why do we study art essay

Talking Point

Why study art?

Find out why art education is important from artists, young people and major cultural figures

Art in schools shouldn’t be sidelined… it should be right there right up in the front because I think art teaches you to deal with the world around you. It is the oxygen that makes all the other subjects breathe Alan Parker, filmmaker

Arts education is in crisis. In the UK, school time and budgets are under pressure and school inspections increasingly value ‘core’ subjects as the indicators of school level and success. Subjects including art, music and drama are often sidelined in the curriculum. This has led to a steady decline in the number of students choosing to study arts subjects at school.

In 2018 a landmark research project commissioned by Arts Council England, and undertaken by the University of Nottingham, called Tracking Learning and Engagement in the Arts (TALE) outlined the overwhelmingly positive benefits of arts and cultural education for young people. The research drew from the experience and voices of thousands of young people and their teachers in secondary and special schools.

We have pulled together some of these voices and findings from TALE and other research, as well as helpful resources on studying art.

Whether you’re choosing art as a GCSE; would like to study art or design at university; or are a parent or teacher interested in arts education: explore, join in and have your say!

Why is it important to study art?

School in general is so stressful… this is the one lesson I look forward to every week because I know it’s not going to majorly stress me out. Student, Three Rivers Academy, Surrey

[School is] all very robotic. It’s all very, it needs to be this, this and this. You can’t do this because it is wrong. It’s all following a strict script. That’s not what we’re made to do. We’re made to be our own person, we’re made to go off and do something that someone else hasn’t done before. Student, Ark Helenswood, Hastings

Creativity is critical thinking and without it how are you going to open up and ask harder questions? Art opens up those… possibilities to think beyond what we already know. Catherine Opie, artist

Learning through and about the arts enriches the experience of studying while at school as well as preparing students for life after school.

• Arts subjects encourage self-expression and creativity and can build confidence as well as a sense of individual identity.
• Creativity can also help with wellbeing and improving health and happiness – many students in the TALE study commented that arts lessons acted as an outlet for releasing the pressures of studying as well as those of everyday life.
• Studying arts subjects also help to develop critical thinking and the ability to interpret the world around us.

What are art lessons like? What do you learn?

You feel free because it’s just you sitting down, doing your work. No one is there to tell you what to do. It is just you, sitting there and expressing yourself, and sometimes we listen to music, which is helpful because you get new ideas. Student, Archbishop Tenison School, south London

Art is a non pre-prescribed dangerous world full of possibilities. Cate Blanchett, actor

The art room is a very different space to other spaces in the school. On her visit to Archbishop Tenison School in London TALE researcher Lexi Earl describes the bustle of the art classroom:

‘There are piles of sketchbooks, jars with pencils, paintbrushes, sinks splattered with paint. There are large art books for students to reference. Often there is a kiln, sometimes a dark room too. There are trays for drying work on, or work is pegged up over the sink, like clothing on a washing line.’

• The art room is a space where students have the freedom to express their ideas and thoughts and work creatively.
• The way art is taught means that interaction with other students and with the teacher is different in art and design classes. Students comment on the bonds they form with classmates because of their shared interests and ideas. The art teacher is someone they can bounce ideas off rather than telling them what to do.
• Studying art and design provides the opportunity to acquire new skills. As well as knowledge of different art forms, media and techniques you can also gain specialist skills in areas such as photography and digital technologies.

Have your say!

Do you think art is important? Do you think the arts should be an essential part of education? How do you think studying art is useful for the future?

Why Study Art? 2018 is an artwork by collective practice They Are Here commissioned by the Schools and Teachers team at Tate. The inspiration for the artwork was prompted by Mo, a 14 year old workshop participant who told the artists that ‘art is dead’.

All responses are welcome whether you’ve studied art or not! (You will be re-directed to the Why Study Art? artwork site).

Tate champions art in schools

ASSEMBLY at Tate Modern © Tate

Every year Tate Modern hosts ASSEMBLY, a special event for around 1500 London school students and their teachers. The students are invited to occupy, explore and take part in activities in Tate’s Blavatnik building and Turbine hall – which are closed to all other visitors.

This annual event, first staged in 2016 which invited schools from all over the UK, reflects Tate’s mission to champion the arts as part of every child’s education. The project aims to highlight not only the importance of visual culture in young people's lives, but the importance of those young people as future producers of culture.

Research at Tate

Tracking Arts Learning and Engagement (TALE) was a collaborative research project involving Tate, The Royal Shakespeare Company (RSC) and the University of Nottingham. The research focused on thirty secondary schools spread across England and included three special schools.

Over three-years (2015 – 2018) the research investigated four main questions:

• What do teachers learn from deep engagement with cultural organisations?
• How do teachers translate this learning into the classroom?
• What do pupils gain from these learning experiences?
• What do the two different models of teacher professional development at Tate and RSC offer and achieve?

See the findings of the project and explore fascinating insights through the project blogs that feature the voices of students and teachers interviewed during the research.

I don’t want to be an artist – why bother studying art?

It doesn’t matter if you’re going to study history or geography or science, you still need to be creative because the people who are the outliers in those fields are the most creative people. To have art eroded in schools is disastrous… Cornelia Parker, artist

Those skills go with you for the rest of your life as well. If you go for an interview, if they can see that you’re confident it is better for them because they know that they can ask questions that need to be asked. Student, Ark Helenwood, Hastings

Art may not be your favourite subject, but studying the arts alongside other subjects significantly boosts student achievement. Schools that integrate arts into their curriculum show improved student performance in Maths, English, critical thinking and verbal skills.

Arts education can also help with developing skills and ways of working that will benefit you in the future in whatever career you choose.

• The leading people in any field are those who can think creatively and innovatively. These are skills that employers value alongside qualifications. Making and participating in the arts aids the development of these skills
• When you study art you learn to work both independently and collaboratively, you also gain experience in time management – skillsets valued by employers
• Studying the arts teaches determination and resilience – qualities useful to any career. It teaches us that it is okay to fail, to not get things totally right the first time and to have the courage to start again. As a drama student at King Ethelbert’s School, Kent commented: ‘Like with every yes, there is like 10 nos… It has taught me that if I work on it, I will get there eventually. It is determination and commitment. It has definitely helped’

Is art good for society and communities generally?

You don’t have innovation if you don’t have arts. It’s as simple as that Anne-Marie Imafidon, CEO of Stemettes which encourages girls to pursue careers in science and technology

It was really when I was at art school that I started to see the relationship between history, philosophy, politics and art. Prior to that I thought that art was just making pretty pictures – actually art is connected to life. Yinka Shonibare, artist

Art and cultural production is at the centre of what makes a society what it is Wolfgang Tillmans, artist

Arts and cultural learning is more important than ever for the health of our communities and our society

Creativity is essential in a global economy that needs a workforce that is knowledgeable, imaginative and innovative. Studying arts subjects also increases social mobility – encouraging and motivating students from low-income families to go into higher education. Studying the arts can also help with understanding, interpreting and negotiating the complexities and diversity of society

• Students from low-income families who take part in arts activities at school are three times more likely to take a degree
• By making art a part of the national curriculum, we give the next generation of artists, designers, engineers, creators and cultural leaders the opportunity to develop the imagination and skills that are vital to our future
• Engagement with the arts helps young people develop a sense of their own identity and value. This in turn develops personal responsibility within their school and wider community
• Arts and cultural learning encourages awareness, empathy and appreciation of difference and diversity and the views of others

Tate Collective

Tate Collective is for young people aged 15 to 25 years old. Its aim is to facilitate new young audiences in creating, experimenting and engaging in our galleries and online with Tate's collection and exhibitions.

In 2018 Tate launched £5 exhibition tickets for Tate Collective members. If you are 16 to 25 sign-up free to Tate Collective. You don’t have to live in the UK – young people anywhere in the world can join! Enjoy the benefits of exhibition entry for £5 (you can also bring up to three friends to shows, each for £5); as well as discounts in Tate’s cafes and shops.

I love art – but can it be a career?

Studying art and design at school opens the door to a range of careers in the creative industries. The creative industries, which include art, design and music, are an important part of the British economy – one of the areas of the economy that is still growing.

Art lessons at school include teaching functional and useful skills that prepare students for future careers in the arts. Art departments also forge links with arts organisations and creative practitioners, companies and agencies. They organise visits and workshops which provide inspiring opportunities to for students to see what it’s like to ‘do’ a particular job and hear how artists and designers got where they are. As a student at Uxbride High School commented:

When it is from someone who has actually been through it and does it now you get the push where you’re like ‘oh, so I could actually genuinely do that myself’, without having a teacher say it to you.

If you are interested in pursuing a career in art and design explore our art school and art career resources:

Working at Tate

Find out about working at Tate including how to apply, current jobs or vacancies and what we do

Art School Debate

Battling about where to study art or whether it's a good idea? Get a second opinion from those in the know...

Explore more

Student resources.

From GCSE and A level exam help and advice on applying for art school, to fun resources you can use when you visit our galleries.

Play, make and explore on Tate Kids

Why Study Art from the Past?

Attributed to the Maestro delle Storie del Pane (Italian [Emilian], active late 15th century). Portrait of a Man, possibly Matteo di Sebastiano di Bernardino Gozzadini (left) and Portrait of a Woman, possibly Ginevra d'Antonio Lupari Gozzadini (right), ca. 1485–95. The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.95, 96)

«Art from the past holds clues to life in the past. By looking at a work of art's symbolism, colors, and materials, we can learn about the culture that produced it.» For example, the two portraits above are full of symbolism referring to virtues of an ideal marriage during the fifteenth century. The young woman's portrait contains symbols of chastity (the unicorn) and fertility (the rabbits), virtues that were important for a Renaissance woman to possess. After decoding the symbolism in these portraits, we can learn what was important to these people and how they wanted to be remembered.

We also can compare artwork, which provides different perspectives, and gives us a well-rounded way of looking at events, situations, and people. By analyzing artworks from the past and looking at their details, we can rewind time and experience what a time period different from our own was like.

Looking at art from the past contributes to who we are as people. By looking at what has been done before, we gather knowledge and inspiration that contribute to how we speak, feel, and view the world around us.

Related Links Heilbrunn Timeline of Art History : Portrait of a Man, possibly Matteo di Sebastiano di Bernardino Gozzadini ; and Portrait of a Woman, possibly Ginevra d'Antonio Lupari Gozzadini

Heilbrunn Timeline of Art History : " Paintings of Love and Marriage in the Italian Renaissance "

What do you think we can learn from looking at works of art from the past?

We welcome your responses to this question below.

Kristen undefined

Kristen is a member of the Museum's Teen Advisory Group.

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Project Zero senior researcher Ellen Winner’s latest book, “How Art Works: A Psychological Exploration,” is based on years of research at Harvard and Boston College.

Jon Chase/Harvard Staff Photographer

The aesthetic attitude to art

Colleen Walsh

Harvard Staff Writer

Harvard researcher’s latest book explores how and why we react to it

Ellen Winner ’69, Ph.D. ’78, BI ’99 concentrated in English at Radcliffe, but she’d always planned to be an artist. She attended the School of the Museum of Fine Arts after college to study painting but soon realized “it was not the life I wanted.” Instead, Winner turned her focus to psychology, earning her doctorate at Harvard.

A summer job listing at the University’s career office led her to the Harvard Graduate School of Education’s Project Zero, where she interviewed with her future husband, Howard Gardner — currently the John H. and Elisabeth A. Hobbs Professor of Cognition and the senior director of the project — and took a two-year position researching the psychology of art. For her doctoral degree at the Graduate School of Arts and Sciences, Winner studied developmental psychology. She is currently a senior research associate at Project Zero and a professor of psychology at Boston College, where she founded and directs the Arts and Mind Lab , which focuses on cognition in the arts in typical and gifted children as well as adults. Her latest book, “How Art Works: A Psychological Exploration,” is based on years of research at both Harvard and BC, and looks at art through psychological and philosophical lenses. The Gazette spoke with her recently about her findings.

Ellen Winner

GAZETTE:   Why do we need art?

