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The visual art terms separate into the elements and principles of art. The elements of art are color, form, line, shape, space, and texture. The principles of art are scale, proportion, unity, variety, rhythm, mass, shape, space, balance, volume, perspective, and depth. In addition to the elements and principles of design, art materials include paint, clay, bronze, pastels, chalk, charcoal, ink, lightening, as some examples. This comprehensive list is for reference and explained in all the chapters. Understanding the art methods will help define and determine how the culture created the art and for what use.

Over the years, art methods have changed; for example, the acrylic paint used today is different from the cave art earth-based paint used 30,000 years ago. People have evolved, discovering new products and procedures for extracting minerals from the earth to produce art products. From the stone age, the bronze, iron age, to the technology age, humans have always sought out new and better inventions. However, access to materials is the most significant advantage for change in civilizations. Almost every civilization had access to clay and was able to manufacture vessels. However, if specific raw materials were only available in one area, the people might trade with others who wanted that resource. For example, on the ancient trade routes, China produced and processed the raw silk into stunning cloth, highly sought out by the Venetians in Italy to make clothing.

1.24 Mondrian composition

The art methods are considered the building blocks for any category of art. When an artist trains in the elements of art, they learn to overlap the elements to create visual components in their art. Methods can be used in isolation or combined into one piece of art (1.24), a combination of line and color. Every piece of art has to contain at least one element of art, and most art pieces have at least two or more.

Elements of Art

Color: Color is the visual perception seen by the human eye. The modern color wheel is designed to explain how color is arraigned and how colors interact with each other. In the center of the color wheel, are the three primary colors: red, yellow, and blue. The second circle is the secondary colors, which are the two primary colors mixed. Red and blue mixed together form purple, red, and yellow, form orange, and blue and yellow, create green. The outer circle is the tertiary colors, the mixture of a primary color with an adjacent secondary color.

1.25 Color Wheel

Color contains characteristics, including hue, value, and saturation. Primary hues are also the primary colors: red, yellow, and blue. When two primary hues are mixed, they produce secondary hues, which are also the secondary colors: orange, violet, and green. When two colors are combined, they create secondary hues, creating additional secondary hues such as yellow-orange, red-violet, blue-green, blue-violet, yellow-green, and red-orange.

Value: refers to how adding black or white to color changes the shade of the original color, for example, in (1.26). The addition of black or white to one color creates a darker or lighter color giving artists gradations of one color for shading or highlighting in a painting.

1.26 Hue, saturation, and value

Saturation: the intensity of color, and when the color is fully saturated, the color is the purest form or most authentic version. The primary colors are the three fully saturated colors as they are in the purest form. As the saturation decreases, the color begins to look washed out when white or black is added. When a color is bright, it is considered at its highest intensity.

1.27 Saturation

Form: Form gives shape to a piece of art, whether it is the constraints of a line in a painting or the edge of the sculpture. The shape can be two-dimensional, three-dimensional restricted to height and weight, or it can be free-flowing. The form also is the expression of all the formal elements of art in a piece of work.

1.28 Form

Line: A line in art is primarily a dot or series of dots. The dots form a line, which can vary in thickness, color, and shape. A line is a two-dimensional shape unless the artist gives it volume or mass. If an artist uses multiple lines, it develops into a drawing more recognizable than a line creating a form resembling the outside of its shape. Lines can also be implied as in an action of the hand pointing up, the viewer's eyes continue upwards without even a real line.

1.29 Line

Shape: The shape of the artwork can have many meanings. The shape is defined as having some sort of outline or boundary, whether the shape is two or three dimensional. The shape can be geometric (known shape) or organic (free form shape). Space and shape go together in most artworks.

1.30 Shape

Space: Space is the area around the focal point of the art piece and might be positive or negative, shallow or deep, open, or closed. Space is the area around the art form; in the case of a building, it is the area behind, over, inside, or next to the structure. The space around a structure or other artwork gives the object its shape. The children are spread across the picture, creating space between each of them, the figures become unique.

1.31 Space

Texture: Texture can be rough or smooth to the touch, imitating a particular feel or sensation. The texture is also how your eye perceives a surface, whether it is flat with little texture or displays variations on the surface, imitating rock, wood, stone, fabric. Artists added texture to buildings, landscapes, and portraits with excellent brushwork and layers of paint, giving the illusion of reality.

