Art as an Expression of Socio-Psychological Responsibility
Art is the illustration of an artist's artistic vision which is the direct product of the artist's socio-psychological responsibility to others who are fascinated by his or her interest. Aside from the artist's own conception of the aesthetic nature of his or her work, a socio-political aspect of culture often determines the artist's creative efficiency. Three artifacts will be explored in this essay based on a similar theme – conflict. This article aims to capture the importance of the chosen artworks with the socio-political and psychological backgrounds of the respective artists in order to show their perception of the world's evolving ideological multitude. However, the timeline of art is one of the fascinating aspects of the art history facilitating contemporary art of today's technologically advanced world for the contemporary issues and imaginations. Virtualized art is the latest aspect of this kind of art. For instance, three-dimensional environments, stereoscopic fantasy, advanced human-machine interface. But, the main concept is that the world history directed amojor part of the production of the artists' works from time to time. Thus art and literature saved the episodes of war through the imaginative and creative essence of the artists.
The Portrayal of War Through Art
War artists depict diverse faces of war through their own imaginative processes. Most of the artists illustrate ill effects and consequences of war in their works. Modern art includes artistic artworks produced with specific style and philosophy. One of the best examples of this type of art includes Pablo Picasso, Guernica, 1937 that depicted people grieving due to war and conflict that shattered the world in a horrible way.
Virtual Art and its Impact
This art is quite observable in movies and videogames. Avatar, directed by James Cameron, would be a best example to suit this category. The virtual aura created with high-end technology describes the might and power of expressing emotions and imaginations. Frank Popper in his book develops the timeline of the development of artistic frameworks and explains the trajectory associated with the development of the virtual art. His main interest involves the development of interactive, immersive, and highly effective art through advanced technology that facilitated net art, digital art, and computer art etc. (Popper p. 23). James Cameron utilizes the available resources to create an in-depth artistic artefact that takes its audience to higher levels of imagination, excitement, and thrill.
The Distress of War Captured in Paintings
Francisco Goya's El Tres de Mayo The Third of May depicts a very deserted picture of human suffrage. The painting is oil on canvas and illustrates the use of power by ruling regimes to carry out bloodshed, suppressing the freedom and liberty of common people (V p. 5). The painting is visually very strong as it explains a very interesting and distressing content to portray the consequences of the war.
The Last Stand at Isandlwana by Charles Edwin Fripp was released in 1985. The painting depicts Battle of Isandhlwana (1879) at Natal in South Africa with very strong content t regarding bloodshed and massacre. The artefact also conveys a lot in context to use excessive power against poor and underdeveloped people. Edwin has attempted to capture a very true image of the incident that happened in 1979.
The work of John Singer Sargent's Gassed in 1918. This is an oil on canvas painting depicting the horrible situation of an episode of war. The Painting was produced almost at the end of the First World War. The visual content of the painting is very disturbing depicting distressed army men. As depicted in the artifact, the army men are dead, blind, and even deserted. The theme of the painting is quite obvious, depicting the consequences of the war as only some soldiers are coming back but without any eyesight.
Works Cited
Reid, John B. Australian Artists at War, (1977). Vol. 2, p. 5.
Frank Popper. Art—Action and Participation, New York University Press, 1975. P. 12-15
Bell, Steve. “Ronald Searle: a life in pictures,” London: Guardian. (2010) Retrieved 2017 April 21
