries and structures of power that this makes visible.

Christopher Glazek, “ Shopkeepers of the World Unite ,” Artforum , June 2014 A sympathetic and convincingly intricate account of the rise of the artists around DIS magazine, making a case for the new Post-Internet cool school while still remaining just critical enough to convince yourself that you were seeing it plain.

Molly Crabapple, illustration for Slaves of Happiness Island. Courtesy of the artist and Vice

Molly Crabapple, “ Slaves of Happiness Island ,” Vice, August 4, 2014 A neat feat of first-person journalism, this piece recounts one artist’s voyage onto the site of the soon-to-be built Guggenheim Abu Dhabi to see for herself what labor conditions looked like there. With the main and most demanding construction still to come, Crabapple talked to a worker laying the infrastructure for the new institution: “I don’t know how much longer I can go on like this. My body is on the verge of giving up, but I cannot leave my job because I am responsible for my sisters.”

John Yau, “ Andy Warhol and Jeff Koons and the Culture of Hyperbole ,” Hyperallergic, August 17, 2014 Taking a long look at the deep values of today’s Koons craze, Yau finds that they amount to this: “to be out of the mainstream is in fact a mark of imperfection.”

Whitney Kimball, “ How Do People Feel About the Gramsci Monument, One Year Later? ,” Art F City, August 20, 2014 A year after artist Thomas Hirschhorn’s pop-up community center won plaudits and raised hackles at a Bronx housing project, Kimball returns to ask people in the neighborhood what good it left behind—the kind of follow-up that almost never happens. The answers she finds are probably neither positive nor negative enough to satisfy pro-or-anti-Monument camps, which is part of what makes the exercise important.

Carolina Miranda, “ Art and race at the Whitney: Rethinking the Donelle Woolford debate ,” Los Angeles Times , June 17, 2014 It’s hard to sum up what makes this article important, given everything that’s involved: the Whitney Biennial, a black artist collective’s decision to publicly leave the show in protest of perceived racism , and the artist Joe Scanlan’s work made in the persona of a fictional African-American artist, Donelle Woolford. By interviewing Jenn Kidwell, the actress involved in Scanlan’s work, Miranda added important nuance to a very difficult conversation about race, racism, and art.

Jeff Chang, “ Color Theory: Race Trouble and the Avant Garde ,” n+1 , Fall 2014 Can’t Stop, Won’t Stop author Jeff Chang’s deeply researched, penetrating beat-by-beat account of a 1979 scandal at Artists Space around the artist known as Donald and his so-called “ Nigger Drawings ” (it’s an excerpt from his new book, Who We Be ) unearths all sides of a painful chapter in recent art history. Given the year that we’ve had (see above), its lessons couldn’t feel more relevant.

Assorted essays on contemporary art and feminism , edited by Kara L. Rooney, The Brooklyn Rail , September 2014 There are individual essays here that have stuck with me as offering particularly useful ways to grasp the question of feminism in art today (Chloe Wyma’s “ Lean Back: Resisting Branded Feminism ” is one that I find myself quoting a lot). But the collection of writings in the Rail ‘s special section on the subject is also eclectic, which maybe makes it more useful as a snapshot of the unsettled nature of the present conversation.

Mira Schor, “ The Feminist Wheel ,” A Year of Positive Thinking, September 20, 2014 An exasperated rant from inside Mira Schor’s head (and Twitter feed) at The Hole’s “Future Feminism” show takes on larger significance as a reflection on the difficulty of staying true to hard-earned—and needed—feminist principles while not missing out on the “utopian ebullience” of more recent arrivals.

Roberta Smith, “ In a Mattress, a Lever of Art and Protest ,” New York Times , September 21, 2014 In protest over institutional ineptitude around sexual assault , Columbia art student Emma Sulkowicz launched Carry That Weight , vowing to carry a mattress around campus until the man she says raped her leaves. The artistic protest touched off a deafening roar of media coverage of the “hot takes” type—so there was something significant about one of the country’s most authoritative art critics stepping up to explain why this work of protest-as-performance was worth your actual considered attention.

Mostafa Heddaya, “ Delusions of Grandeur: GCC at MoMA PS1 and the New Museum ,” Hyperallergic, September 26, 2014 This is an adept polemic about the buzzy “ Gulf Futurism ” of the art group GCC —and through it, a reflection on what strategies of political art might be viable today.