1.32 Texture

Principles of Art

Balance: The balance in a piece of art refers to the distribution of weight or the apparent weight of the piece. Arches are built for structural design and to hold the roof in place, allowing for passage of people below the arch and creating balance visually and structurally. It may be the illusion of art that can create balance.

1.33 Balance

Contrast: Contrast is defined as the difference in colors to create a piece of visual art. For instance, black and white is a known stark contrast and brings vitality to a piece of art, or it can ruin the art with too much contrast. Contrast can also be subtle when using monochromatic colors, giving variety and unity the final piece of art.

1.34 Contrast

Emphasis: Emphasis can be color, unity, balance, or any other principle or element of art used to create a focal point. Artists will use emphasis like placing a string of gold in a field of dark purple. The color contrast between the gold and dark purple causes the gold lettering to pop out, becoming the focal point.

1.35 Emphasis

Rhythm/Movement: Rhythm in a piece of art denotes a type of repetition used to either demonstrate movement or expanse. For instance, in a painting of waves crashing, a viewer will automatically see the movement as the wave finishes. The use of bold and directional brushwork will also provide movement in a painting.

1.36 Rhythm/Movement

Proportion/Scale: Proportion is the relationship between items in a painting, for example, between the sky and mountains. If the sky is more than two-thirds of the painting, it looks out of proportion. The scale in art is similar to proportion, and if something is not to scale, it can look odd. If there is a person in the picture and their hands are too large for their body, then it will look out of scale. Artists can also use scale and proportion to exaggerate people or landscapes to their advantage.

1.37 Proportion and Scale

Unity and variety: In art, unity conveys a sense of completeness, pleasure when viewing the art, and cohesiveness to the art, and how the patterns work together brings unity to the picture or object. As the opposite of unity, variety should provoke changes and awareness in the art piece. Colors can provide unity when they are in the same color groups, and a splash of red can provide variety.

1.38 Unity and Variety

Pattern: Pattern is the way something is organized and repeated in its shape or form and can flow without much structure in some random repetition. Patterns might branch out similar to flowers on a plant or form spirals and circles as a group of soap bubbles or seem irregular in the cracked, dry mud. All works of art have some sort of pattern even though it may be hard to discern; the pattern will form by the colors, the illustrations, the shape, or numerous other art methods.

1.39 Pattern

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1.6: What Are the Elements of Art and the Principles of Art?

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The visual art terms separate into the elements and principles of art. The elements of art are color, form, line, shape, space, and texture. The principles of art are scale, proportion, unity, variety, rhythm, mass, shape, space, balance, volume, perspective, and depth.

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Art 101: What is appropriation? (not the cultural kind)

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Appropriation Art refers to the utilization of pre-existing objects or imagery with almost no alteration. The practice of appropriation in art has served an important role throughout its history. In regards to the visual arts, artistic appropriation refers to the correct adoption, borrowing, recycling, or sampling of human-made cultural imagery.
What Is Art Appropriation?

The premise is that the current piece recontextualizes whatever it borrows imagery from, and this makes the creation fresh - which is a fundamental aspect to grasp in our comprehension of appropriation photography and art. In most circumstances, the original "object" remains available in its original form.

Appropriation art has also been characterized as "the incorporation of a physical entity or perhaps an extant artwork into a new work of art." Appropriation in art highlights issues of uniqueness, legitimacy, and ownership, and is part of the lengthy modernist heritage of art that calls into question the essence or meaning of art itself.

The History of Appropriation in Art

Many painters in the 19th century made allusions to past artists' pieces or topics. For instance, Jean-Auguste Dominique Ingres produced Madame Moitessier's portrait in 1856. The unusual posture was influenced by the renowned antique Roman artwork Herakles Finding His Son Telephas (early 2nd century BCE).

Madame Moitessier (1856) by Jean-Auguste Dominique Ingres, located in the National Gallery in London; Jean Auguste Dominique Ingres, Public domain, via Wikimedia Commons

As a result, the creator established a connection for both his subject as well as the Olympian goddess. Similarly, Vincent van Gogh can be identified by instances of works influenced by Delacroix, Jean Francois Millet, or Japanese images in his personal possession.