WINNER:  It’s interesting to note that the arts have been with us since the earliest humans — long before the sciences — and no one has ever discovered a culture without one or more forms of art. Evolutionary psychologists have postulated various ways in which natural selection could explain why we have art. For example, fiction allows us to safely practice interpersonal relationships and those with strong interpersonal skills are more likely to mate and spread their genes. Sexual selection could also be at work: Artists might attract mates because artistic talent might signal high reproductive fitness. There is no way of testing such claims, though. My best guess is that art itself is not a direct product of natural selection, but is a byproduct of our bigger brains — which themselves evolved for survival reasons. Art is just something we cannot help but do. While we may not need art to survive, our lives would be entirely different without it. The arts are a way of making sense of and understanding ourselves and others, a form of meaning-making just as important as are the sciences.

GAZETTE:  In your book you suggest that people have stronger emotional reactions to music than to the visual arts. Why?

WINNER:   Of course, we do respond emotionally to both music and visual art, but people report stronger emotional responses to music. I have asked my students to look at a painting for one uninterrupted hour and write down everything they are seeing and thinking (inspired by Jennifer Roberts, art historian at Harvard, who asked her students to do this for three hours). The students wrote about all of the things they started to notice, but strikingly absent was any mention of emotions. They reported being mesmerized by the experience but no one talked about being close to tears, something people often report with music.

There seem to be several reasons for music eliciting stronger emotional reactions than the visual arts. The experience of music unrolls over time, and often quite a long time. A work of visual art can be perceived at a glance and people typically spend very little time with each work of art they encounter in a museum. We can turn away from a painting, but we can’t turn away from music, and so a painting doesn’t envelop us in the same way music does. In addition, music, but not visual art, makes us feel like moving, and moving to music intensifies the emotional reaction. One of the most powerful explanations for the emotional power of music has to do with the fact that the same properties that universally convey emotion in the voice (tempo, volume, regularity, etc.) also convey emotion in music. Thus, for example, a slow tempo in speech and music is typically perceived as sad, a loud and uneven tempo as agitated, etc. The visual arts do not have such a connection to emotion. Movies may be the most powerful art form in eliciting emotion since they unfold over time, tell a story, and of course include music.

GAZETTE: Can you talk more about your studies involving a person’s ability to distinguish between artwork by an abstract master and a painting done by a monkey with a paintbrush and palette?

WINNER:  We were interested in the often-heard claim about abstract art that, “My kid could have done that.” We wanted to find out whether people really cannot tell the difference between preschool art and the works of great abstract expressionists like Hans Hofmann or Willem de Kooning. We also threw animal art into the mix: Chimps and monkeys and elephants have been given paint brushes laden with paint, and they often make charming, childlike markings — with the experimenter taking the paper away when the experimenter deems it “finished.” My former doctoral student Angelina Hawley-Dolan created 30 pairs of paintings in which she matched works by abstract expressionists with works by children and animals — matched so that the members of each pair were superficially similar in color and composition and kinds of brush strokes. In a series of studies, we showed people these pairs and asked them to decide which work was better, which they liked more, and which was done by an artist rather than a child or animal. Sometimes we unpaired the works and asked people the same questions when they were presented one at a time.

“When you hear someone say, ‘My kid could have done that,’ you can say, ‘Not so!’”

We found in each study that people unschooled in abstract expressionism selected the artists’ works as better and more liked, identified them as by artists rather than animals and children, and did this at a rate significantly above chance. Even when we tried to trick people (mislabeling the child work as by an artist and the artist work as by a child or animal), people recognized the actual artist’s work as the better work of art, uninfluenced by the false label. In addition, working with a computer scientist, we showed that a deep learning algorithm was able to learn to differentiate works by artists versus by children and animals, and succeeded at the same rate of correctness as did humans. And so, when you hear someone say, “My kid could have done that,” you can say, “Not so!”

GAZETTE: What do you think was going on?

WINNER:  To get at this we asked another group of people to look at each of the 60 paintings, 30 by the preschoolers and animals and 30 by the great artists, one at a time and randomly ordered. We asked them to rate each work in terms of how intentional it looked, and how much visual structure they saw. The works by the artists were on average rated as more intentional and higher in visual structure. When we asked people why they thought the artists’ paintings were better works of art, they gave us mentalistic answers, saying things like, “It looks more planned” or, “It looks more thought-out.” So, it appears that we make a clear discrimination: We perceive artists’ abstract paintings as highly planned, and those by children and animals as unplanned and somewhat random. Tellingly, we found that some paintings by artists were incorrectly identified as by children or animals, and these turned out to be the ones that had been rated as low in intentionality and structure. Our conclusion is that people see more in abstract art than they think they see. They can see the mind behind the work.

GAZETTE: You mention that art that evokes negative emotions can also be positive thing. Can you explain?

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WINNER:  We gravitate toward art that depicts tragic or horrifying events (think of paintings by Hieronymus Bosch or Lucian Freud, whose portraits are often distorted and somewhat grotesque); we flock to sad or suspenseful or horrifying movies or plays or novels; we listen to music that conveys grief. Given how we strive to avoid feelings of sorrow and terror and horror in our personal lives, this presents us with a paradox — one that interested philosophers such as Aristotle, Immanuel Kant, and David Hume. This puzzle is resolved by studies showing that when we view something as art, any negative feelings about the content are matched by positive ones. For instance, one study demonstrated that presenting photographs of disgusting things like rotting food either as art photography or illustrations to teach people about hygiene led to different reactions: Those who viewed the images as art reported positive feelings along with the negative ones; those who viewed them as hygiene illustrations reported only negative feelings. Other studies have shown that people report being highly moved by art with negative content, and the experience of feeling moved combines negative affect with an equal level of positive affect. In short, we can allow ourselves to be moved by tragedy and horror in art because it is not about us; we have entered a fictional world of virtual reality. And the experience of being moved by such works is not only pleasurable, but can also be highly meaningful as we reflect on the nature of our feelings.

GAZETTE:  You also explore how theater can inspire empathy.

WINNER:   We often hear that the arts are good for our children because they make them more empathetic. But this is the kind of claim that ought to be closely examined. Is there truth to this claim, and if so does it apply to all the arts? My former doctoral student Thalia Goldstein, now an assistant professor at George Mason University, reasoned that it is in acting that empathy is most likely to be nurtured. She directed a longitudinal study of children and adolescents involved in acting classes over the course of a year, comparing them to students taking visual arts classes. At the end of the year, the acting students in both age groups had gained more than the visual arts students on a self-report empathy scale, and the adolescent acting students had also grown stronger in perspective-taking. These results have the plausible explanation that acting entails stepping into different characters’ shoes over and over, practicing seeing the world from another’s eyes.

There is still a lot we don’t know about the arts and empathy. Does reading fiction or watching a drama on stage have the same effect as enacting fictional characters? And if so, can any of these experiences change people’s behaviors (in the direction of greater compassion), or do they just change people’s ability to identify and mirror what others are feeling? The answer is not obvious. William James asked us to consider a person at the theater weeping over the fate of a fictional character onstage while unconcerned about her freezing coachman waiting outside in the snow. It is possible that when we expend our empathy on fictional characters, we feel we have paid our empathy dues. This fascinating problem cries out for further research, which I hope to be able to do.

GAZETTE: After all of your research, have you landed on any concise definition of what art is?

WINNER:  Since philosophers have been unable to agree on a definition of art that involves necessary and sufficient features, I certainly do not think that I will come up with one! Art will never be defined in a way that will distinguish all things we do and do not call art. Art is a mind-dependent concept: There is no litmus test to decide whether something is or is not art (as opposed to whether some liquid is or is not water). Our minds group together the things we call art despite the fact that no two instances of “art” need share any features. And artists are continually challenging our concept of what counts as art, making the concept impossible ever to close.

But philosophers such as Nelson Goodman, who was the founder of Project Zero at the Harvard Graduate School of Education — a group that had a deep influence on my thinking — had something profound to say about this. Don’t ask, “What is art?”; rather, ask, “When is art?” Anything can be treated as art or not. And when we treat something as art, we attend to it in a special way — for example, noting its surface formal features and its nonliteral expressive features as part of the many meanings of the work. So maybe we can’t define art, but we can specify what it means to adopt an aesthetic attitude. And while elephants and chimps may make “art,” and while birds may make “music,” I am confident that humans are the only creatures who step back from something they are making to decide how it looks or sounds and how it should be altered — in short, to adopt that aesthetic attitude.

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Why Study Art History? Awesome Ways It Can Impact Your Life

Art history is all about knowing where we come from and where we’ve been, from the perspective of works of art. Art history is also about knowing how art has changed over time. Both of which are more relevant than you think. Why study art history? Let’s count the many reasons.

Art Vs. Artifact: What Is Art History?

It’s an excellent question — what makes something art , and what makes something an artifact? Furthermore, what separates an artist from an artisan? The answers may lie in the study of art history.

Some say art is made of creativity, originality, or imagination. Art historians say that art is visually striking, and blends beauty and culture.

Studying art is to look at a piece of art and see the artist’s use of lines, shape, composition, tecture, and approach, and to make inferences about their intentions and meaning.

Art history is looking at those same aspects, throughout periods of history, to learn more about a certain time period or peoples.

Photo by  Aaron J  on  Unsplash

Why study art history.

So, why study art history, you ask? So many reasons!

1. Every Picture Has A Story

Learning about art history can be fun, and the most fun part about it is uncovering the story behind the art piece. Looking at a picture, performance, or physical object, you get to be a detective searching for meaning behind what you see in front of you. You get to find the story behind the picture.

2. There’s More To Art History Than You Think

Many people think of art history as just memorizing old paintings from the 15th century. That is not the case! Art is much more than just paintings. In art history, you study all types of art — from film, to media, landscaping, ceramics, arms and armour, furniture, fashion and jewelry, photography, performances, and more.

Photo by  Tim Gouw  on  Unsplash

3. art history strengthens your skills.

There is so much more to art history than just memorizing names, dates, and images. Studying art history makes you become a master of visual analysis, written communication, and critical thinking. There is plenty of writing in art history as well, and you may become an expert writer and communicator if you study art history.

4. We Live In A Visual World

In today’s world, everything is visual — just think of how much of your day is spent looking at a computer, tablet, television, or phone screen. We are processing images, both moving and still, all day long. Everyone is shifting from verbal thinking to visual thinking, and art history is one of the best ways to prepare for this, and succeed in this new visual world.

5. Art History Is Your History

True, we are all part of the human race, so any piece of art created by humans is technically our history. But beyond that, make art history your own by studying more about the art history that came specifically from your culture or your ancestors. You’ll gain a deeper understanding of your past and your present self if you can connect to art works of your people’s past.

6. Making Sense Of The Past

Studying art history helps us to make sense of the past. Art shows us what was important and valuable over time from depictions within the art itself. Equally important, we learn what aspects of life were significant for certain cultures over time.

For example, we can find great European paintings from certain periods of time, beautiful African masks from other cultures and times, and econic gold jewelry from Central and South America. Each has their own explanation of the time period they were made in.

Photo by  Monika Braskon  on  Unsplash

What does it mean to study art history.

Well, it certainly doesn’t mean spending time in old museums or with hundreds of flashcards, as you may have thought. Getting a degree in art history usually means you also have a choice of specialization in areas such as performing arts, literature or music. You will study all things art, and how art changes over history. To study art history, you also need to have a background in philosophy, language arts, and other social sciences.

What Are The Benefits Of Studying Art History?

Incorporating so many fields such as history, economics, anthropology, political science, design, and aesthetics means that you reap many benefits of studying this discipline. By studying art history, you learn to draw conclusions, make inferences, argue a point, and increase your skills such as critical thinking , visual comprehension, and written communication.

What Can We Learn From Works Of The Past?

Art gives us clues to what life was like in the past. Just by identifying an art piece’s colors, materials, and symbolism, we can learn about the culture and time period that created it. We can learn what was important to those people, and how they wanted these importances to be remembered.

Looking at art from the past by studying art history can contribute to who we are as a people today. We can look at what has been done before us, and are able to view the world today with more complete perspectives and better understanding.

The Bottom Line

Why study art history? Art history tells a story, and studying art means you get to uncover the past. Not only can art history be fun and rewarding, but you’ll improve your critical thinking skills, and learn so much along the way.

Related Articles

Ever wondered…why study art of the past?

Special thanks Rachel Bower, Nicole Gherry, Livia Alexander, Derek Burdette, Rachel Miller, Kim Richter, and Rachel Barron-Duncan whose voices and insights are featured here.

