Art History: Aesthetic Context and Historical Development
Art history is primarily the study of works of art in its aesthetic context and historical development, including format, genre, style, and design, and it encompasses several historical events. Sculptures, paintings, and architecture are some of the major arts. Other minor arts include furniture, ceramics, and other ornamental items (Norman 2).
Coordinated Efforts of the Three Divisions of Art History
Because of the coordinated efforts of the three divisions of art history—critic, academic historians, and connoisseurs—different aesthetic developments have been made over the years, sparking even more original ideas, thoughts, and theories.
An Interpretive Summary of the Two Reading Materials
The two readings examine the chronological historical development of art within its stylistic setting. Therefore, this paper seeks to underscore an interpretive summary of the two reading materials highlighting key landmarks events in the art history.
Art since 1900: Modernism, Antimodernism, Postmodernism
Art since 1900: Modernism, Antimodernism, Postmodernism written between 1950- 1959 and Grids written in 1945 by Foster Hal, et al. and Rosalind Krauss et al. respectively, narrates the history of art explicitly. Moreover, the authors according to their nations and ideas embedded in the materials have overviews of discrete entries or elimination of abstractions in particular subjects in art history most especially in Europe and United States.
Analysis of Art since 1900: Modernism, Antimodernism, Postmodernism
The author of Art since 1900: Modernism, Antimodernism, Postmodernism begins by outlining the ancient and antique styles of arts used by the artists then, as well as their philosophical analysis. Furthermore, in his introductive paragraph, he highlights the different sites of abstraction on notes for and on an exhibition of Latin American Concrete Art. In his opening remarks, he added that the ancient, virginal, and backward American art as an apparent process of life mechanization.
Analysis of Grids
Similarly, on the other hand, the authors of Grids begin by addressing the abstractions and ancient stylistic context and structuralism of the old. The author acknowledges the peculiarity of some of the old artworks that have withstood the test of time over to the modernist era. He says that "structure that has remained emblematic of the modernist ambition within the visual arts ever since" (Foster, Hal et al. 8). He asserts that modern art will seize thriving due to its hostility to discourse, literature, and narrative.
The Elimination of Global Abstractions in Art Science
Inferably, the theorists' idea is to eliminate the global abstractions and affirm discrete entries on different subjects in art science. Furthermore, they uphold the old art as discrete and original such as the era of the Renaissance and the neoclassic art in Europe that brought a landmark revolution in the art field. The authors posit that over the years, different artists have emerged with different abstractions eliminating the elementary of art, especially in painting. For instance, a painting by one called Newman evoked the 18th-century notion of the sublime. The artist did away with the philosophical concept related to the spiritual understanding of the place of humanity among the greater forces of the universe (Krauss 16).
Abstraction Expressionism and its Influence
The author continues to explore the issues of abstraction and assert that years after the Second World War, abstraction expressionism became the dominant influence on many artists in Europe and U.S.A (Meltzer 26). The authors continue to say that the evil in art science was perpetrated by the introduction of democracy, individualism, and cultural achievement. Consequently, the movements actively promoted exhibition as a platform for political propaganda during the cold war (Norman 56). Toward the end of the readings, the authors finished by exploring the stylistic revolution in the modern specifically the grid and Swiss topography on the lines of its democratizing benefits, space, and layout.
An Exemplary Theoretical Focus
In conclusion, the authors in the two readings show an exemplary theoretical focus. Readably, the authors have proven themselves instrumental in a different viewpoint of art that is of discrete entries in art subjects and elimination of global abstractions in art.
Works Cited
Foster, Hal, Rosalind E. Krauss, Yve-Alain Bois, B H. D. Buchloh, and David Joselit. Art Since 1900: Modernism, Antimodernism, Postmodernism. , 2011. Print.
Krauss, Rosalind E. The Optical Unconscious. Cambridge, Mass: MIT Press, 1993. Print.
Meltzer, Eve. Systems Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. , 2013. Internet resource.
Norman, Will. Transatlantic Aliens: Modernism, Exile, and Culture Midcentury America. , 2016. Print.
