Portal:Arts

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The arts is a vast subdivision of culture, composed of many creative endeavors and disciplines. It is a broader term than "art", which, as a description of a field, usually means only the visual arts. The arts encompass the visual arts, the literary arts and the performing artsmusic, theatre, dance and film, among others. This list is by no means comprehensive, but only meant to introduce the concept of the arts. For all intents and purposes, the history of the arts begins with the history of art. The arts might have origins in early human evolutionary prehistory.

Ancient Greek art saw the veneration of the animal form and the development of equivalent skills to show musculature, poise, beauty and anatomically correct proportions. Ancient Roman art depicted gods as idealized humans, shown with characteristic distinguishing features (e.g. Jupiter's thunderbolt). In Byzantine and Gothic art of the Middle Ages, the dominance of the church insisted on the expression of biblical and not material truths. Eastern art has generally worked in a style akin to Western medieval art, namely a concentration on surface patterning and local colour (meaning the plain colour of an object, such as basic red for a red robe, rather than the modulations of that colour brought about by light, shade and reflection). A characteristic of this style is that the local colour is often defined by an outline (a contemporary equivalent is the cartoon). This is evident in, for example, the art of India, Tibet and Japan. Religious Islamic art forbids iconography, and expresses religious ideas through geometry instead. The physical and rational certainties depicted by the 19th-century Enlightenment were shattered not only by new discoveries of relativity by Einstein and of unseen psychology by Freud, but also by unprecedented technological development. Paradoxically the expressions of new technologies were greatly influenced by the ancient tribal arts of Africa and Oceania, through the works of Paul Gauguin and the Post-Impressionists, Pablo Picasso and the Cubists, as well as the Futurists and others.

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Gabriel Fauré
The piano music of Gabriel Fauré is among his best known work. Written between the 1860s and the 1920s, Fauré's major sets of piano works are thirteen nocturnes, thirteen barcarolles, six impromptus and four valses-caprices. These sets display the change in his style, over the decades, from uncomplicated youthful charm to a final enigmatic but sometimes fiery introspection, by way of a turbulent period in his middle years. His other notable piano pieces, including shorter works, or collections composed or published as a set, are Romances sans paroles, Ballade in F major, Mazurka in B major, Thème et variations in C major, and Huit pièces brèves. For piano duet, Fauré composed the Dolly Suite and, together with his friend and former pupil André Messager, an exuberant parody of Wagner in the short suite Souvenirs de Bayreuth. Much of the ambidextrous Fauré's piano music is difficult to play, but it is rarely virtuoso in style. The composer disliked showy display, and the predominant characteristic of his piano music is a classical restraint and understatement.

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Benjamin Mountfort
Benjamin Mountfort was an English emigrant to New Zealand, where he became one of that country's most prominent 19th-century architects. He was instrumental in shaping the city of Christchurch. He was appointed the first official Provincial Architect of the developing province of Canterbury. Heavily influenced by the Anglo-Catholic philosophy behind early Victorian architecture he is credited with importing the Gothic revival style to New Zealand. His Gothic designs constructed in both wood and stone in the province are considered to be unique to New Zealand. Today he is considered the founding architect of the province of Canterbury.

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Earl Warren
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That there is a social problem presented by obscenity is attested by the expression of the legislatures of the forty-eight States, as well as the Congress. To recognize the existence of a problem, however, does not require that we sustain any and all measures adopted to meet that problem. The history of the application of laws designed to suppress the obscene demonstrates convincingly that the power of government can be invoked under them against great art or literature, scientific treatises, or works exciting social controversy. Mistakes of the past prove that there is a strong countervailing interest to be considered in the freedoms guaranteed by the First and Fourteenth Amendments.

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