Art Post-Internet , edited by Karen Archey and Robin Peckham, October 2014 If you are one of those people who this year realized that you suddenly had to have something to say about “Post-Internet” art, this sprawling pamphlet with contributions from artists, academics, curators, and writers (including me) is as fine a place to start as any. In a neat Post-Internet touch, each PDF is a “unique” edition, stamped with a number and record of your location and the weather where you were at the moment you hit download.

Andrew Berardini, “ How to Write About Contemporary Art ,” Momus, October 15, 2014 This year, Toronto-based writer Sky Goodden launched  Momus.ca , an online art platform that bills itself as a “return to art criticism.” Berardini’s essay on the petty indignities and strange detours of a life of writing about art is probably my favorite piece on this list. I can’t do it justice, so just go read it.

Brian Droitcour, “ The Perils of Post-Internet Art ,” Art in America , November 2014 You know something has become a thing when it starts to draw the kind of sustained intellectual attack that Droitcour levels at the avatars of Post-Internet art, framing the whole trend as an attempt to recapture the web’s anarchic energies for the professional gallery world rather than a step into some new realm beyond it.

Philip Kennicott, “ An art loan from Bill Cosby draws the Smithsonian into a national debate ,” The Washington Post , November 20, 2014; Jillian Steinhauer, “ What Should the Smithsonian Do About Its Show of Bill Cosby’s Art Collection? ,” Hyperallergic, November 20, 2014; Kriston Capps, “ Why Is the Smithsonian Standing Behind Bill Cosby? ,” The Atlantic , November 21, 2014 The fallout from the allegations against Bill Cosby is far from over, but at year’s end, it provoked a series of excellent articles that went beyond the immediate scandal to look at the responsibilities of art institutions and the ethical traps of showcasing private collections.

Victor Merida, “ Excited Delirium: Graffiti and Miami ,” The Miami Rail , Winter 2014 Some sober, sobering reflections on graffiti art’s place in the branding of Miami, made more resonant by the tragic death of the young artist Israel “REEFA” Hernandez last year at the hands of the police.

Pac Pobric, “ Sturtevant’s Provincialism ,” Los Angeles Review of Books , December 18, 2014 There’s just something about a righteously pissed-off review, right? And while this year will be remembered as one where everyone once again proved their seriousness by lining up to take shots at Jeff Koons , here’s one that goes after a target that’s more difficult to pin down.

Mel Chin, “ Miley, Eric and Me: Basel’s Dazzle and the Dark Death Around Us ,” Creative Time Reports, December 18, 2014 I’m not sure I could believe that anything that great came of Miley Cyrus’s coronation as an art star at Art Basel in Miami Beach. But this soul-searching essay did come of it, which is definitely worth something.

Special mentions:

W.A.G.E. Wo/Manifesto This is a bullet-pointed call for change, from the group that calls for a new social contract between art institutions and artists.

Not That This! Nathaniel Donnett’s blog focusing on adding coverage of the African-American art scene in Houston not only adds a needed perspective, but does so in experimental ways; for instance, using poetry . It just won an Idea Fund grant to expand and make its coverage more regular, so keep it bookmarked.

Christian Viveros-Fauné and Blake Gopnik, “ Strictly Critical ” video series, artnet News, and Casey Jane Ellison, “ Touching the Art ,” Ovation TV Having seen many, many attempts to make art-themed videos work over the years, I know how hard it is—but this year brought two strong contenders. Viveros-Fauné and Gopnik perfected a Siskel and Ebert routine that made it seem suddenly fun and interesting to debate art, not a chore. Meanwhile, Ellison, whose Twitter bio describes herself as “artist + comic with a mole on her face,” brought her own alluringly wacky touch to bear on Ovation’s art-themed chat show.

Raphael Rubinstein, The Miraculous (Paper Monument) Here’s another outlier because it is a book and not an essay, strictly speaking, which opens up a whole other can of worms . But, in terms of things I read this year that really made me rethink how I looked at contemporary art, this one particularly affected me . So it stays on! If you still need a gift for an art lover, this is it.

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Essay on Contemporary Art

Students are often asked to write an essay on Contemporary Art in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Contemporary Art

What is contemporary art.

Contemporary art is art made today by living artists. It shows what’s going on in the world and often uses new materials and ideas. It’s like a mirror that reflects our society, culture, and technology.

Styles in Contemporary Art

This art is very diverse. Some artists paint, others use computers or recycle things to make sculptures. There are no fixed rules, so artists can try whatever they like to express their thoughts and feelings.