This video was made possible thanks to the Macaulay Family Foundation

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DEPARTMENT OF ART HISTORY

Why study art history.

Art history provides an excellent opportunity to develop the essential skills and talents that lie at the core of a good liberal arts education, including informed and critical reading, writing, and speaking. To these, it adds a particular attention to critical looking, building core skills in analyzing how the visual and physical qualities of buildings, images and objects can be used to communicate. In art history, we study the art and architecture of cultures around the world and across the millennia. We take a variety of approaches to our objects, but focus on understanding their aesthetic and historical significance as well as their social relevance. We ask how people make meaning in visual terms and, in turn, how we read and understand a world that is largely presented to us as visual information. Since Chicago is fortunate enough to boast a large number of world-famous museum collections and some of the world’s most extraordinary architecture, many of our classes emphasize on-site study and field trips.

With its broad historical, cultural, geographic, and methodological range, art history satisfies the expectations of burgeoning specialists while it also offers an excellent formation for those who intend to specialize in other areas. While many of our majors go on to careers in museums, galleries, arts reporting or academe, many others have successfully brought the skills honed in art history classrooms to the worlds of business, law, medicine and international relations.

Why Should I Study Art History?

• Art History
• Architecture

Each semester students find themselves enrolled in Art History classes for the first time. Ideally, they enrolled because they wanted to study the history of art and are enthusiastic about the prospect. This isn't always the case, however. Students may take Art History because it is required, or it seems like a good choice for AP credit in high school, or even because it is the only elective that fits into that semester's class schedule. When one of the latter three scenarios apply and a student realizes that Art History is not going to be an easy "A," questions invariably arise: why did I take this class? What's in it for me? Why should I study art history?

Why? Here are five compelling reasons to cheer you.

Because Every Picture Tells a Story

The single most fun reason to study Art History is the story it tells, and that doesn't just apply to pictures (that was merely a catchy headline for folks who were Rod Stewart fans back in the day).

You see, every artist operates under a unique set of circumstances and all of them affect his or her work. Pre-literate cultures had to appease their gods, ensure fertility and frighten their enemies through art. Italian Renaissance artists had to please either the Catholic Church, rich patrons, or both. Korean artists had compelling nationalistic reasons to distinguish their art from Chinese art. Modern artists strove to find new ways of seeing even while catastrophic wars and economic depression swirled around them. Contemporary artists are every bit as creative, and also have contemporary rents to pay—they need to balance creativity with sales.

No matter which piece of art or architecture you see, there were personal, political, sociological, and religious factors behind its creation. Untangling them and seeing how they connect to other pieces of art is huge, delicious fun.

Because There Is More to Art History than You May Think

This may come as news, but art history is not just about drawing, painting, and sculpture. You will also run across calligraphy, architecture , photography, film, mass media, performance art , installations, animation, video art, landscape design, and decorative arts like arms and armor, furniture, ceramics, woodworking, goldsmithing, and much more. If someone created something worth seeing—even a particularly fine black velvet Elvis—art history will offer it to you.

Because Art History Hones Your Skills

As was mentioned in the introductory paragraph, art history is not an easy "A." There is more to it than memorizing names, dates, and titles.

An art history class also requires you analyze, think critically, and write well. Yes, the five paragraph essay will rear its head with alarming frequency. Grammar and spelling will become your best friends, and you cannot escape citing sources .

Don't despair. These are all excellent skills to have, no matter where you want to go in life. Suppose you decide to become an engineer, scientist, or physician—analysis and critical thinking define these careers. And if you want to be a lawyer, get used to writing now. See? Excellent skills.

Because Our World Is Becoming More and More Visual

Think, really think about the amount of visual stimulation with which we are bombarded on a daily basis. You are reading this on your computer monitor, smartphone, iPad or tablet. Realistically, you may own all of these. In your spare time, you might watch television or videos on the internet, or play graphic-intensive video games. We ask our brains to process immense amounts of images from the time we wake until we fall asleep—and even then, some of us are vivid dreamers.

As a species, we are shifting from predominantly verbal thinking to visual thinking. Learning is becoming more visually- and less text-oriented; this requires us to respond not just with analysis or rote memorization, but also with emotional insight.

Art History offers you the tools you need to respond to this cavalcade of imagery. Think of it as a type of language, one that allows the user to successfully navigate new territory. Either way, you benefit.

Because Art History Is YOUR History

Each of us springs from a genetic soup seasoned by innumerable generations of cooks. It is the most human thing imaginable to want to know about our ancestors, the people who made us us . What did they look like? How did they dress? Where did they gather, work, and live? Which gods did they worship, enemies did they fight, and rituals did they observe?

Now consider this: photography has been around less than 200 years, film is even more recent, and digital images are relative newcomers. If we want to see any person that existed prior to these technologies we must rely on an artist. This isn't a problem if you come from a royal family where portraits of every King Tom, Dick, and Harry are hanging on the palace walls, but the other seven-or-so billion of us have to do a little art-historic digging.

The good news is that digging through art history is a fascinating pastime so, please, grab your mental shovel and commence. You will discover visual evidence of who and where you came from—and gain some insight on that genetic soup recipe. Tasty stuff!

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• Art History 101: A Brisk Walk Through the Art Eras
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• Art History: Difference Between Era, Period, and Movement
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Department of Art History

Why Study Art History?

Art history teaches students to analyze the visual, sensual evidence to be found in diverse works of art, architecture, and design in combination with textual evidence. By honing skills of close looking, description, and the judicious use of historical sources, art history offers tools and vocabulary for interpreting the wealth of visual culture that surrounds us, as well as building a historically grounded understanding of artistic production in varied social and cultural contexts.

The major and minor in art history, as well as the minor in architectural studies, introduce students to a diversity of cultures and approaches that reflect the correspondingly global and interdisciplinary commitments of the department. Courses frequently draw upon the rich collections of the Smart Museum, the Art Institute of Chicago, the Field Museum, and other cultural institutions across the city as well as the city’s built environment in order to enhance traditional classroom experiences with the distinctive kind of object-driven learning that art history has to offer.

The unique combination of skills that art history teaches—visual analysis and its written communication—are valuable to any future career. University of Chicago art history students have gone on to work in academia, museums, art galleries, and auction houses, as well as to careers in architecture, preservation, finance, consulting, advertising, law, and medicine.

Department of History of Art

Art both reflects and helps to create a culture’s vision of itself. Studying the art of the past teaches us how people have seen themselves and their world, and how they want to show this to others.

Why study history of art?

Art history provides a means by which we can understand our human past and its relationship to our present, because the act of making art is one of humanity’s most ubiquitous activities.

As an art historian you will learn about this rich and fundamental strand of human culture. You will learn to talk and write about works of art from different periods and places, in the same way that other students learn to write about literature or history. 

But you will also learn skills unique to art historians. You will learn to make visual arguments and, above all, you will train your eyes and brain in the skills of critical looking. Don't take our word for it! Neuroscientists have shown that trained art historians see the world differently .

Scientists have tracked the movements of an art historian’s eyes: the results show how they scan, fixate and linger on particular points of the canvas reveals their skill and is entirely different to someone with an untrained eye.

Prospective Students

Why Study the Arts?

“By participating in the arts, our students develop cognitive abilities and forms of intelligence that complement training in other disciplines, and in some cases they discover talents and interests that will shape their careers and principal avocations.” – Shirley M. Tilghman (Princeton University President, 2001 – 2013)

The Princeton campus is always buzzing with creativity: plays, readings, a capella concerts in the archways, breakdancing and bhangra and everything in between. But art isn’t just for kicks—it’s a cornerstone of the academic life of the University. Art makes us human. It helps us to make sense of our own lives and identify with the lives of others. It is also increasingly recognized as a driver of the innovative thinking needed to solve our world’s most pressing problems. Learning and practicing art, and tapping into your creativity, can make you better at whatever you do. So in your four years at Princeton (which will race by), do yourself a favor: take a course in the Lewis Center for the Arts. You have a once-in-a-lifetime opportunity to explore and make art with some of the best working artists who will ever set foot in a classroom, as well as unparalleled resources to make your creative visions a reality.

Photo by Denise Applewhite

Photo by Frank Wojciechowski

Photo by Bentley Drezner

Photo by Kemy Lin

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10 Reasons to Study Art and the Great Artists

“Beauty is in the eye of the beholder.” So goes an old saying, for each person on this earth has his or her own interpretation of what is beautiful, what is good art, and what one likes. What you consider to be meaningful art, I may not, but as educators of our children, it is important to expose our children to formal art and the Great Artists. (Of course, our opinions may also vary as to who the Great Artists really are, but there are generally accepted famous and influential artists whose work and lives are worthy of study.) So why should we study art and the Great Artists?

10 Reasons to study art and Great Artists:

1. It fulfills a human need to enjoy God and beauty . God is the Creator and author of creativity and beauty. Is not God an artist? As we study his creation (a form of art we call science), we get to know more about God and thus glorify Him as Creator. Man has long desired to capture the beauty of creation in pictures too, and thus we as humans, who are made in God’s image, desire to imitate his creative skills. Not all of us are as skilled in producing art, so we can appreciate the art of others, who are mere imitators of God the Creator and Artist.

2. The more one understands something, the more one appreciates it . I first heard this idea in my 10 th grade humanities class where we studied art amongst other things. It was my first exposure to studying art, and I can’t say I was too impressed with Cezanne’s paintings of still life. (Note: Children who are exposed to art early also develop appreciation more easily than teenagers.) My father had some art of John Constable and Monet on the walls in our home, but I hadn’t studied these artists or what they might have been trying to express before. With exposure to the artists’ stories and intentions, I began to enjoy or at least appreciate the art and what went into a painting. As a musician, I have also found that the pieces I spent hours practicing and performing are the ones I have the greatest appreciation and love for.

3. Art tells a story and is a means of communication . We are drawn to stories. We become curious about the subjects of paintings or why there is a giant sculpture of parts of farm equipment in the park. This leads to the next two reasons.

4. We learn history and culture . Through art study, we connect with others across centuries and cultures, especially when we pair art study with history. For example, pre-Renaissance European art is mostly church art – flat expressionless icons – because after the fall of Rome when the barbarian hordes destroyed most of the art of Rome, the Catholic Church was the main power and influence in the Middle Ages and so “controlled” art. Later, during the Renaissance, people developed humanistic ideas and became interested in studying and drawing the human body so that nudity is a regular part of art of this period.  The historical context helps one to understand the subjects and whys of the art works of the time. Also, while I am not a lover of Picasso, when I understood that his famous painting Guernica was a response to a horrific slaughter of citizens in a Spanish town by the Nazis in WWII, the black, white and grey colors and disjointed style of Cubism actually seem a fitting expression of this topic.

5. We discern world view . Rembrandt grew up at the same time (early 1600s) as the pilgrims were living in Leiden, Holland, and Christian faith was an important aspect of many issues of the time. Thus, his paintings are realistic and one of his favorite subjects was Bible stories. Picasso, on the other hand, had no allegiance to faith in God and lived all the pleasures of the flesh, being a womanizer, for example. His world view was self-centered and anti-God and so we see this in his confused, distorted art works of Cubism and Surrealism. Children can observe these art works and see the results of world view, and so develop discernment.

6. It helps us develop critical thinking through skills of observation, interpretation, and criticism . Taking time to observe shapes, colors, styles, etc. is a basic skill children develop – remember the Spot the Difference pictures found in children’s books? The next step is to interpret what we see – again go back to the reasons #3 (In art study, we learn history and culture) and #4 (In studying art, we discern worldview.) Then we can criticize and form opinions. Criticizing art and forming opinions about it help to develop the critical thinking needed for bigger life choices, decisions and opinions.

7. It teaches concrete and abstract thought . Some art is very realistic while other art shows impressions of a view (think Impressionism and Monet’s paintings of the Houses of Parliament in London in the fog) or many angles of the same object at the same time (think Surrealism and Picasso’s view of a woman from many angles). Exposure to a wide variety of art can then help us interpret reality but also show that there are abstract concepts.

8. We have become a visual culture, so knowledge of graphic symbolism is helpful to navigate marketing logos . We need tools to respond to imagery, so the critical thinking skills and understanding of concrete and abstract thought (reasons #6 and #7) are essential in not giving in to every marketing slogan and symbol.

