Beruflich Dokumente
Kultur Dokumente
Categorie: Text general
Nivel: Masterat
Domeniu: Artă – Istoria artei
THE CLASSICAL CONCEPT OF ‘ART’
In a Western context, art understood as a practical, craft‐based activity has the longest history.
For example, within ancient Greek culture there was no word or concept approximating to our
understanding of ‘art’ or ‘artist’. However, the Greek word ‘techne’ denoted a skill or craft and
‘technites’ a craftsman who made objects for particular purposes and occasions (Sörbom 2002:
24). Similarly, within the classical world, examples of craft, such as statues and mosaics, had
practical, public and ceremonial roles. The classical sculpture of Zeus, copy after a fifth‐century
BCE original (Figure 3, p. 7), would have been judged according to the technical standard
demonstrated, and by the extent to which it fulfilled the social and civic roles expected of craft.
Foremost of these was the belief that the human form should be represented in its most life‐like
and vital sense as the union of body and soul (Sörbom 2002: 26). The idea that a sculpture or
mosaic should be judged on criteria independent of such purposes was alien to the classical
concept of craft.
Within a Western tradition of art, originating from Greek and Roman practice, the categories of
art and craft have become familiar within specific contexts, cultures and in relation to particular
audiences. Throughout Europe and North America for example, cultural assumptions about
what art customarily was were closely linked to the origins and development of the academic
subject of art history itself. Of central importance to this were the social institutions such as
academies and museums which were established from the late sixteenth century onwards.
Collectively, these interests, and those associated with them, established normative definitions
of art, that is, ideas about how art should look and what it should do, variations of which have
continued today. Another point worth making is that to label something as art implies some
kind of evaluative judgement about the image, object or process. That is, it recognises the
specificity of a range of practices within a broader category or tradition with particular claims to
aesthetic and/or social value. But it is important to understand that the meaning and
attributions of art are particular to different contexts, societies and periods. Whatever the
prevalence through time of objects and practices with aesthetic purpose, ideas and definitions of
art are neither timeless nor beyond history, but relate to the social and cultural assumptions of
the societies and environments which fashion them.
FINE ART AS AN EXCLUSIVE CATEGORY
The academy‐based categorisation of fine art and the consensus which underpinned it for
several centuries demonstrate how durable and hegemonic such interests were. But from the
later nineteenth century onwards many avant‐garde artists began to make work which
questioned either the conventional subject matter and primacy of these distinct categories
(history paintings and portraiture for example), or the tradition of representation which they
signified. For example, the work of Paul Cézanne (1839–1906), Pablo Picasso (1881–1973) and
Georges Braque (1882–1963) underlined the importance of still‐life as a genre to the birth of
modernism (Bryson 1990: 81–86). Similarly, the development of collage by Braque and Picasso,
and their inclusion of everyday objects such as flyers and tickets, explored the actuality of the
flat surface, rather than concealing it through illusionism which had been such a dominant
feature of academy‐sponsored painting and sculpture. Academy‐based ideas typically
marginalised non‐Western art practices which reflected different ideas about aesthetics, culture
and meaning. Overseas trade, colonisation and imperialism stimulated interest in tribal masks,
carvings, fabrics and fetish objects from regions such as Africa, Asia, India and Iberia. These
objects, and the indigenous cultures they represented, contributed to major ethnographic
collections throughout Europe, stimulating widespread interest in non‐Western art and
artefacts (Ratnam 2004a: 158–60). Within the avant‐garde, various artists like Braque, André
Derain (1880–1954), Ernst Kirchner (1880–1938), Henri Matisse (1869–1954), Picasso and
Maurice de Vlaminck (1876–1958) popularised the cult of primitivism. Whilst such interests
frequently reflected romanticised stereotypes about what primitive art and culture actually
signified, there was also recognition of the social and political dimensions to such use (Leighten
1990: 609–30).
Pooke, Grant și Newall, Diana, Art History: The Basics, Routledge, Londra, 2008, pp. 5‐9.