Themes of Contemporary Art

Many contemporary artists talk about important topics like nature, politics, or personal stories. Their work can make us think and feel things about these issues.

Where to Find Contemporary Art

You can see contemporary art in museums, galleries, or even on the streets. Some art is only for looking, while other pieces invite you to touch or walk around them.

Why it Matters

250 words essay on contemporary art, what is contemporary art.

Contemporary art is the art made today by living artists. It shows what is happening in our world and explores modern ideas, technology, and society. Artists create paintings, sculptures, videos, and other artworks that can surprise or make us think.

Styles and Materials

Artists in contemporary art use all sorts of materials, not just paint or clay. They might use plastic, glass, or even digital tools to make art. There are many different styles too, like abstract, which doesn’t look like anything real, or realistic, which looks very much like real life.

Themes and Messages

A lot of contemporary art talks about important topics like the environment, politics, or people’s rights. Artists want to share their thoughts and sometimes try to make the world a better place through their art.

Where to Find It

You can see contemporary art in museums, galleries, or even on the streets. Some art is made to be outside, like big sculptures in parks or murals on buildings.

Why It Matters

Contemporary art is special because it helps us see the world in new ways. It can make us feel happy, sad, or even confused, but that’s part of what makes it exciting. It’s like a conversation between the artist and us, and everyone can have their own opinion about it.

500 Words Essay on Contemporary Art

Contemporary art is the art of today, created by living artists. It reflects the complex issues that shape our diverse, fast-moving world. Through paintings, sculptures, and all sorts of creative works, artists express ideas about society, culture, and technology. This kind of art can look very different from the art made in the past, and it often uses new methods and materials to surprise and engage people who see it.

Styles and Techniques

There are many styles in contemporary art. Some artists paint abstract pictures that don’t look like anything real but are all about colors and feelings. Others make realistic pictures that look like photographs, showing every small detail. Then there are artists who use new technology, like computers and video, to make their art. They might also use unexpected materials, like bits of plastic or old clothes, to create something new and exciting.

Themes in Contemporary Art

You can find contemporary art almost everywhere. Museums and galleries have exhibitions where you can see the latest artworks. Sometimes, art is even shown in public spaces like parks or train stations. This means that everyone can see and think about the art, not just people who go to museums.

Understanding Contemporary Art

Sometimes, looking at contemporary art can be confusing. An artwork might not be pretty or even look like much at all. But that doesn’t mean it’s not good or important. Often, the artist wants to make you think or feel something special. When you see a piece of contemporary art, try to imagine what the artist is trying to say. Think about the colors, shapes, or materials they used. You can also read the title or description, which can give you clues.

Artists and Audiences

Contemporary art is all about the here and now. It can be fun, serious, beautiful, or strange. The main thing is to keep an open mind and try to see what the artist is sharing. Whether it’s in a museum or on the street, contemporary art has something to say about the world we live in, and it invites everyone, including school students like you, to join in the conversation.

That’s it! I hope the essay helped you.

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art , a visual object or experience consciously created through an expression of skill or imagination. The term art encompasses diverse media such as painting , sculpture , printmaking , drawing , decorative arts , photography , and installation.

(Read Sister Wendy’s Britannica essay on art appreciation.)

The various visual arts exist within a continuum that ranges from purely aesthetic purposes at one end to purely utilitarian purposes at the other. Such a polarity of purpose is reflected in the commonly used terms artist and artisan , the latter understood as one who gives considerable attention to the utilitarian. This should by no means be taken as a rigid scheme, however. Even within one form of art, motives may vary widely; thus a potter or a weaver may create a highly functional work that is at the same time beautiful—a salad bowl, for example, or a blanket—or may create works that have no purpose beyond being admired. In cultures such as those of Africa and Oceania, a definition of art that encompasses this continuum has existed for centuries. In the West, however, by the mid-18th century the development of academies for painting and sculpture established a sense that these media were “art” and therefore separate from more utilitarian media. This separation of art forms continued among art institutions until the late 20th century, when such rigid distinctions began to be questioned.

Particularly in the 20th century, a different sort of debate arose over the definition of art . A seminal moment in this discussion occurred in 1917, when Dada artist Marcel Duchamp submitted a porcelain urinal entitled Fountain to a public exhibition in New York City . Through this act, Duchamp put forth a new definition of what constitutes a work of art: he implied that it is enough for an artist to deem something “art” and put it in a publicly accepted venue . Implicit within this gesture was a challenge to the established art institutions—such as museums, exhibiting groups, and galleries—that have the power to determine what is and is not considered art. Such intellectual experimentation continued throughout the 20th century in movements such as conceptual art and minimalism . By the turn of the 21st century, a variety of new media (e.g., video art ) further challenged traditional definitions of art.