9. It promotes emotional well-being . Taking time to study art and music or visit museums and attend concerts means one is involved with life and the world around. Two recent studies show that being engaged and enthusiastic about the arts preserves a sense of purpose in life and hence emotional well-being for adults.* For students, regular field trips to museums or concerts promote positive engagement in school and less disciplinary problems because school is not considered boring.**

10. It develops the brain and keeps it active . Students who attended arts field trips made more academic gains and scored better on standardized tests.** Adults who participate in the arts or visit museums show less cognitive decline.*** Again, art engages our brains and promote purpose and involvement in life.

Art is a fundamental human expression as we imitate God the Creator and enriches our lives as we enjoy God and beauty. Through art we learn people’s stories, history, culture, world view, discernment, and critical thinking. We enjoy emotional well-being and purpose and keep our brains active. The more we study and understand art, the more we will appreciate it!

* The art of life and death: 14 year follow-up analyses of associations between arts engagement and mortality in the English Longitudinal Study of Ageing

** University of Arkansas Researchers Find Social-Emotional and Academic Benefits from K-12 Arts Field Trips

*** Staying Engaged: Health Patterns of Older Americans Who Participate in the Arts

Do you want to dig deeper into art studies? Are you not sure where to start? Check out The Artist Detective unit studies or full course.

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For adults:

*For those concerned about violating the 2nd Commandment, the above books may have a few infractions.

Jus’ Classical Artist Biographies:

Rembrandt Biography for Kids

Thomas Gainsborough Biography for Kids

Edgar Degas Biography for Kids

Claude Monet Biography for Kids

Berthe Morisot Biography for Kids

Vincent van gogh biography for kids, similar posts.

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Why Is Art Important? – The Value of Creative Expression

The importance of art is an important topic and has been debated for many years. Some might think art is not as important as other disciplines like science or technology. Some might ask what art is able to offer the world in terms of evolution in culture and society, or perhaps how can art change us and the world. This article aims to explore these weighty questions and more. So, why is art important to our culture? Let us take a look.

Table of Contents

• 1.1 The Definition of Art
• 1.2 The Types and Genres of Art
• 2.1 Art Is a Universal Language
• 2.2 Art Allows for Self-Expression
• 2.3 Art Keeps Track of History and Culture
• 2.4 Art Assists in Education and Human Development
• 2.5 Art Adds Beauty for Art’s Sake
• 2.6 Art Is Socially and Financially Rewarding
• 2.7 Art Is a Powerful (Political) Tool
• 3 Art Will Always Be There
• 4.1 What Is the Importance of Arts?
• 4.2 Why Is Art Important to Culture?
• 4.3 What Are the Different Types of Art?
• 4.4 What Is the Definition of Art?

What Is Art?

There is no logical answer when we ponder the importance of arts. It is, instead, molded by centuries upon centuries of creation and philosophical ideas and concepts. These not only shaped and informed the way people did things, but they inspired people to do things and live certain ways.

We could even go so far as to say the importance of art is borne from the very act of making art. In other words, it is formulated from abstract ideas, which then turn into the action of creating something (designated as “art”, although this is also a contested topic). This then evokes an impetus or movement within the human individual.

This impetus or movement can be anything from stirred up emotions, crying, feeling inspired, education, the sheer pleasure of aesthetics, or the simple convenience of functional household items – as we said earlier, the importance of art does not have a logical answer.

Before we go deeper into this question and concept, we need some context. Below, we look at some definitions of art to help shape our understanding of art and what it is for us as humans, thus allowing us to better understand its importance.

The Definition of Art

Simply put, the definition of the word “art” originates from the Latin ars or artem , which means “skill”, “craft”, “work of art”, among other similar descriptions. According to Merriam-Webster’s online dictionary, the word has various meanings; art may be a “skill acquired by experience, study, or observation”, a “branch of learning”, “an occupation requiring knowledge or skill”, or “the conscious use of skill and creative imagination especially in the production of aesthetic objects”.

We might also tend to think of art in terms of the latter definition provided above, “the conscious use of skill” in the “production of aesthetic objects”. However, does art only serve aesthetic purposes? That will also depend on what art means to us personally, and not how it is collectively defined. If a painting done with great skill is considered to be art, would a piece of furniture that is also made with great skill receive the same label as being art?

Thus, art is defined by our very own perceptions.

Art has also been molded by different definitions throughout history. When we look at it during the Classical or Renaissance periods , it was very much defined by a set of rules, especially through the various art academies in the major European regions like Italy (Academy and Company for the Arts of Drawing in Florence), France (French Academy of Fine Arts), and England (Royal Academy of Arts in London).

In other words, art had an academic component to it so as to distinguish artists from craftsmen.

The defining factor has always been between art for art’s sake , art for aesthetic purposes, and art that serves a purpose or a function, which is also referred to as “utilitarianism”. It was during the Classical and Renaissance periods that art was defined according to these various predetermined rules, but that leaves us with the question of whether these so-called rules are able to illustrate the deeper meaning of what art is?

If we move forward in time to the 20 th  century and the more modern periods of art history, we find ourselves amidst a whole new art world. People have changed considerably between now and the Renaissance era, but we can count on art to be like a trusted friend, reflecting and expressing what is inherent in the cultures and people of the time.

During the 20 th  century, art was not confined to rules like perspective, symmetry, religious subject matter, or only certain types of media like oil paints . Art was freed, so to say, and we see the definition of it changing (literally) in front of our very own eyes over a variety of canvases and objects. Art movements like Cubism , Fauvism, Dadaism, and Surrealism, among others, facilitated this newfound freedom in art.

Artists no longer subscribed to a set of rules and created art from a more subjective vantage point.

Additionally, more resources became available beyond only paint, and artists were able to explore new methods and techniques previously not available. This undoubtedly changed the preconceived notions of what art was. Art became commercialized, aestheticized, and devoid of the traditional Classical meaning from before. We can see this in other art movements like Pop Art and Abstract Expressionism, among others.

The Types and Genres of Art

There are also different types and genres of art, and all have had their own evolution in terms of being classified as art. These are the fine arts, consisting of painting, drawing, sculpting, and printmaking; applied arts like architecture; as well as different forms of design such as interior, graphic, and fashion design, which give day-to-day objects aesthetic value.

Other types of art include more decorative or ornamental pieces like ceramics, pottery, jewelry, mosaics, metalwork, woodwork, and fabrics like textiles. Performance arts involve theater and drama, music, and other forms of movement-based modalities like dancing, for example. Lastly, Plastic arts include works made with different materials that are pliable and able to be formed into the subject matter, thus becoming a more hands-on approach with three-dimensional interaction.

Top Reasons for the Importance of Art

Now that we have a reasonable understanding of what art is, and a definition that is ironically undefinable due to the ever-evolving and fluid nature of art, we can look at how the art that we have come to understand is important to culture and society. Below, we will outline some of the top reasons for the importance of art.

Art Is a Universal Language

Art does not need to explain in words how someone feels – it only shows. Almost anyone can create something that conveys a message on a personal or public level, whether it is political, social, cultural, historical, religious, or completely void of any message or purpose. Art becomes a universal language for all of us to tell our stories; it is the ultimate storyteller.

We can tell our stories through paintings, songs, poetry, and many other modalities.

Art connects us with others too. Whenever we view a specific artwork, which was painted by a person with a particular idea in mind, the viewer will feel or think a certain way, which is informed by the artwork (and artist’s) message. As a result, art becomes a universal language used to speak, paint, perform, or build that goes beyond different cultures, religions, ethnicities, or languages. It touches the deepest aspects of being human, which is something we all share.

Art Allows for Self-Expression

Touching on the above point, art touches the deepest aspects of being human and allows us to express these deeper aspects when words fail us. Art becomes like a best friend, giving us the freedom and space to be creative and explore our talents, gifts, and abilities. It can also help us when we need to express difficult emotions and feelings or when we need mental clarity – it gives us an outlet.

Art is widely utilized as a therapeutic tool for many people and is an important vehicle to maintain mental and emotional health. Art also allows us to create something new that will add value to the lives of others. Consistently expressing ourselves through a chosen art modality will also enable us to become more proficient and disciplined in our skills.

Art Keeps Track of History and Culture

We might wonder, why is art important to culture? As a universal language and an expression of our deepest human nature, art has always been the go-to to keep track of everyday events, almost like a visual diary. From the geometric motifs and animals found in early prehistoric cave paintings to portrait paintings from the Renaissance, every artwork is a small window into the ways of life of people from various periods in history. Art connects us with our ancestors and lineage.

When we find different artifacts from all over the world, we are shown how different cultures lived thousands of years ago. We can keep track of our current cultural trends and learn from past societal challenges. We can draw inspiration from past art and artifacts and in turn, create new forms of art.

Art is both timeless and a testament to the different times in our history.

Art Assists in Education and Human Development

Art helps with human development in terms of learning and understanding difficult concepts, as it accesses different parts of the human brain. It allows people to problem-solve as well as make more complex concepts easier to understand by providing a visual format instead of just words or numbers. Other areas that art assists learners in (range from children to adults) are the development of motor skills, critical thinking, creativity, social skills, as well as the ability to think from different perspectives.

Art subjects will also help students improve on other subjects like maths or science. Various research states the positive effects art has on students in public schools – it increases discipline and attendance and decreases the level of unruly behavior.

According to resources and questions asked to students about how art benefits them, they reported that they look forward to their art lesson more than all their other lessons during their school day. Additionally, others dislike the structured format of their school days, and art allows for more creativity and expression away from all the rules. It makes students feel free to do and be themselves.

Art Adds Beauty for Art’s Sake

Art is versatile. Not only can it help us in terms of more complex emotional and mental challenges and enhance our well-being, but it can also simply add beauty to our lives. It can be used in numerous ways to make spaces and areas visually appealing.

When we look at something beautiful, we immediately feel better. A piece of art in a room or office can either create a sense of calm and peace or a sense of movement and dynamism.

Art can lift a space either through a painting on a wall, a piece of colorful furniture, a sculpture, an ornamental object, or even the whole building itself, as we see from so many examples in the world of architecture. Sometimes, art can be just for art’s sake.

Art Is Socially and Financially Rewarding

Art can be socially and financially rewarding in so many ways. It can become a profession where artists of varying modalities can earn an income doing what they love. In turn, it becomes part of the economy. If artists sell their works, whether in an art gallery, a park, or online, this will attract more people to their location. Thus, it could even become a beacon for improved tourism to a city or country.

The best examples are cities in Europe where there are numerous art galleries and architectural landmarks celebrating artists from different periods in art history, from Gothic cathedrals like the Notre Dame in Paris to the Vincent van Gogh Museum in Amsterdam. Art can also encourage people to do exercise by hiking up mountains to visit pre-historic rock art caves.

Art Is a Powerful (Political) Tool

Knowing that art is so versatile, that it can be our best friend and teacher, makes it a very powerful tool. The history of humankind gives us thousands of examples that show how art has been used in the hands of people who mean well and people who do not mean well.

Therefore, understanding the role of art in our lives as a powerful tool gives us a strong indication of its importance.

Art is also used as a political medium. Examples include memorials to celebrate significant changemakers in our history, and conveying powerful messages to society in the form of posters, banners, murals, and even graffiti. It has been used throughout history by those who have rebelled as well as those who created propaganda to show the world their intentions, as extreme as wanting to take over the world or disrupt existing regimes.

The Futurist art movement is an example of art combined with a group of men who sought to change the way of the future, informed by significant changes in society like the industrial revolution. It also became a mode of expression of the political stances of its members.

Other movements like Constructivism and Suprematism used art to convey socialist ideals, also referred to as Socialist Realism.

Other artists like Jacques-Louis David from the Neoclassical movement produced paintings influenced by political events; the subject matter also included themes like patriotism. Other artists include Pablo Picasso and his famous oil painting , Guernica (1937), which is a symbol and allegory intended to reach people with its message.

The above examples all illustrate to us that various wars, conflicts, and revolutions throughout history, notably World Wars I and II, have influenced both men and women to produce art that either celebrates or instigates changes in society. The power of art’s visual and symbolic impact has been able to convey and appeal to the masses.