Early 20th Century

Georges Braque and Pablo Picasso incorporated artifacts from non-art environments into their works in the early years of the 20th century. Picasso placed a strip of oilcloth onto the painting in 1912. Following pieces, such as Guitar, Newspaper, Glass, and Bottle (1913), in which the artist utilized news clippings to build shapes, are examples of early assemblage that became associated with synthetic cubism. The two painters included elements of the "actual world" into their paintings, provoking debate over the perceived significance and artistic expression.

Photograph of French Dada artist Marcel Duchamp, taken in 1927; Unknown authorUnknown author, Public domain, via Wikimedia Commons

Duchamp first probed this idea in 1913, when he attached a seat with a bike wheel, and again in 1915, when he bought a snow spade and wrote it "in anticipation of the broken arm, Marcel Duchamp." Under the alias R. Mutt, Duchamp coordinated the entry of a readymade to the Society of Independent Artists exposition in 1917. It was dubbed Fountain and consisted of a men's urinal made from porcelain perched upon a platform.

The piece was dismissed by the show committee because it presented a clear challenge to established conceptions of high art, authorship, uniqueness, and imitation. However, other art critics had strong views surrounding the work.

Photograph of Duchamp's infamous Fountain (1917); Marcel Duchamp, Public domain, via Wikimedia Commons

The Dada group continues to experiment with appropriating common materials and combining them in collage. Dada pieces exhibited purposeful absurdity and a disregard of art's established norms. Kurt Schwitters' " merz " pieces have a comparable sensibility. Parts of them were built from found things, and they took the shape of enormous structures known as installations.

Realism and Pop Art (1950 - 1960)

Robert Rauschenberg employed what he called "combines" in the 1950s, merging ready-made materials like tires or mattresses with paint, silkscreens, collages, and photography. Likewise, Jasper Johns, who worked with Rauschenberg during that period, integrated found artifacts into his art.

The official manifesto for the Fluxus art movement; , Public domain, via Wikimedia Commons

They conducted "action" gatherings and created sculptural pieces using unorthodox materials during the 1960s and 1970s. Artists like Andy Warhol and Claes Oldenburg copied motifs from corporate design and public culture, as well as methods from these sectors, in the early 1960s, with Warhol, for instance, painting Coca-Cola bottles.

These creators were completely immersed in the detritus created by this mass-made culture, embracing disposableness and detaching themselves from the traces of an artist's presence. Roy Lichtenstein, one of the most well-known pop painters, became notorious for copying images from comic books in works such as Drowning Girl (1963).

Staff setting up a 1967 exhibition of Roy Lichtenstein's works at the Stedelijk Museum in the Netherlands; Ron Kroon / Anefo, CC0, via Wikimedia Commons

Elaine Sturtevant recreated great masterpieces by her peers. Among the artists she 'copied' were Jasper Johns, Andy Warhol, Joseph Beuys, James Rosenquist, Marcel Duchamp, Roy Lichtenstein, and others. While she did not primarily reproduce , it was a key part of her profession. In 1965, she recreated Andy Warhol's Flowers. She was instructed to replicate the creator's own approach, to the point that when Warhol was constantly questioned about it, he once replied, "I don't know. I'm not sure. Inquire with Elaine."

In postwar Germany, German painters Sigmar Polke and his companion Gerhard Richter developed "Capitalist Realism," offering a satirical criticism of consumerism. They utilized previously taken images and altered them. Polke's most well-known works were composites of pop culture and commercial images, such as his Supermarkets scenario of superheroes browsing at a supermarket.

Neo-Pop and the Pictures Generation (1970 - 1980)

Whereas in previous times, appropriation in art was represented by 'language,' today's appropriation art has been symbolized through photography as a method of 'semiotic forms of representation.' The Pictures Generation was a collection of creators that used appropriation and collage to highlight the artificial character of pictures, and were inspired by Pop art.