Art is treated in a number of articles. For general discussions of the foundations, principles, practice, and character of art, see aesthetics . See also art conservation and restoration .

For the technical and theoretical aspects of traditional categories of art, see drawing ; painting ; printmaking ; sculpture . For technical and historical discussions of decorative arts and furnishings, see basketry ; enamelwork ; floral decoration ; furniture ; glassware ; interior design ; lacquerwork ; metalwork ; mosaic ; pottery ; rug and carpet ; stained glass ; tapestry . See photography for a complete history of that medium.

For treatments of the various arts as practiced by specific peoples and cultures, see , for example, African art ; Central Asian arts ; Egyptian art and architecture ; Islamic arts ; Oceanic art and architecture ; South Asian arts .

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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Art Essay Writing Guide

By: Henrique Bertulino

Art Essay is a job that has primarily aesthetic or entertaining value. This term most often uses when referring to literary jobs. A literary and artistic career has primarily aesthetic or fun value. Thus, they are opposed to documentary or scientific positions, because, for the latter, the principal is cognitive value.

What Is an Art Essay?

What is a short art essay, choose your art topic, research your claims, provide visual analysis, offer clear analysis, how to start your art essay, and what to include, the body of your art essay, how to conclude your art essay, art essay topics examples, art essay outline example, general information, brief description, describe art elements, describe principles of design, opinions and conclusions.

The specificity of art jobs is that they often tell about events that seem to have taken place in a fictional world, with fictional characters. Sometimes a job of craft tells about people who exist or existed, but at the same time, the author of such an action can add fictional details.

The essay's concept is a unit of which concept defines as pictures, thoughts, and experiences that arise in the reader's imagination during the text's perception. All job aims at analyzing the situation of art through a system of images.

The artwork is a kind of art that shows us about the world in the form of poems, paintings, books. In scientific and artistic careers, cognitive information reveals through the plot, characteristics of illustrations, events, phenomena, and years of creation.

In terms of genre and thematic diversity, it is stories, cognitive tales, natural phenomena, historical events, outstanding personalities, discoveries in various fields of knowledge. Work with this text format aims to develop students' ability to find cognitive information, identify essential features, establish cause-and-effect relationships, and so on.

Art is a complex combination of artistic and professional qualities that determine the painter's job in literature. Art is directly related to creative freedom, originality, taste, a sense of proportion of the author in covering the topic.

The painter's process and the principles of each painter's art are based on life's realities. However, a creative idea is not limited to one fact, even if it is incredibly significant. The painter generalizes a specific phenomenon, distinguishes it from similar ones.

A high-level professional achieves the desired result due to thorough training, multiplied by the daily job - this is the highest manifestation of the craft embodied. A position of art is a complex unity of components that interconnect into a harmonious whole.

The work's ideological content finds its expression through a system of illustrations, which acts as its form, and the type of illustrations, in turn. With the help of the author's word, the student conveys the hero and the author language, which allows them to express the attitude to the world, to give it an assessment.

How Do You Write an Art Essay?

• The author and the narrator's coincidence, bright and free expression of the author's "I."
• Linguistic means are a way to convey the narrator's artistic image, emotional state, and mood.
• The use of stylistic figures in the text includes metaphors, comparisons, metonymy, emotionally expressive vocabulary, and phraseological units. Create an art history research paper outline for convenience in the topic.
• Versatility - the use of linguistic means of other styles (colloquial, journalistic) subordinate to the implementation of a creative intention. From these combinations, what is called the author's style is gradually formed.
• Use of verbal polysemy - words are chosen to not only "draw" illustrations and put a hidden sense into them.
• The artistic style aims to convey the author's emotions and create a mood and emotional mood in the reader.

It is important to pay sufficient attention to writing. It is good to write on any topic for a literature essay, and then a good grade is provided. It would help if you navigated in general directions; in this case, any item will be within our reach.

In addition to the ability to draw up a plan and express your thoughts, it is also essential to get acquainted with various literary jobs: to read. Compare and contrast essay topics on literature are closely related to literary jobs and require reading them.