Art Will Always Be There

The importance of art is an easy concept to understand because there are so many reasons that explain its benefits in our lives. We do not have to look too hard to determine its importance. We can also test it on our lives by the effects it has on how we feel and think when we engage with it as onlookers or as active participants – whether it is painting, sculpting, or standing in an art gallery.

What art continuously shows us is that it is a constant in our lives, our cultures, and the world. It has always been there to assist us in self-expression and telling our story in any way we want to. It has also given us glimpses of other cultures along the way.

Art is fluid and versatile, just like a piece of clay that can be molded into a beautiful bowl or a slab of marble carved into a statue. Art is also a powerful tool that can be used for the good of humanity good or as a political weapon.

Art is important because it gives us the power to mold and shape our lives and experiences. It allows us to respond to our circumstances on micro- and macroscopic levels, whether it is to appreciate beauty, enhance our wellbeing, delve deeper into the spiritual or metaphysical, celebrate changes, or to rebel and revolt.

Take a look at our purpose of art webstory here!

Frequently Asked Questions

What is the importance of arts.

There are many reasons that explain the importance of art. It is a universal language because it crosses language and cultural barriers, making it a visual language that anyone can understand; it helps with self-expression and self-awareness because it acts as a vehicle wherein we can explore our emotions and thoughts; it is a record of past cultures and history; it helps with education and developing different skill sets; it can be financially rewarding, it can be a powerful political tool, and it adds beauty and ambiance to our lives and makes us feel good.

Why Is Art Important to Culture?

Art is important to culture because it can bridge the gap between different racial groups, religious groups, dialects, and ethnicities. It can express common values, virtues, and morals that we can all understand and feel. Art allows us to ask important questions about life and society. It allows reflection, it opens our hearts to empathy for others, as well as how we treat and relate to one another as human beings.

What Are the Different Types of Art?

There are many different types of art, including fine arts like painting, drawing, sculpture, and printmaking, as well as applied arts like architecture, design such as interior, graphic, and fashion. Other types of art include decorative arts like ceramics, pottery, jewelry, mosaics, metalwork, woodwork, and fabrics like textiles; performance arts like theater, music, dancing; and Plastic arts that work with different pliable materials.

What Is the Definition of Art?

The definition of the word “art” originates from the Latin ars or artem , which means “skill”, “craft”, and a “work of art”. The Merriam-Webster online dictionary offers several meanings, for example, art is a “skill acquired by experience, study, or observation”, it is a “branch of learning”, “an occupation requiring knowledge or skill”, or “the conscious use of skill and creative imagination especially in the production of aesthetic objects”.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Why Is Art Important? – The Value of Creative Expression.” Art in Context. July 26, 2021. URL: https://artincontext.org/why-is-art-important/

Meyer, I. (2021, 26 July). Why Is Art Important? – The Value of Creative Expression. Art in Context. https://artincontext.org/why-is-art-important/

Meyer, Isabella. “Why Is Art Important? – The Value of Creative Expression.” Art in Context , July 26, 2021. https://artincontext.org/why-is-art-important/ .

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It’s great that you talked about how there are various kinds and genres of art. I was reading an art book earlier and it was quite interesting to learn more about the history of art. I also learned other things, like the existence of online american indian art auctions.

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How to analyze an artwork: a step-by-step guide

Last Updated on August 16, 2023

This article has been written for high school art students who are working upon a critical study of art, sketchbook annotation or an essay-based artist study. It contains a list of questions to guide students through the process of analyzing visual material of any kind, including drawing, painting, mixed media, graphic design, sculpture, printmaking, architecture, photography, textiles, fashion and so on (the word ‘artwork’ in this article is all-encompassing). The questions include a wide range of specialist art terms, prompting students to use subject-specific vocabulary in their responses. It combines advice from art analysis textbooks as well as from high school art teachers who have first-hand experience teaching these concepts to students.

COPYRIGHT NOTE: This material is available as a printable art analysis PDF handout . This may be used free of charge in a classroom situation. To share this material with others, please use the social media buttons at the bottom of this page. Copying, sharing, uploading or distributing this article (or the PDF) in any other way is not permitted.

READ NEXT: How to make an artist website (and why you need one)

Why do we study art?

Almost all high school art students carry out critical analysis of artist work, in conjunction with creating practical work. Looking critically at the work of others allows students to understand compositional devices and then explore these in their own art. This is one of the best ways for students to learn.

Instructors who assign formal analyses want you to look—and look carefully. Think of the object as a series of decisions that an artist made. Your job is to figure out and describe, explain, and interpret those decisions and why the artist may have made them. – The Writing Center, University of North Carolina at Chapel Hill 10

Art analysis tips

• ‘I like this’ or ‘I don’t like this’ without any further explanation or justification is not analysis . Personal opinions must be supported with explanation, evidence or justification.
• ‘Analysis of artwork’ does not mean ‘description of artwork’ . To gain high marks, students must move beyond stating the obvious and add perceptive, personal insight. Students should demonstrate higher order thinking – the ability to analyse, evaluate and synthesize information and ideas. For example, if color has been used to create strong contrasts in certain areas of an artwork, students might follow this observation with a thoughtful assumption about why this is the case – perhaps a deliberate attempt by the artist to draw attention to a focal point, helping to convey thematic ideas.

Although description is an important part of a formal analysis, description is not enough on its own. You must introduce and contextualize your descriptions of the formal elements of the work so the reader understands how each element influences the work’s overall effect on the viewer.  – Sylvan Barnet, A Short Guide to Writing About Art 2

• Cover a range of different visual elements and design principles . It is common for students to become experts at writing about one or two elements of composition, while neglecting everything else – for example, only focusing upon the use of color in every artwork studied. This results in a narrow, repetitive and incomplete analysis of the artwork. Students should ensure that they cover a wide range of art elements and design principles, as well as address context and meaning, where required. The questions below are designed to ensure that students cover a broad range of relevant topics within their analysis.
• Write alongside the artwork discussed . In almost all cases, written analysis should be presented alongside the work discussed, so that it is clear which artwork comments refer to. This makes it easier for examiners to follow and evaluate the writing.
• Support writing with visual analysis . It is almost always helpful for high school students to support written material with sketches, drawings and diagrams that help the student understand and analyse the piece of art. This might include composition sketches; diagrams showing the primary structure of an artwork; detailed enlargements of small sections; experiments imitating use of media or technique; or illustrations overlaid with arrows showing leading lines and so on. Visual investigation of this sort plays an important role in many artist studies.

Making sketches or drawings from works of art is the traditional, centuries-old way that artists have learned from each other. In doing this, you will engage with a work and an artist’s approach even if you previously knew nothing about it. If possible do this whenever you can, not from a postcard, the internet or a picture in a book, but from the actual work itself. This is useful because it forces you to look closely at the work and to consider elements you might not have noticed before. – Susie Hodge, How to Look at Art 7

Finally, when writing about art, students should communicate with clarity; demonstrate subject-specific knowledge; use correct terminology; generate personal responses; and reference all content and ideas sourced from others. This is explained in more detail in our article about high school sketchbooks .

What should students write about?

Although each aspect of composition is treated separately in the questions below, students should consider the relationship between visual elements (line, shape, form, value/tone, color/hue, texture/surface, space) and how these interact to form design principles (such as unity, variety, emphasis, dominance, balance, symmetry, harmony, movement, contrast, rhythm, pattern, scale, proportion) to communicate meaning.

As complex as works of art typically are, there are really only three general categories of statements one can make about them. A statement addresses form, content or context (or their various interrelations). – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

…a formal analysis – the result of looking closely – is an analysis of the form that the artist produces; that is, an analysis of the work of art, which is made up of such things as line, shape, color, texture, mass, composition. These things give the stone or canvas its form, its expression, its content, its meaning. – Sylvan Barnet, A Short Guide to Writing About Art 2

This video by Dr. Beth Harris, Dr. Steven Zucker and Dr. Naraelle Hohensee provides an excellent example of how to analyse a piece of art (it is important to note that this video is an example of ‘formal analysis’ and doesn’t include contextual analysis, which is also required by many high school art examination boards, in addition to the formal analysis illustrated here):

Composition analysis: a list of questions

The questions below are designed to facilitate direct engagement with an artwork and to encourage a breadth and depth of understanding of the artwork studied. They are intended to prompt higher order thinking and to help students arrive at well-reasoned analysis.

It is not expected that students answer every question (doing so would result in responses that are excessively long, repetitious or formulaic); rather, students should focus upon areas that are most helpful and relevant for the artwork studied (for example, some questions are appropriate for analyzing a painting, but not a sculpture). The words provided as examples are intended to help students think about appropriate vocabulary to use when discussing a particular topic. Definitions of more complex words have been provided.

Students should not attempt to copy out questions and then answer them; rather the questions should be considered a starting point for writing bullet pointed annotation or sentences in paragraph form.

CONTENT, CONTEXT AND MEANING

Subject matter / themes / issues / narratives / stories / ideas.

There can be different, competing, and contradictory interpretations of the same artwork. An artwork is not necessarily about what the artist wanted it to be about. – Terry Barrett, Criticizing Art: Understanding the Contemporary 6

Our interest in the painting grows only when we forget its title and take an interest in the things that it does not mention…” – Françoise Barbe-Gall, How to Look at a Painting 8

• Does the artwork fall within an established genre (i.e. historical; mythical; religious; portraiture; landscape; still life; fantasy; architectural)?
• Are there any recognisable objects, places or scenes ? How are these presented (i.e. idealized; realistic; indistinct; hidden; distorted; exaggerated; stylized; reflected; reduced to simplified/minimalist form; primitive; abstracted; concealed; suggested; blurred or focused)?
• Have people been included? What can we tell about them (i.e. identity; age; attire; profession; cultural connections; health; family relationships; wealth; mood/expression)? What can we learn from their pose (i.e. frontal; profile; partly turned; body language)? Where are they looking (i.e. direct eye contact with viewer; downcast; interested in other subjects within the artwork)? Can we work out relationships between figures from the way they are posed?

What do the clothing, furnishings, accessories (horses, swords, dogs, clocks, business ledgers and so forth), background, angle of the head or posture of the head and body, direction of the gaze, and facial expression contribute to our sense of the figure’s social identity (monarch, clergyman, trophy wife) and personality (intense, cool, inviting)? – Sylvan Barnet, A Short Guide to Writing About Art 2

• What props and important details are included (drapery; costumes; adornment; architectural elements; emblems; logos; motifs)? How do aspects of setting support the primary subject? What is the effect of including these items within the arrangement (visual unity; connections between different parts of the artwork; directs attention; surprise; variety and visual interest; separates / divides / borders; transformation from one object to another; unexpected juxtaposition)?

If a waiter served you a whole fish and a scoop of chocolate ice cream on the same plate, your surprise might be caused by the juxtaposition , or the side-by-side contrast, of the two foods. – Vocabulary.com

A motif is an element in a composition or design that can be used repeatedly for decorative, structural, or iconographic purposes. A motif can be representational or abstract, and it can be endowed with symbolic meaning. Motifs can be repeated in multiple artworks and often recur throughout the life’s work of an individual artist. – John A. Parks, Universal Principles of Art 11

• Does the artwork communicate an action, narrative or story (i.e. historical event or illustrate a scene from a story)? Has the arrangement been embellished, set up or contrived?
• Does the artwork explore movement ? Do you gain a sense that parts of the artwork are about to change, topple or fall (i.e. tension; suspense)? Does the artwork capture objects in motion (i.e. multiple or sequential images; blurred edges; scene frozen mid-action; live performance art; video art; kinetic art)?
• What kind of abstract elements are shown (i.e. bars; shapes; splashes; lines)? Have these been derived from or inspired by realistic forms? Are they the result of spontaneous, accidental creation or careful, deliberate arrangement?
• Does the work include the appropriation of work by other artists, such as within a parody or pop art? What effect does this have (i.e. copyright concerns)?