Rabbit (1986) by Jeff Koons; Fred Romero, Jeff Koons, CC BY 2.0, via Wikimedia Commons

Levine frequently quotes complete compositions in her art, such as Walker Evans' photos. Levine engages with the concept of "nearly same," questioning ideas of uniqueness and calling attention to the relationships between authority, sexism, innovation, commercialization and market value, the social origins and purposes of art. Richard Prince re-photographed advertising for Marlboro smokes in the 1970s and 1980s. His work enhances the significance of faceless and omnipresent cigarette advertising promotions and focuses our attention on the pictures.

Tulips (1994) by Jeff Koons, exhibited outside the Guggenheim Museum Bilbao in Spain; More pics than views..., CC BY 3.0, via Wikimedia Commons

To interact with philosophical and cognitive theory, Joseph Kosuth appropriated pictures. Richard Pettibone started reproducing pieces by newly recognized painters such as Andy Warhol, and subsequent modernist icons, on a tiny scale, marking the actual artist's name and also his own.

This was a sequence of vacuum cleaners, typically chosen for trade names that resonated with the artist, such as the legendary Hoover, and in the manner of Duchamp's readymades. Later, he made stainless steel artworks that were influenced by inflatable toys like rabbits and dogs.

Artists continued to make appropriation art throughout the 1990s, utilizing it as a vehicle to confront theoretical and societal concerns rather than focusing on the pieces themselves. Damian Loeb used film and cinematography to speak on topics of realism and simulacrum.

Sherrie Levine's homage to Marcel Duchamp's Fountain, titled Fountain (Buddha) (1996); Hesperian Nguyen, CC BY-SA 4.0, via Wikimedia Commons

Sherrie Levine borrowed the idea from Duchamp's Fountain (1917) when she created polished cast bronze urinals. They are seen as a "homage to Marcel Duchamp's well-known readymade. Contributing to Duchamp's audacity, Levine elevates his gesture's materialism and polish, transforming it again into an "art object." As a feminist designer, Levine reimagines works by male painters who seized patriarchal control in art history."

21st Century

Appropriation is widely employed by current artists who regularly recreate prior artworks, such as French artist Zevs, who reworked logos of businesses such as Google or David Hockney's works. Many metro and street painters, such as Banksy or Shepard Fairey, employ imagery from mainstream cultures, such as Banksy's Girl with a Pierced Eardrum, which stole artworks by Vermeer or Claude Monet.

Richard Prince published a series of appropriation photography works named New Portraits in 2014, stealing pictures of nameless and famous people who had uploaded a selfie on Instagram. The artist's changes to the photographs are the remarks Prince placed under the photos.

Photograph of Banksy's Well Hung Lover (2006) mural, spray painted in England; Photographed by Richard Cocks, CC BY-SA 2.5, via Wikimedia Commons

Mr. Brainwash is a street artist who rose to prominence as a result of Banksy, and whose work mixes historic pop images with present cultural iconography to produce his rendition of the pop-graffiti art fusion favored by other street artists.

Art Appropriation in the Digital Age

Since the 1990s, the appropriation of historical predecessors has been as diverse as the notion of appropriation itself. A never-before-seen quantity of appropriations permeates not only the visual arts but all cultural fields. The younger breed of appropriators sees themselves as "archeologists of the moment." Some people refer to "post-production," which is the re-editing of "the script of culture" based on pre-existing compositions.

The new "remix generation," which has taken over not just the visual arts, but also music, books, dance, and cinema, has sparked heated arguments. Lawrence Lessig, a media researcher, invented the phrase "remix culture" in the early 2000s.

Shuttlecock sculptures designed by Claes Oldenburg and Coosje van Bruggen outside the National Art Gallery in the United States (1994); Americasroof at English Wikipedia, CC BY-SA 3.0, via Wikimedia Commons

On the one hand, many anticipate a new era of inventive, helpful, and enjoyable methods for art in the digital and globalized twenty-first century. The new appropriators will not only recognize Joseph Beuys' statement that everybody is an artist, but they will also "create free societies." By ultimately freeing art from conventional conceptions like aura, uniqueness, and brilliance, they will pave the way for new ways of interpreting and describing art.

Because art is limited to allusions to pre-existing notions and forms, they anticipate an infinite stream of recompiled and recycled goods. Skeptics see this as a recycling society with a fixation with the past. Some argue that only idle individuals with nothing to say allow themselves to be inspired by history in this way. Others are concerned that this new tendency of appropriation is motivated solely by a desire to adorn oneself with an appealing ancestry.

