The Impact of Art On the Spectator

Art can be a creative means to convey certain aspects of adult education in a pleasant way. Apart from its’ aesthetic qualities, art is able to change people, bring new perspectives and emotions and be a bridge for learning even in an unconscious way.

In this article, Dr Aaron Attard Hili Doctor of Law and Artist explains that through the visual arts, the artist and the spectator can discern abundance of knowledge that are all around them, or inside of them, that cannot be illustrated quickly or easily with mere words. Art is a language of feelings such as emotion, perception and forms or inspiration. Art acts as a transmitter to the spectators.

Impact Art
Impact Art

Various episodes can be recognized and summoned up much faster with a picture: “Painting,” the French artist painter Robert Delaunay said, “is by nature a luminous language.” Lastly the human brain is well skilled from very young age to absorb and handle visual images in a way differently from verbal thinking.

The artist’s “words” are not phonetic utterances

Art speaks. Dr Aaron continues to elaborate. The artist’s “words“, though, are not phonetic utterances, but rather are tonality, line, shape and texture. Every work of art – every picture or statue – has its own style. An artist’s style is not something he/she deliberately adopts. Like a man’s handwriting or the tone of his voice, it is an inevitable part of himself. It is his personality made manifest.

The artist is a man of attainable activity. He has to have imagination and he has to have craftsmanship. He has to imagine the thing he is going to make; and he must also have the power to translate what he has imagined into terms of his medium.

The quality of an artist’s vision has no other limit than the imaginative tools of the artist himself. Whatever the human eye is capable of observing or the human mind of conceiving is the potential raw material for the work of art. But the limitations of the medium are definite and physical. Each medium has its own inherent limitations and potentialities. The artist as craftsman must accept those limitations, and by accepting, exploit them.

Art is a communication

An artistic activity is not something done just for the fun of doing it. No doubt it is fun to do a figurative painting or sculpturing a motif, but no artist was ever content to have his fun and then throw the result of it away. The picture has to be seen and the sculpture to be admired at. Art is a communication. Behind every work of art is the artist’s appeal to his fellows, ‘don’t you see what I mean? Can’t you see what I am getting at?’

More often than not two components of artistic and aesthetic experience that are involved in contemplating visual works of art – the relationship between embodied considerate beliefs in the observer come into view: (a) the characteristic subjective content of the works in terms of the actions, intentions, objects, emotions and sensations depicted in a given painting or sculpture; and (b) the quality of the work in terms of the visible traces of the artist’s creative gestures, such as energetic modeling in clay or paint, fast brushwork and signs of the movement of the hand.

A work of art may be an expression of the artist’s inner vision, and it may also be useful to society, but beyond both these it is a thing-in-itself. It exists in its own right. It consists of a set of shapes made of pigment applied to canvas or of a set of masses carved out of stone or modeled out of clay. In a word, it has form; and it must obey the laws of form as dictated by whatever medium the artist uses or perish. Moreover, a work of art is self-contained. A picture must have edges whereas the experience it embodies has no edges, no beginning nor end.

Artists have a vision that they need to express

There are special laws that govern the painting of pictures and the making of statues. The first thing that occurs to one is that they are both capable of representing objects known to or imagined by their creators. They are under no obligation to do so, of course. There are sculptors and painters today whose carvings and pictures do not represent known objects. But on the whole it has been the practice of painters and sculptors to produce works of which one could say, ‘Look! That is a man; there is a house and a flock of sheep.’ And, in case of doubt, pictures and statues usually have titles to help one to identify the object represented. These titles are not an integral part of the work of art, though they may cause intrusion in the mind of the spectator when taken in conjunction with the work of art.

Dr Aaron concludes that artists have a vision that they need to express. The job description of an artist is to make the spectator look, think and feel by whatever means necessary and according to the particular artist’s training, vision, experience and point of reference. This article has more on this subject. The experiencing elements are of two kinds: emotions and feelings. The effect of a work of art upon the spectator who enjoys it is an experience different in kind from any experience not of art. It may be formed out of one emotion or may be a combination of several; and various feelings, intrinsic for the artist in particular medium, may be added to compose the final result.