Parody: mimicking the appearance and/or manner of something or someone, but with a twist for comic effect or critical comment, as in Saturday Night Live’s political satires – Dr. Robert J. Belton, Art History: A Preliminary Handbook, The University of British Columbia 5

• Does the subject captivate an instinctual response , such as items that are informative, shocking or threatening for humans (i.e. dangerous places; abnormally positioned items; human faces; the gaze of people; motion; text)? Heap map tracking has demonstrated that these elements catch our attention, regardless of where they are positioned –  James Gurney writes more about this fascinating topic .
• What kind of text has been used (i.e. font size; font weight; font family; stenciled; hand-drawn; computer-generated; printed)? What has influenced this choice of text?
• Do key objects or images have symbolic value or provide a cue to meaning ? How does the artwork convey deeper, conceptual themes (i.e. allegory; iconographic elements; signs; metaphor; irony)?

Allegory is a device whereby abstract ideas can be communicated using images of the concrete world. Elements, whether figures or objects, in a painting or sculpture are endowed with symbolic meaning. Their relationships and interactions combine to create more complex meanings. – John A. Parks, Universal Principles of Art 11

An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. – Tate.org.uk

• What tone of voice does the artwork have (i.e. deliberate; honest; autobiographical; obvious; direct; unflinching; confronting; subtle; ambiguous; uncertain; satirical; propagandistic)?
• What is your emotional response to the artwork? What is the overall mood (i.e positive; energetic; excitement; serious; sedate; peaceful; calm; melancholic; tense; uneasy; uplifting; foreboding; calm; turbulent)? Which subject matter choices help to communicate this mood (i.e. weather and lighting conditions; color of objects and scenes)?
• Does the title change the way you interpret the work?
• Were there any design constraints relating to the subject matter or theme/s (i.e. a sculpture commissioned to represent a specific subject, place or idea)?
• Are there thematic connections with your own project? What can you learn from the way the artist has approached this subject?

Wider contexts

All art is in part about the world in which it emerged. – Terry Barrett, Criticizing Art: Understanding the Contemporary 6

• Supported by research, can you identify when, where and why the work was created and its original intention or purpose (i.e. private sale; commissioned for a specific owner; commemorative; educational; promotional; illustrative; decorative; confrontational; useful or practical utility; communication; created in response to a design brief; private viewing; public viewing)? In what way has this background influenced the outcome (i.e. availability of tools, materials or time; expectations of the patron / audience)?
• Where is the place of construction or design site and how does this influence the artwork (i.e. reflects local traditions, craftsmanship, or customs; complements surrounding designs; designed to accommodate weather conditions / climate; built on historic site)? Was the artwork originally located somewhere different?
• Which events and surrounding environments have influenced this work (i.e. natural events; social movements such as feminism; political events, economic situations, historic events, religious settings, cultural events)? What effect did these have?
• Is the work characteristic of an artistic style, movement or time period ? Has it been influenced by trends, fashions or ideologies ? How can you tell?
• Can you make any relevant connections or comparisons with other artworks ? Have other artists explored a similar subject in a similar way? Did this occur before or after this artwork was created?
• Can you make any relevant connections to other fields of study or expression (i.e. geography, mathematics, literature, film, music, history or science)?
• Which key biographical details about the artist are relevant in understanding this artwork (upbringing and personal situation; family and relationships; psychological state; health and fitness; socioeconomic status; employment; ethnicity; culture; gender; education, religion; interests, attitudes, values and beliefs)?
• Is this artwork part of a larger body of work ? Is this typical of the work the artist is known for?
• How might your own upbringing, beliefs and biases distort your interpretation of the artwork? Does your own response differ from the public response, that of the original audience and/or  interpretation by critics ?
• How do these wider contexts compare to the contexts surrounding your own work?

COMPOSITION AND FORMAT

• What is the overall size, shape and orientation of the artwork (i.e. vertical, horizontal, portrait, landscape or square)? Has this format been influenced by practical considerations (i.e. availability of materials; display constraints ; design brief restrictions; screen sizes; common aspect ratios in film or photography such as 4:3 or 2:3; or paper sizes such as A4, A3, A2, A1)?
• How do images fit within the frame (cropped; truncated; shown in full)? Why is this format appropriate for the subject matter?
• Are different parts of the artwork physically separate, such as within a diptych or triptych ?
• Where are the boundaries of the artwork (i.e. is the artwork self-contained; compact; intersecting; sprawling)?
• Is the artwork site-specific or designed to be displayed across multiple locations or environments?
• Does the artwork have a fixed, permanent format, or was it  modified, moved or adjusted over time ? What causes such changes (i.e. weather and exposure to the elements – melting, erosion, discoloration, decaying, wind movement, surface abrasion; structural failure – cracking, breaking; damage caused by unpredictable events, such as fire or vandalism; intentional movement, such as rotation or sensor response; intentional impermanence, such as an installation assembled for an exhibition and removed afterwards; viewer interaction; additions, renovations and restoration by subsequent artists or users; a project so expansive it takes years to construct)? How does this change affect the artwork? Are there stylistic variances between parts?
• Is the artwork viewed from one angle or position, or are dynamic viewpoints and serial vision involved? (Read more about Gordon Cullen’s concept of serial vision here ).
• How does the scale and format of the artwork relate to the environment where it is positioned, used, installed or hung (i.e. harmonious with landscape typography; sensitive to adjacent structures; imposing or dwarfed by surroundings; human scale)? Is the artwork designed to be viewed from one vantage point (i.e. front facing; viewed from below; approached from a main entrance; set at human eye level) or many? Are images taken from the best angle?
• Would a similar format benefit your own project? Why / why not?

Structure / layout

• Has the artwork been organised using a formal system of arrangement or mathematical proportion (i.e. rule of thirds; golden ratio or spiral; grid format; geometric; dominant triangle; or circular composition) or is the arrangement less predictable (i.e. chaotic, random, accidental, fragmented, meandering, scattered; irregular or spontaneous)? How does this system of arrangement help with the communication of ideas? Can you draw a diagram to show the basic structure of the artwork?
• Can you see a clear intention with alignment and positioning of parts within the artwork (i.e. edges aligned; items spaced equally; simple or complex arrangement; overlapping, clustered or concentrated objects; dispersed, separate items; repetition of forms; items extending beyond the frame; frames within frames; bordered perimeter or patterned edging; broken borders)? What effect do these visual devices have (i.e. imply hierarchy; help the viewer understand relationships between parts of artwork; create rhythm)?
• Does the artwork have a primary axis of symmetry (vertical, diagonal, horizontal)? Can you locate a center of balance? Is the artwork symmetrical, asymmetrical (i.e. stable), radial, or intentionally unbalanced (i.e. to create tension or unease)?
• Can you draw a diagram to illustrate emphasis and dominance (i.e. ‘blocking in’ mass, where the ‘heavier’ dominant forms appear in the composition)? Where are dominant items located within the frame?
• How do your eyes move through the composition?
• Could your own artwork use a similar organisational structure?
• What types of linear mark-making are shown (thick; thin; short; long; soft; bold; delicate; feathery; indistinct; faint; irregular; intermittent; freehand; ruled; mechanical; expressive; loose; blurred; dashing; cross-hatching; meandering; gestural, fluid; flowing; jagged; spiky; sharp)? What atmosphere, moods, emotions or ideas do these evoke?
• Are there any interrupted, suggested or implied lines (i.e. lines that can’t literally be seen, but the viewer’s brain connects the dots between separate elements)?
• Repeating lines : may simulate material qualities, texture, pattern or rhythm;
• Boundary lines : may segment, divide or separate different areas;
• Leading lines : may manipulate the viewer’s gaze, directing vision or lead the eye to focal points ( eye tracking studies indicate that our eyes leap from one point of interest to another, rather than move smoothly or predictably along leading lines 9 . Lines may nonetheless help to establish emphasis by ‘pointing’ towards certain items );
• Parallel lines : may create a sense of depth or movement through space within a landscape;
• Horizontal lines : may create a sense of stability and permanence;
• Vertical lines : may suggest height, reaching upwards or falling;
• Intersecting perpendicular lines : may suggest rigidity, strength;
• Abstract lines : may balance the composition, create contrast or emphasis;
• Angular / diagonal lines : may suggest tension or unease;
• Chaotic lines : may suggest a sense of agitation or panic;
• Underdrawing, construction lines or contour lines : describe form ( learn more about contour lines in our article about line drawing );
• Curving / organic lines : may suggest nature, peace, movement or energy.
• What is the relationship between line and three-dimensional form? Are  outlines used to define form and edges?
• Would it be appropriate to use line in a similar way within your own artwork?

Shape and form

• Can you identify a dominant visual language within the shapes and forms shown (i.e. geometric; angular; rectilinear; curvilinear; organic; natural; fragmented; distorted; free-flowing; varied; irregular; complex; minimal)? Why is this visual language appropriate?
• How are the edges of forms treated (i.e. do they fade away or blur at the edges, as if melting into the page; ripped or torn; distinct and hard-edged; or, in the words of James Gurney, 9 do they ‘dissolve into sketchy lines, paint strokes or drips’)?
• Are there any three-dimensional forms or relief elements within the artwork, such as carved pieces, protruding or sculptural elements? How does this affect the viewing of the work from different angles?
• Is there a variety or repetition of shapes/forms? What effect does this have (i.e. repetition may reinforce ideas, balance composition and/or create harmony / visual unity; variety may create visual interest or overwhelm the viewer with chaos)?
• How are shapes organised in relation to each other, or with the frame of the artwork (i.e. grouped; overlapping; repeated; echoed; fused edges; touching at tangents; contrasts in scale or size; distracting or awkward junctions)?
• Are silhouettes (external edges of objects) considered?

All shapes have silhouettes, and vision research has shown that one of the first tasks of perception is to be able to sort out the silhouette shapes of each of the elements in a scene. – James Gurney, Imaginative Realism 9

• Are forms designed with ergonomics and human scale in mind?

Ergonomics: an applied science concerned with designing and arranging things people use so that the people and things interact most efficiently and safely – Merriam-webster.com

• Can you identify which forms are functional or structural , versus ornamental or decorative ?
• Have any forms been disassembled, ‘cut away’ or exposed , such as a sectional drawing? What is the purpose of this (i.e. to explain construction methods; communicate information; dramatic effect)?
• Would it be appropriate to use shape and form in a similar way within your own artwork?

Value / tone / light

• Has a wide tonal range been used in the artwork (i.e. a broad range of darks, highlights and mid-tones) or is the tonal range limited (i.e. pale and faint; subdued; dull; brooding and dark overall; strong highlights and shadows, with little mid-tone values)? What is the effect of this?
• Where are the light sources within the artwork or scene? Is there a single consistent light source or multiple sources of light (sunshine; light bulbs; torches; lamps; luminous surfaces)? What is the effect of these choices (i.e. mimics natural lighting conditions at a certain time of day or night; figures lit from the side to clarify form; contrasting background or spot-lighting used to accentuate a focal area; soft and diffused lighting used to mute contrasts and minimize harsh shadows; dappled lighting to signal sunshine broken by surrounding leaves; chiaroscuro used to exaggerate theatrical drama and impact; areas cloaked in darkness to minimize visual complexity; to enhance our understanding of narrative, mood or meaning)?

One of the most important ways in which artists can use light to achieve particular effects is in making strong contrasts between light and dark. This contrast is often described as chiaroscuro . – Matthew Treherne, Analysing Paintings, University of Leeds 3

• Are representations of three-dimensional objects and figures flat or tonally  modeled ? How do different tonal values change from one to the next (i.e. gentle, smooth gradations; abrupt tonal bands)?
• Are there any unusual, reflective or transparent surfaces, mediums or materials which reflect or transmit light in a special way?
• Has tone been used to help communicate atmospheric perspective (i.e. paler and bluer as objects get further away)?
• Are gallery or environmental light sources where the artwork is displayed fixed or fluctuating? Does the work appear different when viewed at different times of day? How does this affect your interpretation of the work?
• Are shadows depicted within the artwork? What is the effect of these shadows (i.e. anchors objects to the page; creates the illusion of depth and space; creates dramatic contrasts)?
• Do sculptural protrusions or relief elements catch the light and/or create cast shadows or pockets of shadow upon the artwork? How does this influence the viewer’s experience?
• How has tone been used to help direct the viewer’s attention to focal areas?
• Would it be appropriate to use value / tone in a similar way within your own artwork? Why / why not?