You will need to refer to the characters and argue with facts from domestic and world writers' specific jobs. Read as much as possible, and then writing essays will not be a problem. Over time, the experience of presenting thoughts on a research paper in a structured form appears, then, on the contrary, any topic is understandable.

Avoid general wording. If the job talks about treason, this does not mean that this example will fit any topic of the direction. Claims must confirm the thesis, and the argument will answer the question of the definition of the concept.

You can use one claim, but in this case, it is necessary to give a full parsing of the job within the framework of the topic. It would help if you did not overload the essay with literary arguments, either for typing words or getting a good grade. As a rule, this only leads to disastrous consequences.

Use only the research work that you have read to support the thesis to avoid factual errors. Don't retell the piece. Parsing and your reasoning are needed. Each claim should support your argument, so the topic should make micro-conclusions.

There are many types of text analysis: linguistic, lexical, stylistic, literary. The latter includes reviews of a lyric job and a report of a prose job. In addition to a holistic parsing, it is possible to single out such types of parsing as parsing of a separate episode, characterization of a hero, group characteristics of heroes, comparative aspects of two heroes, two jobs, parsing of decorative details (portrait, landscape).

All of these types of parsing need to be taught to students. But at the same time, one should not forget that the study's task is not to disassemble a literary job in sections. Mainly the mission is to facilitate an in-depth reading of the research text.

It doesn't have to be meaningless. Deep meaningfulness is the first and foremost requirement for parsing and its indispensable conditions. Thus, the report must always assume a goal.

In a lesson, we give students an assignment: find in the story a plot, a climax, a denouement. What is the teacher for this assignment? If this is a lesson where the concept of "composition" is first introduced. And its purpose is to give an idea of the composition of a story and teach how to find elements of writing; then, such task justify.

If the teacher gave this task to highlight the compositional elements, then the job will already be meaningless, formal. To subordinate the parsing to the goal means studying the situation's aspects to understand its content and meaning.

These goals must relate to the matter's essence, leading deep into the essay writer's inner world. It is essential to reveal through parsing what would have gone unnoticed without it.

Structure of the Art Essay and Its Features

The structure of the essay consists of three required elements: introduction, body, and conclusion. The absence of one of the article's composition elements is considered a mistake and taken into account in the assessment.

It is challenging to write the introduction and conclusion. The presentation's function is to introduce a topic and give preliminary, general information about the problem behind the proposed issue. The end goal is to summarize, summarize what said, complete the research text, and draw attention to the most important thing.

The most common flaws when writing an introduction and conclusion:

• presentation of general information that is not directly related to the topic;
• expression of one's enthusiastic attitude towards job or author, one's desire to be like the author or hero;
• very long, protracted introduction.

The introduction should not contain all the information we know about the author and his job. The presentation can introduce the topic and parsing of the post.

The introduction may contain an answer to the question asked in the topic. Your opinion can present if the title of the issue includes a reference to the applicant's view. A fact from the biography of the author of a literary job can give. Or a feature of the historical period can be characterized if this information is essential for the subsequent parsing of the text.

There is no one type, perfect, an excellent introduction that would fit any topic. The presentation, like the rest of the essay, is written individually. You don't need to go into long arguments right away. First, formulate those problematic questions that can answer in line with your topic.

The central section of the essay is parsing a literary job in the aspect set by the theme. The main thing to avoid when writing the main body is to retell a literary task. Retelling the storyline instead of interpreting the idea, supported by references to the job's relevant episodes, lacks content, leading to a decrease in the score.

The nature of the topic determines the content and composition of the central section of the essay. The general principles can summarize in short:

• the reasoning should be strictly subordinate to the topic in question;
• the selected literary material (if the article is written not one at a time, but according to several jobs) must accurately correspond to the topic (its excess or incompleteness will be a lack of the essay);
• parity should observe between the general provisions, forward theses and comments, and examples from the job's text in the piece.

The essay ends with a conclusion. The main requirement for the completion: it should not be purely formal. The teacher reading the project should not doubt its necessity. The conclusion should organically link to the previous presentation.

In conclusion, it is sometimes appropriate to give an overview of all the points you understood in the central section. Especially if the topic required various material or a long chain of evidence. In conclusion, the writer's attitude to the job, it's heroes, and the problem can express.

It must start correctly that without affectation, excessive enthusiastic assessments have a clearly expressed definite sense and must prepare by the central part's material. Otherwise, it would help if you refrained from expressing your opinion. Many students are looking on the Internet - write my essay for me cheap , if you still do not have time to write in person, then use these services.

