Going Beyond Visual Appreciation: a concise guide on how not to be a mindless art consumer.
- tsugumi8
- Aug 28, 2023
- 6 min read
Modern consumerism and technology have caused us to become passive onlookers, constantly scrolling through an endless barrage of images and stimuli. Unfortunately, this has led to a lack of critical engagement with what we see, even in art galleries and museums. It is disconcerting to witness individuals make shallow judgments and move on to the next art piece without even reading the work's title. However, if you are an art enthusiast who wishes to go beyond mere aesthetic appreciation, this is the perfect go-to source for you, as, in this series of articles, you will gain valuable insights on how to engage with works of art. The next paragraph invites you to read the caption of a painting or artwork in general, explaining why you should start your analysis with this basic step. The following paragraphs explore the changing status of the artist throughout the centuries, starting from the high Middle Ages. While the upcoming articles will introduce you to visual analysis and critical thinking, equipping you with the necessary tools to fully appreciate and comprehend the art you come across.
READ THE CAPTION
When analysing a painting, it's crucial to begin by reading the caption. This may seem like an obvious step, however, it should not be skipped as it provides crucial information about the work. The caption usually includes the artist's name, the title of the work, the date of creation, and other details like the medium, support used, dimensions, and location. If viewed in a gallery or museum, the caption might be followed by some curious facts about the work and additional details, such as its original location. Why does the caption start by signalling the artist’s name? The reason is simple: by identifying the artist, one can determine the time and place they were active, providing valuable context for the piece. Changes in style and subject matter often reflect the context in which the artist worked. El Greco's artistic journey is a testament to how an artist's style and subject matter can be shaped by their environment. Starting with Byzantine icons in Crete, he moved on to Italian Renaissance-influenced representations while in Italy, finally fashioning his unique style during his time in Spain, where he ended his journey. El Greco is also an example of artists’ mobility. In fact, during the centuries in which courts achieved the apex of their splendour and influence, artists could travel from court to court, serving different rulers. However, some could have also been affiliated with guilds - instituted in the late Middle Ages. Knowing where or by whom the artist was employed can also give valuable insights into the meaning or function of the artwork. Therefore, when coming across an art piece, always pay attention to the work's creator. However, what if the creator’s name is unknown? In the next paragraph, we will consider why some artists’ names did not reach posterity and how their status has changed throughout the centuries.
Featured image: Johannes Vermeer, The Art of Painting, c. 1666 - 68, via Wikimedia Commons.
Nowadays, when we think of artists, we often picture a unique and sometimes solitary person who embodies a mix of genius and unpredictability. Vincent van Gogh is a prime example of this archetype. However, not many of us know that artists were fashioned in this manner only a little over two centuries ago. Approximately eight hundred years ago, art and craft guilds began to spring up like mushrooms around European towns. Back then, there was no distinction between art and craft. Artists were much like craftsmen: skilled artisans working for wealthy patrons and the Church. In fact, we don’t even know the identity of some of these skilled men. Therefore, when you encounter appellations such as the Master of Arles, this is because artists had not yet emerged as individuals but were part of a laborious hive: the guild – a workshop that guaranteed quality to customers and protection to its members. According to Swiss historian Jacob Burckhardt (1818 - 1897), self-aware individuals emerged only during the Renaissance. Before then, people perceived themselves only as a part of the community they were part of. The Renaissance artists’ biographer Giorgio Vasari (1511 - 1574) participated in this shift with his book Le Vite de' più eccellenti pittori, scultori, e architettori or The Lives of the Most Excellent Painters, Sculptors, and Architects (1550), where he portrayed artists as talented individuals and at times eccentric geniuses, distinguishing them from craftsmen. Michelangelo is the incarnation of the artist’s individuality of this period – starting his career as an apprentice in Domenico Ghirlandaio's workshop, he soon created an excellent reputation for himself, working independently for Popes and the Florentine nobility. However, the recognition of the artist’s status as a creative intellectual arrived only with the foundation of the first art academies, which would spread across Europe from the end of the sixteenth century onwards. This shift can be seen in how artists fashioned themselves in portraits. They dressed respectfully and worked in clean studios as Johannes Vermeer’s oil on canvas The Art of Painting, c. 1665-66, shows. Creating a stark contrast with the bustling and dusty image of artists working in a guild. Although, it was only in the nineteenth century that artists reached the peak of public recognition as creative individuals who could freely express their brilliance.
Featured image: William Segar, The Ermine Portrait of Elizabeth I of England, c. 1585, via Wikimedia Commons.
Before the creation of an open art market (in the seventeenth century) and the establishment of art academies and, many decades later, salons where artists could exhibit and sell their works, patronage was of paramount importance for the creation of artworks. In fact, everything started with a commission, either by the Church, ruler, or wealthy individual and then the artist would fulfil his task, realising what was requested. This, of course, meant that they had much less freedom of expression and that their works had to fit in within the ruler or, for instance, the pope’s specific agenda. If artists were employed by a court, their depictions would convey specific messages about the ruler, signalling, for example, his power, descent, cultivation, wealth, virtuosity and refined taste. William Segar’s oil on panel, The Ermine Portrait of Elizabeth I of England, c. 1585, is one of the many examples of how artists were deemed to comply with the patron’s hidden agenda. The queen is pompously dressed in this portrait, displaying her wealth and elegance. She is also covered in pearls – the symbol of her virginity while standing on her left arm, there is an ermine – symbolising her purity. After the dissolution of monasteries and the Protestant Reform in England, the cult of the Virgin and saints was banned. However, the queen fashioned this image of purity for herself with the help of artists and the reverence that her portraits inspired in her subject can be associated with that of the Virgin Mary, which the new Protestants were probably missing. Awareness of these potential biases is essential when analysing an artwork. Learning that artists could not freely express themselves yet, but were pressured to adhere to certain conventions imposed by the patron, helps us viewers analyse the subject matter of an art piece. Therefore, when looking at artworks, especially portraits commissioned by influential individuals, always look for clues that suggest what the patron wanted to convey to the viewer.
Artists are complex figures, and there is so much that I have omitted for the sake of keeping this article reasonably short. However, the takeaway points are the following: in the Middle Ages, the status of an artist was the same as that of an artisan or craftsman. However, this changed during the Renaissance, when some of them emerged as exceptionally skilled individuals and sometimes geniuses, like in the case of Michelangelo. Although, their status as creative intellectuals, rather than manual workers, was cemented when the first art academies were founded. Artists were not entirely free to express themselves until the establishment of an open art market, and as seen, they had to fulfil the requests of their patrons. Patrons might have had hidden agendas they wanted to push to their audience. Therefore, remember, a portrait is not a casual snapshot. The elements that the artist included convey meaning and are part of a narrative. So, strive to capture a more profound significance. Who knows what sort of stories you might uncover!
Written by Gabriella Sentina.
Visual References
Johannes Vermeer, The Art of Painting, c. 1666 – 68, oil on canvas, 120 x 100 cm. Kunsthistorisches Museum. Available at:
William Segar, The Ermine Portrait of Elizabeth I of England, c. 1585, oil on panel, 106.4 x 86.4 cm. Hatfield House. Available at:
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