Color / hue

• Can you view the true color of the artwork (i.e. are you viewing a low-quality reproduction or examining the artwork in poor lighting)?
• Which  color schemes have been used within the artwork (i.e. harmonious; complementary; primary; monochrome; earthy; warm; cool/cold)? Has the artist used a broad or limited color palette (i.e. variety or unity)? Which colors dominate?
• How would you describe the intensity of the colors (vibrant; bright; vivid; glowing; pure; saturated; strong; dull; muted; pale; subdued; bleached; diluted)?
• Are colors transparent or opaque ? Can you see reflected color?
• Has color contrast been used within the artwork (i.e. extreme contrasts; juxtaposition of complementary colors; garish / clashing / jarring)? Are there any abrupt color changes or unexpected uses of color?
• What is the effect of these color choices (i.e. expressing symbolic or thematic ideas; descriptive or realistic depiction of local color; emphasizing focal areas; creating the illusion of aerial perspective; relationships with colors in surrounding environment; creating balance; creating rhythm/pattern/repetition; unity and variety within the artwork; lack of color places emphasis upon shape, detail and form)? What kind of atmosphere do these colors create?

It is often said that warm colors (red, orange, yellow) come forward and produce a sense of excitement (yellow is said to suggest warmth and happiness, as in the smiley face), whereas cool colors (blue, green) recede and have a calming effect. Experiments, however, have proved inconclusive; the response to color – despite clichés about seeing red or feeling blue – is highly personal, highly cultural, highly varied. – Sylvan Barnet, A Short Guide to Writing About Art 2

• Would it be appropriate to use color in a similar way within your own artwork?

Texture / surface / pattern

• Are there any interesting textural, tactile or surface qualities within the artwork (i.e. bumpy; grooved; indented; scratched; stressed; rough; smooth; shiny; varnished; glassy; glossy; polished; matte; sandy; grainy; gritted; leathery; spiky; silky)? How are these created (i.e. inherent qualities of materials; impasto mediums; sculptural materials; illusions or implied texture , such as cross-hatching; finely detailed and intricate areas; organic patterns such as foliage or small stones; repeating patterns ; ornamentation)?
• How are textural or patterned elements positioned and what effect does this have (i.e. used intermittently to provide variety; repeating pattern creates rhythm ; patterns broken create focal points ; textured areas create visual links and unity between separate areas of the artwork; balance between detailed/textured areas and simpler areas; glossy surface creates a sense of luxury; imitation of texture conveys information about a subject, i.e. softness of fur or strands of hair)?
• Would it be appropriate to use texture / surface in a similar way within your own artwork?

Industrial and architectural landscapes are particularly concerned with the arrangement of geometries and form in space… Dr. Ben Guy, Landscape and Visual Impact Assessment using CGI Digital Twins, Urban CGI 12

• Is the pictorial space shallow or deep? How does the artwork create the illusion of depth (i.e. layering of foreground, middle-ground, background ; overlapping of objects; use of shadows to anchor objects; positioning of items in relationship to the horizon line; linear perspective ( learn more about one point perspective here ); tonal modeling; relationships with adjacent objects and those in close proximity – including the human form – to create a sense of scale ; spatial distortions or optical illusions; manipulating scale of objects to create ‘surrealist’ spaces where true scale is unknown)?
• Has an unusual viewpoint been used (i.e. worm’s view; aerial view, looking out a window or through a doorway; a scene reflected in a mirror or shiny surface; looking through leaves; multiple viewpoints combined)? What is the effect of this viewpoint (i.e. allows certain parts of the scene to be dominant and overpowering or squashed, condensed and foreshortened ; or suggests a narrative between two separate spaces ; provides more information about a space than would normally be seen)?
• Is the emphasis upon mass or void ? How densely arranged are components within the artwork or picture plane? What is the relationship between object and surrounding space (i.e. compact / crowded / busy / densely populated, with little surrounding space; spacious; careful interplay between positive and negative space; objects clustered to create areas of visual interest)? What is the effect of this (i.e. creates a sense of emptiness or isolation; business / visual clutter creates a feeling of chaos or claustrophobia)?
• How does the artwork engage with real space – in and around the artwork (i.e. self-contained; closed off; eye contact with viewer; reaching outwards)? Is the viewer expected to move through the artwork? What is the relationship between interior and exterior space ? What connections or contrasts occur between inside and out? Is it comprised of a series of separate or linked spaces?
• Would it be appropriate to use space in a similar way within your own artwork?

Use of media / materials

• What materials and mediums has the artwork been constructed from? Have materials been concealed or presented deceptively (i.e. is there an authenticity / honesty of materials; are materials celebrated; is the structure visible or exposed )? Why were these mediums selected (weight; color; texture; size; strength; flexibility; pliability; fragility; ease of use; cost; cultural significance; durability; availability; accessibility)? Would other mediums have been appropriate?
• Which skills, techniques, methods and processes were used (i.e. traditional; conventional; industrial; contemporary; innovative)? It is important to note that the examiners do not want the regurgitation of long, technical processes, but rather to see personal observations about how processes effect and influence the artwork in question. Would replicating part of the artwork help you gain a better understanding of the processes used?
• Painting: gesso ground > textured mediums > underdrawing > blocking in colors > defining form > final details;
• Architecture: brief > concepts > development > working drawings > foundations > structure > cladding > finishes;
• Graphic design: brief > concepts > development > Photoshop > proofing > printing.
• How does the use of media help the artist to communicate ideas?
• Are these methods useful for your own project?

Finally, remember that these questions are a guide only and are intended to make you start to think critically about the art you are studying and creating.

Further Reading

If you enjoyed this article you may also like our article about high school sketchbooks (which includes a section about sketchbook annotation). If you are looking for more assistance with how to write an art analysis essay you may like our series about writing an artist study .

BIBLIOGRAPHY

[1] A guide for Analyzing Works of Art; Sculpture and Painting, Durantas

[2] A Short Guide to Writing About Art , Sylvan Barnet (2014) (Amazon affiliate link)

[3] Analysing Paintings , Matthew Treherne, University of Leeds

[4] Writing in Art and Art History , The University of Vermont

[5] Art History: A Preliminary Handbook , Dr. Robert J. Belton, The University of British Columbia (1996)

[6] Criticizing Art: Understanding the Contemporary , Terry Barrett (2011) (Amazon affiliate link)

[7] How to Look at Art , Susie Hodge (2015) (Amazon affiliate link)

[8] How to Look at a Painting , Françoise Barbe-Gall (2011) (Amazon affiliate link)

[9] Imaginative Realism: How to Paint What Doesn’t Exist James Gurney (2009) (Amazon affiliate link)

[10] Art History , The Writing Centre, University of North Carolina at Chapel Hill

[11] Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art , John A. Parks (2014) (Amazon affiliate link)

[12] Landscape and Visual Impact Assessment using CGI Digital Twins , Dr. Ben Guy, Urban CGI (2023)

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of student work in two high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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Why study art history.

The History of Art and Architecture concentration offers training in the interpretation and critical analysis of art and architecture. It develops skills in visual discrimination and verbal expression which are of fundamental value to your life at Harvard and beyond. In an era marked by the mass proliferation of images, chiefly through digital technologies and platforms, the cultivation of visual acuity and critical discernment is all the more pressing.

Encompassing material from the widest range of geographic and historical origins, art history is itself a multifaceted discipline embracing many different methods, perspectives, and interests. Sometimes it deduces from artworks the time and place of their making, or the identity of their makers. Sometimes it examines how concepts, ideals, and sensibilities of people of the past are expressed in their art, and further, how that art influenced wider aspects of their culture. Sometimes it explores within buildings, towns, and cities the dynamic between human and natural worlds. These and other approaches are reflected in the teaching and scholarship of the Faculty. Training in the critical analysis of art seeks to clarify the perception—and understanding—of how artworks relate to the techniques and materials used in their making, and to the environment in which they are seen. It also fosters the ability to make and explain judgments of quality and value. The History of Art and Architecture concentration is structured to take the student through a sequence of introductory courses and tutorials to more advanced pro-seminars and seminars. Students select a “major” area of study—one of the many fields represented by our Faculty—while at the same time receiving a broad formation across the discipline. The senior year is devoted to the completion of coursework and the senior thesis (writers of senior theses participate in a seminar led by the Senior Thesis Tutor, a course designed specifically about the processes of research, resources, argument, and writing). Another feature of our concentration is the Architecture Studies track which pursues the study of architecture—its history, theory, and practice—with the spirit of a liberal arts education. The studio component of the track is jointly administered with the Graduate School of Design. Throughout these years of study, concentrators in History of Art and Architecture work with a host of primary research materials in Harvard’s incomparable libraries and museums. The new facilities of the Harvard Art Museums—its galleries, Art Study Centers, Materials and Paper Labs, Straus Center for Conservation and Technical Studies—are used intensively for group instruction and detailed examination.

Photography by Anton Grassl   

The Faculty take great satisfaction in teaching and advising our undergraduate concentrators. It begins for many with the sophomore excursion seminar. Offered in the spring semester each year, it is co-taught by a group of Faculty and graduate students about a country, region, or a city, and its art and architecture. Some past examples include the cities of Berlin, Vienna, and Rome, with multi-site visits throughout Japan, the Netherlands, Peru, Spain, and Turkey. Research preparations are made during the semester and culminate with a period of immersive fieldwork in May. The seminar guides students through an intensive mode of research and fieldwork which together underscore the vital necessity of directly engaging the monuments and objects studied by historians of art and architecture. Supported by a gift from David Rockefeller, the sophomore excursion seminar embodies the value of cross-generational learning.

As a mid-size concentration, History of Art and Architecture offers many opportunities for instruction in smaller group settings, from tutorials to seminars, and takes great pride in the range of its advising opportunities led by our Director of Undergraduate Studies. Conversations between Faculty and undergraduate concentrators extend from work being done in courses, to the thesis, to summer internship opportunities, and life beyond Harvard.

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Photography by Anton Grassl    

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On the campus learning ‘through making,’ students explore why art matters.

What is creativity? How do artists create work? And why does art matter? Those are some of the questions tackled in the course “Introduction to Art Making,” which gives students the chance to study five artistic genres and gain a hands-on understanding of how artists work. The students learn about creative writing, theater, dance, music, and visual arts from nine instructors, and synthesize those lessons by creating music, stories, art objects, and performances. 

“We hope that the students will feel their creativity ignited, or re-ignited, and that they might discover an art form that they didn’t realize they love,” said professor of theater Stacy Wolf. Conducting the course entirely online this semester means that every aspect “was created afresh for this historical moment and for the constraints, and opportunities, of remote learning,” she said. In a class on creativity, the restrictions — and freedoms — of communicating via a screen may prompt students to get even more inventive, she points out.

During the first class, students dove briefly into five artistic fields. For creative writing, they wrote five lines of poetry, each line composed of five words. For dance, they created a gesture that defined the state of the planet today. For visual arts, they drew something that was in motion. For theater, they created a tableau in small groups. For music, they used everyday objects and whatever materials they had on hand — such as a pad of Post-it notes or a water bottle — to create sounds. “Go find various sounds in your environment — tap, scrape, rip, strike, rub, hit, ping various surfaces and textures with various materials. Play with proximity: how loud it is right by your ear or microphone, or far away,” music instructor Bora Yoon *16 told the students. “Music can be found in everyday sounds and objects. And if you feel intimidated that you’re not a composer or a musician, rest assured that if you can appreciate music, dance to music, feel it in your body, sway and respond to it, then from there is the capacity to create.”

Exploring five artistic mediums in one course gives students the opportunity “to try their hand as creators and learn how one form of creativity can inform the other,” said Yoon, a fellow in the Interdisciplinary Doctoral Program in the Humanities who is completing a Ph.D. in music composition at Princeton.

Over the semester, students created sonic collages with recordings made of sounds they encountered. They also learned about grooves and countergrooves, embellishments, and background chords, and used digital software for collaboration. They donned comfortable clothes and kept their computers’ cameras trained on themselves as they choreographed dances together, accompanied by improvised music by other students. For the creative-writing sequence, students penned work inspired by a photo of a crowd that was taken during the pandemic. They studied lighting design and wrote a review of a play. They filled a sketchbook throughout the semester to become fluent in drawing. For a final project in visual arts, they created a collage from magazine clippings, flyers, cereal boxes, and other found items to reflect important events in their lives. 