Unfettered access to the digital repository of creative works and easily accessible digital technologies, as well as the prioritization of new creativity and new procedures over an ideal masterwork, gives rise to an excitable busyness around the past rather than introducing new excursions into uncharted territory. These could bring to light the neglected specters and overlooked ghosts of our popular myths and philosophies.

Examples of Appropriation in Art

Andy Warhol was hit with a slew of cases from photographers whose artwork he stole and then turned into silkscreens. Despite being blatantly stolen, Warhol's iconic Campbell's Soup Cans are widely deemed to be non-infringing. Jeff Koons has even been sued before; one such time, the designer was charged after appropriating an image made by Art Rogers of two individuals cradling a litter of puppies. Let's take a look at some famous examples of appropriation in art.

Fountain (1917) by Marcel Duchamp

A regular item of plumbing selected by Duchamp was entered for an installation of the Society of Independent Artists in April 1917, the Society's debut exhibition. Duchamp described his Readymade sculptures as "common things elevated to the grandeur of a piece of artwork by the designer's action of selection." The urinal's orientation was changed from its regular position in Duchamp's exhibition.

The work is perceived as a significant landmark in twentieth-century art by art historians and avant-garde theorists. In the 1950s and 1960s, 16 reproductions were requested from Duchamp and created with his agreement.

The influence of Duchamp's artwork altered people's perceptions of art because of his emphasis on "intellectual art" rather than merely "ocular art," as this was a way to involve prospective viewers in a thought-provoking manner rather than rewarding the aesthetic established order of "turning from traditionalism to modernity." Because Stieglitz's photograph is the unique image of the initial sculpture, certain interpretations of Fountain are based on looking not just at copies but also at this specific shot.

Campbell's Soup Cans (1968) by Andy Warhol

Campbell's Soup Cans are among the most famous images in American contemporary art. The soup cans, which began as a series of paintings in 1962, received international recognition as a landmark in Pop Art. When the artworks were originally shown that year, they were presented together as if they were items at a grocery shop. Each soup can was represented a different taste and was modeled after the white and red soup cans.

The series is made even more fascinating by the contrast of pure copy and the artist's hand. The series' inspiration came from Warhol's private life. "I used to consume it," he says. "I had the same meal every day for maybe 20 years, the very same dish over and over again."

This notion of recurrence was undoubtedly absorbed by the artist, as well as expressed by commercialized mass culture. The appearance of Campbell's Soup Cans was heavily questioned at first, as many spectators struggled to reconcile such blatant exploitation of a mundane commodity.

After Walker Evans (1981) by Sherrie Levine

Levine unapologetically rephotographed Walker Evans' shot of Allie Mae Burroughs, spouse of an Alabama subsistence farmer, over fifty years after Evans took it. Notably, she did not capture the actual print itself, but rather a replica of the image in a Walker Evans show booklet. The image after Walker Evans: 4 is a copy of a replica of the actual photo.

She also challenges how the artistic, or aesthetic, worth of a work of art is entwined with concepts of artistic genius, and how that worth is then commercialized in the art market, depending on exclusivity and scarcity.

Levine's conceptual effort praised as a characteristic of postmodern art is reminiscent of French philosopher Roland Barthes' article "The Death of the Author," in which he contended that it was the reader's responsibility, not the author's, to produce and decide to mean. Levine used Barthes' words when she said, "The meaning of a picture rests not in its beginning, but in its destiny." "The creation of the spectator must come at the expense of the painter."

Arranged by Barbara and Eugene Schwartz (1982) by Louise Lawler

This image is part of one of Lawler's initial displayed series of images chronicling residential and institutional art exhibitions. We can see two of Cindy Sherman's artworks hanging in a room viewable through the open door, as well as an abstract scene, mounted on the wall next to the entry, with the picture centered on a doorway that goes between rooms.

The artist makes visible the continuous reception of artwork by moving the viewer's emphasis from the creator to the collector, offering this exhibition to the audience in a way that places the artwork in the context of both its trade worth and its cultural standing.

