Editing Art (section)

==Forms, genres, media, and styles==
[[File:Ingres, Napoleon on his Imperial throne.jpg|thumb|''[[Napoleon I on his Imperial Throne]]'' by [[Jean-Auguste-Dominique Ingres|Ingres]] (French, 1806), oil on canvas]]
{{Main|The arts}}
The creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as [[Art medium|media]], genre, [[Art style|styles]], and form.<ref>{{cite journal |last1=Walton |first1=Kendall L. |author-link=Kendall Walton|title=Categories of Art |journal=The Philosophical Review |date=1 January 1970 |volume=79 |issue=3 |pages=334–67 |doi=10.2307/2183933 |jstor=2183933}}. Walton distinguishes between paintings and sculptures, but he also distinguishes further between sub-categories, such as cubist paintings and paintings in the style of Cezanne, classical sonatas and music in the style of late Beethoven.</ref> ''Art form'' refers to the [[elements of art]] that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical [[Composition (visual arts)|composition]] of the artwork, primarily non-semantic aspects of the work (i.e., [[figurae]]),<ref>{{cite book |last1=Monelle |first1=Raymond |title=Linguistics and Semiotics in Music |year= 1992 |publisher=Routledge |isbn=978-3718652099 |page=202 |url=https://books.google.com/books?id=nMtQAwAAQBAJ&q=figurae&pg=PA202 |access-date=8 November 2020 |archive-date=14 April 2021 |archive-url=https://web.archive.org/web/20210414015304/https://books.google.com/books?id=nMtQAwAAQBAJ&q=figurae&pg=PA202 |url-status=live }}</ref> such as [[Color theory|color]], [[Contour drawing|contour]], [[Fourth dimension in art|dimension]], [[Art medium|medium]], [[melody]], [[Negative space|space]], [[Texture (visual arts)|texture]], and [[Lightness|value]]. Form may also include [[Design principles]], such as arrangement, [[Formal balance|balance]], [[Contrast (vision)|contrast]], [[Emphasis (typography)|emphasis]], [[harmony]], [[Hierarchical proportion|proportion]], [[Principles of grouping|proximity]], and rhythm.<ref name="Belton">{{cite book |last1=Belton |first1=Robert J. |title=Art History: A Preliminary Handbook |chapter=The Elements of Art |date=1996 |chapter-url=https://fccs.ok.ubc.ca/about/links/resources/arthistory/elements.html |access-date=26 February 2017 |archive-date=27 February 2017 |archive-url=https://web.archive.org/web/20170227062345/https://fccs.ok.ubc.ca/about/links/resources/arthistory/elements.html |url-status=live }}</ref>

In general there are three schools of philosophy regarding art, focusing respectively on form, content, and context.<ref name="Belton"/> Extreme [[Formalism (art)|Formalism]] is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form.<ref>{{cite journal |last1=Xu |first1=Min |last2=Deng |first2=Guifang |title=Against Zangwill's Extreme Formalism About Inorganic Nature |journal=Philosophia |date=2 December 2014 |volume=43 |issue=1 |pages=249–57 |doi=10.1007/s11406-014-9575-1 |s2cid=55901464 |url=https://xy.cmsproxy.sysu.edu.cn/pub/hkmacc/docs/2014-12/20141215194213014875.pdf |access-date=26 February 2017 |archive-date=27 February 2017 |archive-url=https://web.archive.org/web/20170227063746/https://xy.cmsproxy.sysu.edu.cn/pub/hkmacc/docs/2014-12/20141215194213014875.pdf |url-status=live }}</ref> Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content—i.e., [[denotation]]s and [[connotation]]s—while others prefer terms like [[Meaning (semiotics)|meaning]] and significance.<ref name="Belton"/>