• Women Artists in Art History. Why are there so few great artists?
• The place of contemporary craft in the cultural process and its differences from classical literature.
• Popular culture and its relationship with contemporary art.
• Evolution of the media and their role in the culture.
• Outline the essence of the institutional approach to the definition of art.
• Essays by Etienne Maurice Falcone.
• Musical communication in pop vocal music.
• Exhibition activities and curatorship.
• Comparative parsing of the theory and evolution of visual forms.
• What does "greatness and humility" mean about Roman Baroque?
• If the film is successful, then it is business. If the film is not successful, then it is art.
• Tell about a sculpture/painting from the 18th century.
• The image of the mother goddess in the culture of the ancient Sumerians.
• Description of an antique item.
• What did we like about the anatomical museum?

Introduction:

• invitation to the conversation;
• definition of the topic (problem) of the text;
• author's presentation;
• transition to the central section, connection with it.

The next stage is to reflect the position of the author of the text on the highlighted problem. This can sum up in one phrase. How does the author answer this question?

Your point of view may coincide with the author's point of view, which may differ from it. To say, "I agree/disagree with the author" is not enough. It is required to bring two arguments. If you provide the same case as the author himself, it does not count.

A significant conclusion is a big minus, which says that you cannot summarize your thoughts. The introduction and conclusion should not be more than 25% of the entire job. Schematically, your composition should be similar to the shape of a circle, should be closed.

Guidelines for Analysis of Art in Your Essay

Outline of a written analysis of the artwork:

• What kind of job are we talking about? Author, title, years, collection, technique, pages. There is no need to retell the biography. For brainstorming, do creative writing exercises .
• The purpose and objectives of the job. What and why are you writing it? Why are these jobs chosen? How exactly will the parsing be done? What is this parsing for? Why is it necessary to compare practices?
• In each of the subsections, a relationship made between the formal reception and the image. In the comparison, the description and parsing go sequentially (the second job compare with the first) or in parallel.
• Repetition of the main conclusions regarding the image this is the sense of the job. Answering the questions above, one can define a position of art, mastering a variety of thinking skills. The artist breaks out of the framework of his horizons.

When writing your essay, give your definition of "art." Explain why this is how you define the concept. Give two examples to support your reasoning. One example should be from a literary text, and the second example can be from life.

Here general information depends on the quality of assimilation and the speed of understanding the text. The continually growing volume of information forces schoolchildren and students to work with documents and adults. Highlighting the main idea quickly will allow you to reduce the time spent on reading.

The main body of the text is what the text creates. What the author approves, what denies, what he warns against. The text has a title, which expresses its topic or main idea. The author gradually reveals the text's topic: he moves from one part of the problem to another.

Describe what you see in the picture in your own words. You can use epithets, comparisons. Pay attention not only to the main details but also to the secondary ones. Let the picture come to life, become understandable and close.

It's always interesting to know why the author chose this particular plot. Perhaps the ever dreamed of writing something like that, or the idea came suddenly, as an inspiration? Was there an incident or the artist was in a non-standard life situation? Maybe age or surroundings played an important role?

Sometimes pictures are written in just a few hours and become famous. Sometimes it takes decades to write a canvas. Describe all jobs using this algorithm. Sometimes the plot depicted seems not very attractive, but some fantastic stories connect with the picture itself.

First, you need to choose the kind of art with which the knowledgeable are the best, what they like the most. Second, you need to know the appropriate terminology. When writing a response about a fiction job, you need to remember what the plot, composition, means of creating a comic, lyrical hero, artistic ways, theme, idea is.

When working on a response about a picture, it is necessary to skillfully use such terms and concepts: the genre of the film, the technique of execution and materials, color, tones and halftones, contrast, the first, second plan, background, the nature of overlaying colors.

If a specific person named in the text, you need to be especially careful and cautious in your assessments, their expression, so as not to offend the person, not to put her in an uncomfortable position. This applies not only to some negative phenomena, facts, but also positive ones.

The main element of art can be called the jobs themselves, as its physical display. These are pictures, graphics, actors' play, lyrics, and poetry. They can divide into several main types.

Before we get into the details of how to value craft, let's re-emphasize that the whole point of recognizing creativity is to explain why we like or dislike something, not just whether we want it or not.