Although this act of depicting works of art as they are presented in collectors' houses is preoccupied with the ways in which acquiring and arranging modify the significance of artworks, Lawler's stance on this remains ambiguous. She avoids simple condemnation of how artworks are commercialized through the market, instead of focusing on the topic without intending to clarify it.

We Don't Need Another Hero (1986) by Barbara Kruger

The picture and words associated with Barbara Kruger's work have a figurative connotation as they connect to one of J. Howard Miller's 1942 posters titled Rosie the Riveter. During World War II, the Rosie the Riveter image was produced to encourage women to enter the labor sector. Kruger exploits the environment in which the Rosie the Riveter billboard was created to enhance the significance of her work.

Nevertheless, postmodernism implies that, while a postmodern creation may be a "criticism of the source," it is "not to revert to them." Thus, Barbara Kruger's art might be read as another hero is not required because the battle is gone and will not be returning.

Hymn (1999) by Damien Hirst

In 2000, Damien Hirst was compelled to pay an unknown compensation to the creators of a toy that he had pirated, culminating in a large sculpture that looked remarkably similar to the original. Hirst's method is known as appropriation, but what exactly does it imply, and is it theft or innovation?

Hirst has also changed the environment of the artwork from a medical toy to a modern art museum. His little modification to the source toy design culminated in a court lawsuit charging him for plagiarism. Hirst was convicted and sentenced to make restitution for his appropriation.

The term, Hymn, is a play on the male pronoun and refers to a devotional song or lyric in which God or a god is praised. This sculpture is neither a lyric nor a song, yet it may be recognized as a picture that depicts a portrayal of a worship item as is customary in idolization across the world, where sculptures are built with the world's most valuable materials, intricacy, and perfection.

A Belgian Politician (2011) by Luc Tuymans

This is a portrait of politician Jean-Marie Dedecker. Tuymans' restricted color pallet and close-up view are common. The picture's most striking feature is the harsh cut halfway down the model's face. The cropping of the photograph has been hotly debated, although mostly in legal rather than artistic aspects.

The original was photographed for the Belgian daily De Standaard by award-winning portraiture and journalistic photographer Katrijn Van Giel and uses the same crop. However, because it is in color, Tuymans' rendition connotes a newspaper image rather than its printed counterpart.

For many years, his career has been concentrated on the utilization of pre-existing photography, which is frequently already published. Tuymans sees this form of operation as analogous to free speech as well as a mode of modern critique. "How can an artist bring the world into doubt with his creations if he isn't permitted to utilize that world's images?" his lawyer said.

Read also our appropriation art webstory.

Frequently Asked Questions

What Is Art Appropriation?

The concept is that the present piece recontextualizes whatever material it draws from, making the production new - which is a critical factor to comprehend in our understanding of appropriation photography and art. Most of the time, the original is still available in its original form. Artistic appropriation, like found object art, is described as the deliberate copying, borrowing, and modifying of earlier imagery, objects, and concepts as an artistic strategy. Appropriation art is alternatively defined as the integration of a physical entity, or even an existing piece of art, into a brand new work of art.

How Long Has Appropriation in Art Occurred?

Many 19th century artists incorporated references to previous artists' works or ideas. Jean-Auguste Dominique Ingres, for example, created Madame Moitessier's portrait in 1856. The odd stance was inspired by the well-known antique Roman painting Herakles Finding His Son Telephas (early 2nd century BCE). As a result, the author forged a link between his topic and the Olympian deity. Similarly, works influenced by Delacroix, Jean Francois Millet, or Japanese pictures in his personal possession might be used to identify Vincent van Gogh. However, appropriation art as an art form may be traced back to Georges Braque and Pablo Picasso's cubist assemblages and collages from 1912 onwards, in which authentic items like newspapers were utilized to signify themselves.

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Appropriation in Art - Why Artists Use Existing Elements

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Understanding Appropriation in Art ✔ The History of Appropriation ✔ Examples of Artistic Appropriation ✔ Frequently Asked Questions ✔

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A Brief History of Art Movements | Behind the Masterpiece

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FAMOUS PAINTINGS in the World - 100 Great Paintings of All Time

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Who decides what art means? - Hayley Levitt

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