Extreme Intentionalism holds that [[authorial intent]] plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded.<ref name="Livingston">{{cite journal |last1=Livingston |first1=Paisley |title=Intentionalism in Aesthetics |journal=New Literary History |date=1998 |volume=29 |issue=4 |pages=831–46 |doi=10.1353/nlh.1998.0042 |s2cid=53618673 |url=https://works.bepress.com/paisley_livingston/67 |archive-url=https://web.archive.org/web/20170831041725/https://works.bepress.com/paisley_livingston/67/ |archive-date=31 August 2017 |url-status=dead }}</ref> It defines the subject as the persons or idea represented,<ref>{{cite book |last1=Munk |first1=Eduard |last2=Beck |first2=Charles |last3=Felton |first3=Cornelius Conway |title=The Metres of the Greeks and Romans |date=1844 |page=[https://archive.org/details/metresofgreeksro00munk/page/1 1] |url=https://archive.org/details/metresofgreeksro00munk |access-date=26 February 2017}}</ref> and the content as the artist's experience of that subject.<ref>{{cite book |last1=Tolstoy |first1=Leo |title=What is Art? |date=1899 |publisher=Crowell |page=[https://archive.org/details/whatisart00maudgoog/page/n40 24] |url=https://archive.org/details/whatisart00maudgoog}}</ref> For example, the composition of ''[[Napoleon I on his Imperial Throne]]'' is partly borrowed from the [[Statue of Zeus at Olympia]]. As evidenced by the title, the subject is [[Napoleon]], and the content is [[Jean-Auguste-Dominique Ingres|Ingres]]'s representation of Napoleon as "Emperor-God beyond time and space".<ref name="Belton"/> Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is "socially unhealthy, philosophically unreal, and politically unwise".<ref name="Belton"/>

Finally, the developing theory of [[post-structuralism]] studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work.<ref>{{cite conference |first1=Melahat Küçükarslan |last1=Emiroğlu |first2=Fitnat Cimşit |last2=Koş |title=Design Semiotics and Post-Structuralism |conference=12th World Congress of Semiotics |date=16–20 September 2014 |location=New Bulgarian University |url=https://semio2014.org/en/design-semiotics-and-post-structuralism |access-date=26 February 2017 |archive-date=17 February 2017 |archive-url=https://web.archive.org/web/20170217142120/https://semio2014.org/en/design-semiotics-and-post-structuralism |url-status=live }}</ref> The cultural context often reduces to the artist's techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. [[Art criticism]] continues to grow and develop alongside art.<ref name="Belton"/>

===Skill and craft===
{{See also|Conceptual art#Conceptual art and artistic skill|l1=Conceptual art and artistic skill}}
[[File:Michelangelo, Creation of Adam 03.jpg|thumb|left|''[[The Creation of Adam]]'', detail from [[Michelangelo]]'s fresco in the [[Sistine Chapel]] (1511)]]

Art can connote a sense of trained ability or mastery of a [[Art medium|medium]]. Art can also refer to the developed and efficient use of a [[language]] to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.<ref>{{cite journal| last = Breskin |first = Vladimir |url = https://vip.iva.dk/signs/Articles_Signs_International_Section/2010/Breskin_(2010)_Signs_Triad_eng_final_rev_2010.pdf| title = Triad: Method for studying the core of the semiotic parity of language and art| archive-url = https://web.archive.org/web/20110901145415/https://vip.iva.dk/signs/Articles_Signs_International_Section/2010/Breskin_(2010)_Signs_Triad_eng_final_rev_2010.pdf| archive-date = 1 September 2011| journal = Signs – International Journal of Semiotics| volume = 3| pages = 1–28| year = 2010| issn = 1902-8822}} {{pp.|1|2}}.</ref>