For example, you might not like a picture because it is too dark, but you might still like its theme or appreciate it in general. Put, saying, "I don't like this picture" is not enough. We need to know the reasons for your opinion and whether you think that the job has any positive qualities.

The easiest way to make out and therefore appreciate a job of craft is to examine its context or premises. This is because it helps us know what was in the painter's mind when creating the post.

Art and design are two inextricably linked concepts. The role of design often underestimate, considering its only task to be excessive decoration, and some do not recognize designers as creators, calling them "just decorators." However, this opinion is wrong. Design is one of the highest forms of human creativity because it serves real people's real needs.

Design is always functional, and the function can even be the emotion it evokes. Some objects do not need to be practical or economical. But the idea behind them is modern and innovative. Foresees the future trends that make people use them and think, learn, and create.

A drawing or illustration conveys the painter's final vision of the idea. This results in an illustration in a book, a canvas in a gallery, a job in a frame that hangs on the wall.

Conclusions are a short, concise summary of the main results of the job. Findings should write in the form of short sentences, each of which represents a complete thought. As a rule, conclusions reflect the practical section of the job.

Usually, the number of conclusions corresponds to the number of tasks assigned. When completing theses, at least six ends are required. This means that the results obtained by solving one of the problems can describe in several conclusions.

Usually, the conclusion is based on the content of the job. For example, in the first part, the main results obtained from the literature's parsing should be presented.

It is difficult for students to write new jobs and, therefore, more often search engines, the phrases " write my paper for me " hear. We advise you to use the letter-to-order function, and it saves time, value youth!

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Essay Papers Writing Online

Exploring the art of essay writing – a collection of insights and reflections.

Essay writing is a craft that allows individuals to express their thoughts, ideas, and arguments in a structured and compelling manner. It is a form of art that requires creativity, critical thinking, and eloquence. Through the art of essay writing, writers have the power to influence and persuade their readers, sparking new perspectives and inspiring change.

When delving into the realm of essay writing, one explores the nuances of language, the intricacies of rhetoric, and the depth of analysis. Essays come in various forms, from persuasive to analytical, from narrative to argumentative. Each type of essay challenges the writer to convey their message effectively, captivating the audience and leaving a lasting impression.

Through this journey of exploration and discovery, writers discover new insights, hone their writing skills, and find inspiration in the world around them. The art of essay writing transcends mere academic requirements; it becomes a form of self-expression, a tool for communication, and a platform for sharing knowledge and ideas with others.

Unlocking the Secrets

Essay writing is often seen as a daunting task, but with the right approach and strategies, it can become a rewarding and enlightening experience. Here are some key secrets to unlocking your potential as an essay writer:

1. Understand the Prompt: Before you start writing, make sure you fully grasp the essay prompt. Take the time to analyze the requirements and expectations, so you can tailor your response accordingly.

2. Plan and Organize: A well-structured essay is a key to success. Create an outline to organize your thoughts and ideas before diving into the writing process. This will help you stay focused and ensure a logical flow of information.

3. Research Thoroughly: Good essays are backed by solid research. Take the time to gather relevant sources, quotes, and data to support your arguments and claims. Remember to cite your sources properly.

4. Develop a Strong Thesis: Your thesis statement should be clear, concise, and specific. It is the central idea of your essay, and all your arguments should revolve around it. Make sure your thesis is arguable and sets the tone for the rest of your paper.

5. Revise and Proofread: Don’t underestimate the power of revising and proofreading. Take the time to review your essay, fix any errors, and polish your writing. A well-edited essay will leave a lasting impression on your readers.

By following these secrets and incorporating them into your writing process, you can unlock the full potential of your essay writing skills and create compelling and impactful essays.

The Journey into Creativity

Embarking on the journey into creativity is an exhilarating experience that opens up a world of possibilities and inspiration. As you delve into the realm of essay writing, you have the opportunity to explore your unique perspective, voice, and style.

Creativity in writing is not just about coming up with innovative ideas or flashy phrases. It’s about approaching your topic from new angles, weaving together compelling narratives, and engaging your readers in thought-provoking ways.

Throughout this journey, you may encounter challenges and roadblocks, but these obstacles can be catalysts for creativity. Embrace the process of brainstorming, drafting, revising, and refining your essays. Allow yourself to experiment with different techniques, structures, and approaches.

Remember, creativity is a journey, not a destination. Stay curious, open-minded, and willing to push the boundaries of your writing. Let your imagination roam free and see where it takes you. The journey into creativity is an ongoing and rewarding adventure that will shape you as a writer and thinker.

