Relationship of form and content in art

Focus on Research| The Elements of Art: Form, Content, and Context — Avant-Guardian Musings

relationship of form and content in art

To them, the relation of 'form' and 'content' is in the manner of cause and effect. simply analyses a work of art in the light of writer's psychology. In effect. What Does the Term 'Form' Mean in Relation to Art? . analyzing a work of art, a formal analysis is separate from that of its content or context. A statement addresses form, content or context (or their various The secondary features are the relations of the primary features with one.

With fairly few exceptions, similar prejudices are still common in contemporary culture. A better way to organize the category of content is to divide it, like form, into three theoretically value-free levels of complexity.

Content and Form

Although they are arranged numerically here, there is no intrinsic hierarchy: You might think, "what you see is what you get. When you realize that the woman is actually Margaret Thatcher, you have moved from primary to secondary content.

relationship of form and content in art

The secondary content includes things which push "what you see" into "what you understand," so to speak. Anyone can recognize a woman in a chair, but a certain knowledge is required to recognize that the woman is Thatcher. A similar move from primary to secondary is involved when we recognize that a blindfolded woman with a set of scales is Justice, or that an athlete with a club and a lion skin is Hercules. There is a variety of ways to push what you see into what you understand.

One is to explore figurative meanings like those afforded by conventional signs and symbols: Less fixed in meaning are the basic tropes specific ways of turning away from literal meaning to figurative meaning: Highest Standard of Living in the World" parody: These are a matter of the way form affects meaning, but the former is more standardized than the latter.

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A paralinguistic shift involves changing the meaning of a single word by altering the way it is delivered: Performative effects are structurally similar but more evocative: The tertiary content represents the convergence and mutual modification of form, content, and context see below. For example, the primary content of a portrait of a king might simply be a richly dressed individual sitting on a throne, wearing a robe, lifting an arm, etc.

relationship of form and content in art

If the image were of a particular political figure, like Napoleon, it would be a megalographic portrait. Tertiary content involves combining these observations with context -- i. For example, the composition of Ingres' Napoleon Enthroned is partly borrowed from a famous colossal statue of Zeus made by the famed Greek sculptor Phidias for an ancient temple at Olympia.

Form and content - Wikipedia

The result, then, is Napoleon represented as Emperor-God beyond time and space, an effect which was certainly desirable, given what we can find out about Napoleon's reign. If we leave our interpretation there, assuming we have said all that needs to be said, we have evoked closure. In post-modernist discourse, the finality suggested by such closure is usually considered socially unhealthy, philosophically unreal, and even politically unwise.

It goes without saying that one should always keep an open mind. Oil on canvas, 36 x 66 in.

relationship of form and content in art

Marilyn Levine, Anne's Jacket, Gus Heinze, Expresso Cafe, Artists who explore the process of abstraction simplification and rearrangement create images that look less like the object on which they are based, although they may still be recognizable. Barbara Chase-Riboud, Bathers, Floor relief, cast aluminum and silk in sixteen pieces, x x 12 cm. Piet Mondrian, The Grey Tree, Edgerton, Baseball hit-fly ball, ss.

Gelatin silver print In the most extreme type of abstraction, the subject does not refer to any physical object, and this nonrepresentational image is thus considered non-objective.

Here, the subject may be difficult for the observer to identify, since it is based solely on the elements of art rather than real-life people or objects.

Art History: A Preliminary Handbook

This type of subject often refers to the artist's idea about energy and movement, which guides the use of raw materials, and it communicates with those who can read the language of form. Piet Mondrian, Composition, Music, like visual art, deals with subjects and provides an interesting comparison. Unless there are lyrics, it is often hard to identify a specific subject in a piece of music.

Sometimes, the subject is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris.