Visual arts

The visual arts are art forms that create works which are primarily visual in nature, such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, and often modern visual arts (photography, video, and filmmaking) and architecture. These definitions should not be taken too strictly as many artistic disciplines (performing arts, conceptual art, textile arts) 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.

Realism

Realism in the visual arts and literature refers to the general attempt to depict subjects "in accordance with secular, empirical rules", as they are considered to exist in third person objective reality, without embellishment or interpretation. As such, the approach inherently implies a belief that such reality is ontologically independent of man's conceptual schemes, linguistic practices and beliefs, and thus can be known (or knowable) to the artist, who can in turn represent this 'reality' faithfully. As Ian Watt states, modern realism "begins from the position that truth can be discovered by the individual through the senses" and as such "it has its origins in Descartes and Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century."

Realism often refers more specifically to the artistic movement, which began in France in the 1850s. Realism in France appears after the 1848 Revolution. These realists positioned themselves against romanticism, a genre dominating French literature and artwork in the late 18th and early 19th centuries. Seeking to be undistorted by personal bias, Realism believed in the ideology of objective reality and revolted against the exaggerated emotionalism of the romantic movement. Truth and accuracy became the goals of many Realists. Many paintings depicted people at work, underscoring the changes wrought by the Industrial Revolution and Commercial Revolutions. The popularity of such 'realistic' works grew with the introduction of photography — a new visual source that created a desire for people to produce representations which look “objectively real.”

Indian art

Indian Art is the visual art produced on the Indian subcontinent from about the 3rd millennium BC to modern times. To viewers schooled in the Western tradition, Indian art may seem overly ornate and sensuous; appreciation of its refinement comes only gradually, as a rule. Voluptuous feeling is given unusually free expression in Indian culture. A strong sense of design is also characteristic of Indian art and can be observed in its modern as well as in its traditional forms.

The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.

Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments.

Funerary Monument to Sir John Hawkwood

The Funerary Monument to Sir John Hawkwood is a fresco by Paolo Uccello, commemorating English condottiero John Hawkwood, commissioned in 1436 for the Florence Cathedral. The fresco is an important example of art commemorating a soldier-for-hire in the Italian peninsula and is a seminal work in the development of perspective. The politics of the commissioning and recommissioning of the fresco have been analyzed and debated by historians. The fresco is often cited as a form of "Florentine propaganda" for its appropriation of a foreign soldier of fortune as a Florentine hero and for its implied promise to other condottieri of the potential rewards of serving Florence. The fresco has also been interpreted as a product of internal political competition between the Albizzi and Medici factions in Renaissance Florence, due to the latter's modification of the work's symbolism and iconography during its recommissioning. The fresco is the oldest extant and authenticated work of Uccello, and from a relatively well-known aspect of his career compared to the periods before and after its creation. The fresco has been restored (once by Lorenzo di Credi, who added the frame) and is now detached from the wall; it has been repositioned twice in modern times.