Discovering the Power

In the realm of essay writing, one of the most powerful tools at your disposal is the ability to convey your thoughts and ideas with clarity and precision. By mastering the art of crafting well-structured and compelling essays, you open the door to a world of influence and impact.

Through the process of writing, you have the opportunity to delve deep into your subject matter, exploring its nuances and complexities. This journey of discovery not only enriches your own understanding but also allows you to share your insights with others, shaping their perspectives and sparking thought-provoking conversations.

As you hone your essay-writing skills, you tap into the power of words to inspire, persuade, and educate. Each sentence becomes a brushstroke on the canvas of your ideas, painting a vivid picture that captivates your readers and leaves a lasting impression.

By discovering the power of essay writing, you unlock a world of creativity and expression that knows no bounds. Embrace the journey, and let your words soar.

Unleashing Your Imagination

One way to unleash your imagination is to brainstorm and jot down all your ideas, no matter how wild or unconventional they may seem at first. By embracing the unexpected, you can discover unique angles and fresh insights that will make your essay stand out.

Remember, the art of essay writing is not about following rules – it’s about letting your imagination run wild and expressing your ideas in a way that is uniquely yours. So, don’t be afraid to take risks, experiment with different writing styles, and explore the boundaries of your creativity. Unleash your imagination and watch your writing come to life!

Embracing the Craft

Essay writing is not just a task or an academic exercise; it is an art form that allows us to express our thoughts, ideas, and emotions in a structured and coherent manner. To truly excel in the art of essay writing, one must embrace the craft with passion, dedication, and creativity.

Embracing the craft of essay writing means approaching each piece with an open mind and a willingness to experiment with different styles, tones, and techniques. It involves honing your skills through practice, feedback, and continuous learning. Embracing the craft also requires a deep appreciation for language, storytelling, and the power of words to create impact and inspire change.

By embracing the craft of essay writing, you can transform your ideas into compelling narratives, persuasive arguments, and thought-provoking reflections. Whether you are writing for academic purposes, personal expression, or professional communication, embracing the craft will help you communicate effectively, connect with your audience, and leave a lasting impression.

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A tribute to a master weaver's legacy

Organized collaboratively by the National Commission for Culture and the Arts (NCCA), the provincial government of Ilocos Norte, and the local government of Pinili, the celebration transformed the venue into a space of festivity and reverence. Friends, family, fellow weavers, students, and officials all gathered to honor Nana Dalen.

The evening commenced with the harmonious rhythms of Ilocano oral tradition, highlighted by MB Adelita Bagcal's dallot — a ceremonial prayer typically performed at significant gatherings. The celebration featured a rich display of artistic forms from several Manlilikha ng Bayan across the Philippines.

Distinguished officials and guests, including Victorino Mapa Manalo, chair of the NCCA; Jeremy Barnes, director general of the National Museum; Governor of Ilocos Norte Matthew Marcos Manotoc; and Mayor of Pinili Rommel Labasan also joined the celebration. Senator Loren Legarda also conveyed her greetings, which were relayed through the NCCA Chair. In attendance were NCCA commissioners Reden Ulo and Arvin Villalon, as well as NCCA Arts Ambassador and Miss Universe 2018 Catriona Gray.

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383. Art exhibition showing the works of Gerardo Dottori. Typescript on verso: "Una parete delle tre sale dedicate alle realizzazioni del Regime (artista Gherardo [sic] Dottori)." [One wall of the three rooms dedicated to the reali- zations of the Regime (artist Gerardo Dottori.] [Fascist era]

Beinecke Rare Book and Manuscript Library > Filippo Tommaso Marinetti papers (GEN MSS 130) > Series VIII: Photographs > MARINETTI PHOTOGRAPHS > General > 383. Art exhibition showing the works of Gerardo Dottori. Typescript on verso: "Una parete delle tre sale dedicate alle realizzazioni del Regime (artista Gherardo [sic] Dottori)." [One wall of the three rooms dedicated to the reali- zations of the Regime (artist Gerardo Dottori.] [Fascist era]

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• THIS ITEM 383. Art exhibition showing the works of Gerardo Dottori. Typescript on verso: "Una parete delle tre sale dedicate alle realizzazioni del Regime (artista Gherardo [sic] Dottori)." [One wall of the three rooms dedicated to the reali- zations of the Regime (artist Gerardo Dottori.] [Fascist era]

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