There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes.
A common view is that the [[Wikt:epithet|epithet]] ''art'', particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for [[Leonardo da Vinci]], art, neither more nor less than his other endeavors, was a manifestation of skill.<ref>{{cite book|title=The Illustrated London News|url=https://books.google.com/books?id=-oc-AQAAMAAJ|year=1872|publisher=Illustrated London News & Sketch Limited|page=502|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225444/https://books.google.com/books?id=-oc-AQAAMAAJ|url-status=live}}</ref> [[Rembrandt]]'s work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity.<ref name="NewtonNeil1966">{{cite book|author1=Eric Newton|author2=William Neil|title=2000 Years of Christian Art|url=https://books.google.com/books?id=IsSfAAAAMAAJ|year=1966|publisher=Harper & Row|page=184|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225444/https://books.google.com/books?id=IsSfAAAAMAAJ|url-status=live}}</ref> At the turn of the 20th century, the adroit performances of [[John Singer Sargent]] were alternately admired and viewed with skepticism for their manual fluency,<ref name="RichardsGjertson2002">{{cite book|author1=Kirk Richards|author2=Stephen Gjertson|title=For glory and for beauty: practical perspectives on Christianity and the visual arts|url=https://books.google.com/books?id=JaBGAQAAIAAJ|year=2002|publisher=American Society of Classical Realism|isbn=978-0-9636180-4-7|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225443/https://books.google.com/books?id=JaBGAQAAIAAJ|url-status=live}}</ref> yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, [[Pablo Picasso]], was completing a traditional academic training at which he excelled.<ref name="Leslie2005">{{cite book|author=Richard Leslie|title=Pablo Picasso: A Modern Master|url=https://books.google.com/books?id=iE8Es-9j3e0C|year= 2005|publisher=New Line Books|isbn=978-1-59764-094-7|page=7|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225443/https://books.google.com/books?id=iE8Es-9j3e0C|url-status=live}}</ref><ref name="DillenbergerHandley2014">{{cite book|author1=Jane Dillenberger|author2=John Handley|title=The Religious Art of Pablo Picasso|url=https://books.google.com/books?id=6uglDQAAQBAJ|year=2014|publisher=Univ of California Press|isbn=978-0-520-27629-1|page=26|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225443/https://books.google.com/books?id=6uglDQAAQBAJ|url-status=live}}</ref>

[[File:MonaLisa sfumato.jpeg|thumb|Detail of [[Leonardo da Vinci]]'s ''[[Mona Lisa]]'', {{c.|1503|lk=no}}–1506, showing the painting technique of ''[[sfumato]]'']]
A common contemporary criticism of some [[modern art]] occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, [[Marcel Duchamp]]'s ''[[Fountain (Duchamp)|Fountain]]'' is among the first examples of pieces wherein the artist used found objects ("ready-made") and exercised no traditionally recognised set of skills.<ref name="Kleiner2009">{{cite book|author=Fred S. Kleiner|title=Gardner's Art through the Ages: The Western Perspective|url=https://books.google.com/books?id=UK_jTggtYl8C|year=2009|publisher=Cengage Learning|isbn=978-0-495-57364-7|pages=24–27|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225442/https://books.google.com/books?id=UK_jTggtYl8C|url-status=live}}</ref> [[Tracey Emin]]'s ''[[My Bed]]'', or [[Damien Hirst]]'s ''[[The Physical Impossibility of Death in the Mind of Someone Living]]'' follow this example. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts.<ref>{{cite book|last1=White|first1=Luke|title=Damien Hirst's Shark: Nature, Capitalism and the Sublime|url=https://www.tate.org.uk/art/research-publications/the-sublime/luke-white-damien-hirsts-shark-nature-capitalism-and-the-sublime-r1136828|publisher=Tate|access-date=26 May 2018|language=en|year=2013|isbn=978-1849763875|archive-date=17 April 2021|archive-url=https://web.archive.org/web/20210417093924/https://www.tate.org.uk/art/research-publications/the-sublime/luke-white-damien-hirsts-shark-nature-capitalism-and-the-sublime-r1136828|url-status=live}}</ref> The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating ''hands-on'' works of art.<ref>{{cite book|title=La Belle Assemblée|url=https://books.google.com/books?id=pucAAAAAYAAJ|volume=V|year=1808|publisher=J. Bell|page=8|access-date=26 May 2018|archive-date=5 August 2019|archive-url=https://web.archive.org/web/20190805225442/https://books.google.com/books?id=pucAAAAAYAAJ|url-status=live}}</ref>