Everyone can appreciation art, and evidence exists to substantiate this fact since tha dawn of time. To appreciate art is not to appraise whether or not we actually like an individual creation, nor is it to contemplate whether we would purchase it to adorn our home, this is a very modern appraisal. Furthermore we should not stand in judgement of it, as to whether it is good or bad. To appreciate art is simply to try and understand what the artist is attempting to communicate, for it is humanities oldest cultural record, used long before the written word was even conceived. The simple methodology discovered by our primitive forbearers for turning factuality into recorded memory, attained by reducing the living three dimensional into the static two dimensional. For thousands of years this was seen and accepted unconditionally as powerful magic. They were unaware that their artistic talents would be used hundreds of generations later to glean insights into their environment and existence; and that from these simple beginnings the earliest record of human social history would be established.
So when we look at art work, whether it be the architectural designs of historic buildings, the designs of romantic gardens and magnificent parklands, or the vast collections of fine art and sculptures within numerous esteemed galleries, remember it really is of no consequence whether you actually like them. What really matters is that you realize each was created by the artist either to impart the energies and opinions they held as an individual regarding their life upon this earth, or the complete opposite, in direct response to the fashionable demands imposed upon them by their patrons.
Now with the myth of art appreciation debunked, and all pretentiousness of superior knowledge defused, we can look upon the worlds great collections with the same critical and socially conscious eye as one does graffiti and the media intrusion of adverts that invade our daily lives like an infectious rash. The initial question to ask oneself is, "What is the message encoded within the artwork? What is this picture trying to communicate to me? More often than not these answers are deep, but occasionally they are the exact opposite, so shallow and simple that they almost defy intellectual interpretation. Either way the best place to start is with one's own gut feeling; say to yourself "what emotions does this artwork arouse within me?" This is the starting point of all art appreciation; to identify the initial primary intent of the artist and to reveal the desired response he or she hoped to generate from their viewer. In historic times this directive would not have been the artist's to choose, but taken from the instruction of their patron. And who were their patrons? Well they were the opulent rich of merchant society and the not so rich nobility. This elite sector of the population frequently employed art to manipulate their personal or family social standing within the community, just like a spin doctor does. During the Renaissance period a wealthy man, through gifts, could easily ingratiate his family within the eyes of the Catholic church, thus improving their social status. Although this was a recognized time of progress, driven by the intellect of humanity motivated to achieve greater heights, it was also rife with corruption, and unfortunately evidence shows religion to be the main culprit.
We tend to forget the power and impact art would have engendered within simple communities where few could read, to them the content of a biblical scene was their only way to learn the story. This meant that art was potentially a powerful tool, to be held in firm check by socially imposed restrictions thus ensuring the correct message be portrayed. Rich patrons who sought to elevate, vindicate and ingratiate themselves often requested biblical scenes to be painted with the recognizable faces of their family members amongst the disciples and Jesus, in the hope of portraying a message of goodness, demonstrating them their contriteness and thus worthiness of life everlasting'.
Throughout history any artist wishing to remain employed has known better than to paint the unadulterated truth, allowing commonsense to inform that flattery of one's patrons, by omitting the unnecessary and unsightly is sound survival advice. Double chins were omitted, fat necks slimmed and lengthened, scant and receding hair made plentiful and fashionable, the scrawny thigh made strong, shoulders broadened and the waist more slender and shapely. Their handiwork conveyed the likenesses of these esteemed individuals to their perspective marital partners across the sea. Often a fiance would never get to actually met their betrothed until the marriage arrangements between families had been finalized, a few days before the ceremony. In many cases these images were painted as tiny miniatures so that they could be secreted on a person within a pocket especially when travelling, just as nowadays we would carry a loved one's photo.
Now that the need for a wealthy patron has ceased artists have unlimited freedom; for their inspiration they study the desired potential audience and contrive the imagery required to trigger a predictable social and cultural responses within the viewer's mind; whether the emotions engendered are positive or negative. It is this foot in the door' technique that advertisers employ as the primary tool of modern media marketing. For a simple example let us contemplate the initial audience cognitive response of, "Gosh that's big?" When one looks at the modern sculpture called the Angel of the North', what is one's first gut response? I bet a public poll, regardless of age, gender, or race would reveal unanimously the initial response to be, "Wow that's big!" It is indeed an imposing statement upon the landscape, standing 20 meters high, with a phenomenal wing span of 54 meters! Then there would be the following response, "How does it manage to balance!" And with this second response we acknowledge that many artistic creations require engineering abilities as well as artistic talent. This is not so apparent nowadays, as many artists conceive an idea and then seek the aid of specialist engineers and craftsmen to help them create their masterpiece. However back in the Renaissance era the artist was the sole creator of his work; he was engineer, inventor, mason and sculptor, painter and sales director. This vast area of wisdom is no longer necessary however it is always helpful for us to remember to consciously set aside conventional perimeters and accept that art comes in many forms.
