Portal:Visual arts

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THE VISUAL ARTS PORTAL

Introduction

Vincent van Gogh painting The Church at Auvers from 1890 gray church against blue sky
The Church at Auvers, an oil painting by Vincent van Gogh (1890)

The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, comics, design, crafts, and architecture. Many artistic disciplines, such as performing arts, conceptual art, and textile arts, also involve aspects of the visual arts as well as arts of other types. Also included within the visual arts are the applied arts, such as industrial design, graphic design, fashion design, interior design, and decorative art.

Current usage of the term "visual arts" includes fine art as well as applied or decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' had for some centuries often been restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the decorative arts, crafts, or applied visual arts media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms. Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions, painting has been seen as relying to the highest degree on the imagination of the artist and being the furthest removed from manual labour – in Chinese painting, the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes. (Full article...)

Selected article

San Lorenzo Colossal Head 4, now at the Museo de Antropología de Xalapa

The Olmec colossal heads are stone representations of human heads sculpted from large basalt boulders. They range in height from 1.17 to 3.4 metres (3.8 to 11.2 ft). The heads date from at least 900 BC and are a distinctive feature of the Olmec civilization of ancient Mesoamerica. All portray mature individuals with fleshy cheeks, flat noses, and slightly-crossed eyes; their physical characteristics correspond to a type that is still common among the inhabitants of Tabasco and Veracruz. The backs of the monuments often are flat. The boulders were brought from the Sierra de Los Tuxtlas mountains of Veracruz. Given that the extremely large slabs of stone used in their production were transported over large distances (over 150 kilometres (93 mi)), requiring a great deal of human effort and resources, it is thought that the monuments represent portraits of powerful individual Olmec rulers. Each of the known examples has a distinctive headdress. The heads were variously arranged in lines or groups at major Olmec centres, but the method and logistics used to transport the stone to these sites remain unclear. They all display distinctive headgear and one theory is that these were worn as protective helmets, maybe worn for war or to take part in a ceremonial Mesoamerican ballgame. The discovery of the first colossal head at Tres Zapotes in 1862 by José María Melgar y Serrano was not well documented nor reported outside of Mexico.

The excavation of the same colossal head by Matthew Stirling in 1938 spurred the first archaeological investigations of Olmec culture. Seventeen confirmed examples are known from four sites within the Olmec heartland on the Gulf Coast of Mexico. Most colossal heads were sculpted from spherical boulders but two from San Lorenzo Tenochtitlán were re-carved from massive stone thrones. An additional monument, at Takalik Abaj in Guatemala, is a throne that may have been carved from a colossal head. This is the only known example from outside the Olmec heartland. (Full article...)
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Selected picture

Fantasy coffin
Fantasy coffin
Fantasy coffin
Credit: Coffin artist: Kudjoe Affutu; Photographer: Regula Tschumi
Fantasy coffin built by Kudjoe Affutu, the main part of Saâdane Afif's exhibition Anthologie de l'humour noir in the Centre Pompidou.

Selected quote


When I've painted a woman's behind so that I want to touch it, then it's finished!
Pierre-Auguste Renoir, Vollard, Ambroise (1925). Renoir: an initimate record. Translated by Van Dooren, Harold L.; Weaver, Randolph T. New York: Alfred A. Knopf. p. 57. OCLC 631984646.


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Selected biography

Joanne Gair (born c. 1958), nicknamed Kiwi Jo (alternatively Kiwi Joe), is a New Zealand-born and -raised make-up artist and body painter whose body paintings have been featured in the Sports Illustrated Swimsuit Issue from 1999 to 2017. She is considered the world's leading trompe-l'œil body painter and make-up artist, and she became famous with a Vanity Fair Demi's Birthday Suit cover of Demi Moore in a body painting in 1992. Her Disappearing Model was featured on the highest-rated episode of Ripley's Believe It or Not. She is the daughter of George Gair.

In addition to achieving pop culture prominence and respect in the fashion and art worlds starting with her body painting of Demi Moore, she is a make-up artist in the rock and roll world who has helped several of her music clients win fashion and style awards. She is also considered a fashion and art trendsetter, and for a long time she was associated with Madonna. In 2001, she had her first retrospective and in 2005, she published her first book on body painting. At the peak of her pop culture fame after the Vanity Fair cover, she was seriously considered for an Absolut Vodka Absolute Gair ad campaign. She has done magazine editorial work, and in 2005, she became a photographer of her own body paintings in both books and magazines. (Full article...)
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General images

The following are images from various visual arts-related articles on Wikipedia.

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