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    ARTS

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    Mary Jane Malabanan
    The document discusses the history and definitions of art. It explores how art has encompassed both aesthetic and utilitarian purposes throughout history. In the 18th century, rigid distinctions developed between fine art and crafts in Western institutions. In the 20th century, debates emerged around expanding definitions of art to include new media and conceptual works.

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    ARTS

    Uploaded by

    Mary Jane Malabanan
    4 views2 pages
    The document discusses the history and definitions of art. It explores how art has encompassed both aesthetic and utilitarian purposes throughout history. In the 18th century, rigid distinctions developed between fine art and crafts in Western institutions. In the 20th century, debates emerged around expanding definitions of art to include new media and conceptual works.

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    The document discusses the history and definitions of art. It explores how art has encompassed both aesthetic and utilitarian purposes throughout history. In the 18th century, rigid distinctions developed between fine art and crafts in Western institutions. In the 20th century, debates emerged around expanding definitions of art to include new media and conceptual works.

    Copyright:

    © All Rights Reserved
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    4 views2 pages

    ARTS

    Uploaded by

    Mary Jane Malabanan
    The document discusses the history and definitions of art. It explores how art has encompassed both aesthetic and utilitarian purposes throughout history. In the 18th century, rigid distinctions developed between fine art and crafts in Western institutions. In the 20th century, debates emerged around expanding definitions of art to include new media and conceptual works.

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    © All Rights Reserved
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    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.

    Claudio Coello (born c. 1642, Madrid, Spain—died April 20, 1693, Madrid) was a
    Spanish late-Baroque painter who is considered the last important master of the
    great Madrid school of the 17th century. Influenced both by Diego Velázquez and
    by Juan Carreño de Miranda, he attempted to halt the decline of Spanish art, and his
    work was greatly admired at the time.

    The son of a famous Portuguese sculptor, Faustino Coello, he studied under Francisco
    Rizi and was dominated at first by a newly popular exaggerated style. Through the
    friendship of Carreño, he secured access to the royal collections, in which he studied the
    works of Titian, Peter Paul Rubens, and other masters. Josef Donoso probably taught
    him fresco painting, and they collaborated in the painting of churches and palaces in
    Madrid. In 1671 Coello decorated the ceiling of the vestry in Toledo cathedral; in 1683 he
    painted frescoes in the Augustinian church at Zaragoza; and in 1684 he became painter
    to King Charles II. In 1691 he was appointed painter to the cathedral of Toledo, but his
    success was counterbalanced by the preference shown by the court to the Italian
    painter Luca Giordano, who arrived in Spain in 1692 to decorate El Escorial, the
    Spanish royal residence. Coello died a disappointed and disheartened man.
    Coello’s masterwork is the altarpiece for the sacristy in El Escorial, Adoration of the
    Holy Eucharist (1685–90). A fine arrangement of space in the Baroque style, it contains
    about 50 portraits, including that of Charles II. A remarkable mixture of profound
    religious feeling and realistic portraiture, closely allied to the work of Velázquez and
    Carreño, it shows strong colour and fine draftsmanship. This last great work of the
    school of Madrid has been called a devotional picture, a historical scene, and a
    marvelous portrait gallery.

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