This present day response "Gosh it's big" is surely the same as those engendered by Cleopatra's Needle when it came to London in 1819. It was presented as a gift to commemorate Victory, one of a trio of red granite obelisks each 21 meters high, weighing 180 tons, that date back two thousand years, to 1450BC. Our one stands in London, the other two are sited in Paris and New York. And certainly big' would be the overwhelming response engendered by the statue of Christ the Redeemer', created back in 1931 to be the representation of both Christ' and Christ crucified', standing 38 meters high with outstretched hands, sited atop of 2,300 feet of Corcovado Mountain, overlooking Rio de Janeiro in Mexico. Certainly amidst the abject poverty and contrasting wealth this universal sentiment was unanimous even though many other levels of interpretation surely differ greatly.
Keeping these examples in mind a moment longer let us progress their evaluation further, accepting that it is universally agreed each visually imparted exceptional presence upon their surrounding locality. This is where it becomes more complex because now we must each employ our own deeper more personal level of interpretation. It is necessary to acknowledge each of us will be, albeit unintentionally, biased due to our cultural social and religious background; in short no Christian can look at the world through the eyes of a Muslim; no man through the eyes of a woman; no free person through the eyes of the victim of oppression. This is a fact that must be accepted with good grace, just as one individual cannot truly explain or describe pain or love to another. Each of us is inspired through differing physical sensory perceptions like colour, shape, size, content and preference to medium, through touch. We each also have differing psychological perceptions stimulated by our spirituality, emotions and mental ability. Therefore a piece of artwork should be savored like a good meal, taking time to gather the total overall flavour of all the ingredients, then savour it awhile, quietly resting with a glass of port. Reflection can help glean the ethos behind the creation. For me the Angle of the North, Cleopatra's Needles, and Christ the Redeemer all share the same unanimous message, the wish to impart an ethos of a great and good nation. One that sees itself as strong, upstanding, unyielding in the face of adversity, and this the artist portrayed through the simplistic beauty of line. The strong vertical demonstrating order and inner strength, reaching upwards into the heavens embracing the divine; therein lies the implication that the nation both seeks and enjoys divine favour.
This connection of art with religion has always existed, for most artists throughout history have required wealthy patronage to survive. This is because art is one of life's luxury commodities, not required but desired; hence earning a living has always been difficult. Little has changed even nowadays for only the really wealthy have money to spare to invest in established art, this should in no way hinder art appreciation for the experience is equally available to all. However it is good to bear in mind the divide between the rich and poor for no more than a century ago, without the social conscience of a welfare state, poverty was a matter of life and death. Many talented artists would have starved had they not painted subjects they disliked, in techniques they detested and styles that were not their own. They compromised their talent because they needed an income, therefore they had no choice, either they humoured their patrons by giving them what they wanted or another equally destitute artist would surely have obliged instead.
So when first visiting a new country whilst being chaperoned in the tour coach on customary site-seeing excursions to art galleries and museums, silently study the city's personality, its architecture, the embellishment and artistic adornment lavished upon it, and the present state of repair. These observations will tell you a lot about the historical, social and political attributes, for many countries now quiet impoverished were once great powers, and vice versa.
Attending any of the major art galleries is a chance to see many fine works of art spanning many centuries, by a variety of different artists, in a relatively short time. However it is up to you to pre- plan the sortie. If you are happy to see as much art as possible then you will be content to be ushered around by a wise but invariably boring curator who will expounds a lifetime's knowledge in endless monotone. However the tediousness can be pre-empted by opting out of the set tour. Purchase a catalogue to facilitate the most economical use of your allotted time, it will provide detailed informed exhibit location to eliminate aimless wandering, and though you will view far less of the gallery's vast collection you will have actually appreciated far more.
If you have a preferred artist then sit in the tranquility of their exhibition and feast your eyes upon the beauty, however if you are just browsing, then like a child in a candy shop follow your eyes, for they will lead to interesting and intriguing art work that call to you. This is where the learning exercise begins; challenge yourself to decipher the encoded message within. What is the artist saying? Like a treasure hunt piece together the artist's life and their work's historical context, then the political and religious influences, and finally be prepared to use a lot of imagination. Often a solitary picture imparts little, yet when placed amongst other artwork by the same artist its meaning becomes clearer. Sometimes a couple of interesting paintings will inspire the purchase of a book concerning an individual artist; this in depth study of a single artist can work both ways, either providing the missing pieces and enthralling you'; or it will disillusion you so that you no are no longer impressed and ready to move on in your personal search for perfection.