The many field trips that are normally a part of the class became virtual. Students participated in an online discussion with novelist Kimberly King Parsons; watched a contemporary dance opera and spoke to its Brussels-based choreographer; saw a documentary about the musical journey of members of the Philadelphia Orchestra; discussed artistic expression with visual artist Ellie Ga, who is based in Sweden; and watched a performance of Much Ado About Nothing that was performed in 2019 as part of the Public Theater’s Shakespeare in the Park series. 

Colleen Asper, a lecturer in visual arts, said the course helps develop the visual literacy that is needed to decipher the world we live in. “How and why something was made and how it might be made differently are foundational questions for artists,” she said. “I want the students to experience these questions through making.”

Reasons Why We Need To Study Art

This article will discuss reasons why do we need to study art.

The art of visual, literary, and performance arts have been showcased in an unprecedented manner to an unprecedented population that is mostly youth and even children.

It has shown the need of a change in a society and an attitude of the people.

Rajinder Singh Khalsa, state-level competition awardee in visual arts and 'Oscar-nominated' photography, says, "My story doesn't make a difference if I'm not painting, or writing or performing… My art tells my story and the story of the people.

As an artist, I am just one of them who is involved in a common thing – visual art, that is, portraying my ideas through my work."

The lack of seriousness towards learning about art is because we have neglected its benefits and no one thinks it is important, or even worth the effort to learn about it.

In the times of computers, mobile phones and high-tech life, there is no reason why a young child should study art. In fact, even if he/she decides to study it, there is no guarantee that they will find career opportunities or ways to make it a career.

A good art teacher, however, makes all the difference. Art is a common medium of expression for almost all of the world's cultures. In art, you learn a lot about geography, history, cultures, astronomy, biology, chemistry, math and many more things.

There are so many reasons why we should study art in schools.

Here are a few:, 1. it is educational.

In elementary school, students should be taught the essentials of art. In primary school, students will understand their basic skills and be able to express their concepts in a more meaningful way.

By the time they enter middle and high school, students will be well-equipped to express their thoughts, ideas and creativity, in a more polished and artistic way.

2. It is just fun!

Teaching children art can make them happier. Learning to appreciate art instills respect, compassion, humility, intelligence and creativity in the young minds.

Teaching art in schools will instill creativity in our children, which will help them take better care of their surroundings and act as role models for the society.

3. It instills confidence in a student

Anytime we try something new, we have doubts and worries, but when we master a skill, we learn to accept our mistakes and learn from them and get better each time.

This is the case with our students, as they gain confidence and become more confident in their ability to learn and do things. Art is one such medium in which they are taught to follow their own path in learning and studying.

4. It makes your student creative and innovative

Our students have so many assignments and homework at home. They spend a lot of time on studying, reading, learning, answering questions, doing research and so on. They are not given enough time for creative activities.

If they have time for a creative activity, they learn a lot about different things. Art helps students express their own ideas and do research on different things. Art in schools provides time and a way for our students to have a creative outlet.

5. It makes your student a good communicator

It is hard to describe the many beautiful things in this world to anyone who is not familiar with art. This is where art teachers come to play.

They provide our students with the best way to describe how beautiful something looks, what it is about, and what else is beautiful about it. Art in schools gives our students an opportunity to describe and express themselves.

In addition, art helps our students understand and use new words, express themselves, and gives them ways to express their thoughts in their writing. We cannot know everything in life and art is a medium that allows a student to express himself/herself.

It is a medium of expression where students can express their emotions and write about anything that interests them. Art in schools gives students time for learning and giving presentations, which will increase their ability to communicate with others.

It is also important to note that students in art classes have the chance to take time to explore their own creativity. They are free to experiment and learn new techniques, and play with paint and pencils.

They have the ability to learn from their mistakes and become better every day.

Therefore, it is imperative that schools make art a compulsory subject in the curriculum, with special attention given to the basics and teaching of the art forms such as clay, drawing, paint, color, print and creative writing.

As mentioned earlier, studies show that those students who have made the decision to pursue a degree in art, or to pursue an arts degree after they graduate, perform better than their peers who did not pursue such a course.

The same applies to creative teachers who later take up the profession of art education.

Arts education is a very important aspect of education.

Many teachers do not realize the importance of art and how it shapes a child's life. Unfortunately, most teachers are not exposed to art and continue to teach subjects such as science, mathematics, English, geography, physics, and biology.

If we want to give our children a good education, we need to create a good environment for education. We need to provide our children with the best educational facilities and the proper teachers to give them a good education.

We need to teach them the right techniques of learning, and set up an environment that allows them to learn and create things that matter to them.

We need to make the time to explore our creativity, play with paint and draw. We need to learn how to express ourselves and write and talk about what we want to write and speak about. Art in schools is the best way to teach our children all these things.

It is time we stopped treating art as a “subject for the mentally ill,” and stop seeing it as something boring and uncool. The time has come to put the arts back into our schools.

Art in schools makes a positive difference in the lives of our children and also helps our schools. Every child has a story, and the way we tell it is how they are going to live their lives.

One of the problems that is currently facing our education system is lack of creativity. We need to create an environment that is conducive to creativity, which will help in enhancing a child's development and creativity.

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Why We Should Study Art History

Any brief definition of art would oversimplify the matter, but what we can say is that all the definitions offered over the centuries include some notion of human agency, whether through manual skills (as in the art of sailing, drawing or painting), intellectual manipulation (as in the art of politics), or public or personal expression (as in the art of conversation). The word art is also referred to as something produced by human beings. So, why study art history? Art history helps us study the state of our culture at any given moment, and cultural analysis is a crucial element not only in our own survival as a coherent society, but also in our relations with other cultures.

And when studying art history what do we look for? The following are ten reasons why we as a society should study art (history), and what we should look for when studying it:

Proficient in: Art History

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• Symbols: Art is frequently used as symbols of fertility, spirituality, immortality or nature (to name a few). Symbols can be resembled by colors, light or figures, and are considered to be universal, in that they are applicable to an entire society or culture. They often bring people together through the years and will continuously change to fit the modern world.
• Religion: Many forms of artwork were and are still used to represent different types of religion. Religion is represented in the majority of all artwork, some obvious and some not so obvious. Religious artwork was often was used to influence the masses.
• History: Art is what historians use to discover what happened hundreds and thousands of years ago. We are able to feel the pain or grief or even happiness the artist was feeling. This is what helps us in modern society relate to previous cultures. We are able to see what other civilizations were thinking, feeling and doing hundreds of years ago.
• Propaganda: Art was often used as a form of propaganda aimed at controlling people, whether through symbols, colors or just plain beauty. This type of brainwashing was used primarily on the masses, promising them immortality.
• Nature, Art is used to show nature at its best and worse. Depending on how society respected an animal, determined how it was portrayed in artwork. Pictures of nature often brought an essence of tranquility combined with peacefulness, depicting nature and showing its relation to man.
• Togetherness, Art can bring people together. Whether it is because of similar ideas or values or national crisis. This togetherness can bring people closer together thus making the hard times easier, and the good times better.
• Stability, Art reflects permanent stability. Ancient Egyptian artwork is an excellent example of stability because it is was calm.
• Spiritual, Art is a way for many individuals to relax and become spiritual. The artwork is often calm, worldly and serene. Art was used by the masses, as well as by the artist as an escape from the mundane world.

To completely appreciate an artist’s work, you must ask yourself this question: What is the artist trying to say? If you are able to discover the meaning behind the artists intense ethos which inspired and created such amazing masterpieces, than he (the artist) has done his job.

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Hilbert College Global Online Blog

Why are the humanities important, written by: hilbert college   •  feb 9, 2023.

Why Are the Humanities Important? ¶

Do you love art, literature, poetry and philosophy? Do you crave deep discussions about societal issues, the media we create and consume, and how humans make meaning?

The humanities are the academic disciplines of human culture, art, language and history. Unlike the sciences, which apply scientific methods to answer questions about the natural world and behavior, the humanities have no single method or tools of inquiry.

Students in the humanities study texts of all kinds—from ancient books and artworks to tweets and TV shows. They study the works of great thinkers throughout history, including the Buddha, Homer, Aristotle, Dante, Descartes, Nietzsche, Austen, Thoreau, Darwin, Marx, Du Bois and King.

Humanities careers can be deeply rewarding. For students having trouble choosing between the disciplines that the humanities have to offer, a degree in liberal studies may be the perfect path. A liberal studies program prepares students for various exciting careers and teaches lifelong learning skills that can aid graduates in any career path they take.

Why We Need the Humanities ¶

The humanities play a central role in shaping daily life. People sometimes think that to understand our society they must study facts: budget allocations, environmental patterns, available resources and so on. However, facts alone don’t motivate people. We care about facts only when they mean something to us. No one cares how many blades of grass grow on the White House lawn, for example.

Facts gain meaning in a larger context of human values. The humanities are important because they offer students opportunities to discover, understand and evaluate society’s values at various points in history and across every culture.

The fields of study in the humanities include the following:

• Literature —the study of the written word, including fiction, poetry and drama
• History —the study of documented human activity
• Philosophy —(literally translated from Greek as “the love of wisdom”) the study of ideas; comprising many subfields, including metaphysics, epistemology, ethics and aesthetics
• Visual arts —the study of artworks, such as painting, drawing, ceramics and sculpture
• Performing arts —the study of art created with the human body as the medium, such as theater, dance and music

Benefits of Studying the Humanities ¶

There are many reasons why the humanities are important, from personal development and intellectual curiosity to preparation for successful humanities careers—as well as careers in science, technology, engineering and mathematics (STEM) and the social sciences.

1. Learn How to Think and Communicate Well ¶

A liberal arts degree prepares students to think critically. Because the study of the humanities involves analyzing and understanding diverse and sometimes dense texts—such as ancient Greek plays, 16th century Dutch paintings, American jazz music and contemporary LGBTQ+ poetry—students become skilled at noticing and appreciating details that students educated in other fields might miss.

Humanities courses often ask students to engage with complex texts, ideas and artistic expressions; this can help them develop the critical thinking skills they need to understand and appreciate art, language and culture.

Humanities courses also give students the tools they need to communicate complex ideas in writing and speaking to a wide range of academic and nonacademic audiences. Students learn how to organize their ideas in a clear, organized way and write compelling arguments that can persuade their audiences.

2. Ask the Big Questions ¶

Students who earn a liberal arts degree gain a deeper understanding of human culture and history. Their classes present opportunities to learn about humans who lived long ago yet faced similar questions to us today:

• How can I live a meaningful life?
• What does it mean to be a good person?
• What’s it like to be myself?
• How can we live well with others, especially those who are different from us?
• What’s really important or worth doing?

3. Gain a Deeper Appreciation for Art, Language and Culture ¶

Humanities courses often explore art, language and culture from different parts of the world and in different languages. Through the study of art, music, literature and other forms of expression, students are exposed to a wide range of perspectives. In this way, the humanities help students understand and appreciate the diversity of human expression and, in turn, can deepen their enjoyment of the richness and complexity of human culture.

Additionally, the study of the humanities encourages students to put themselves in other people’s shoes, to grapple with their different experiences. Through liberal arts studies, students in the humanities can develop empathy that makes them better friends, citizens and members of diverse communities.

4. Understand Historical Context ¶

Humanities courses place artistic and cultural expressions within their historical context. This can help students understand how and why certain works were created and how they reflect the values and concerns of the time when they were produced.

5. Explore What Interests You ¶

Ultimately, the humanities attract students who have an interest in ideas, art, language and culture. Studying the humanities has the benefit of enabling students with these interests to explore their passions.

The bottom line? Studying the humanities can have several benefits. Students in the humanities develop:

• Critical thinking skills, such as the ability to analyze dense texts and understand arguments
• A richer understanding of human culture and history
• Keen communication and writing skills
• Enhanced capacity for creative expression
• Deeper empathy for people from different cultures

6. Prepare for Diverse Careers ¶

Humanities graduates are able to pursue various career paths. A broad liberal arts education prepares students for careers in fields such as education, journalism, law and business. A humanities degree can prepare graduates for:

• Research and analysis , such as market research, policy analysis and political consulting
• Nonprofit work , social work and advocacy
• Arts and media industries , such as museum and gallery support and media production
• Law, lobbying or government relations
• Business and management , such as in marketing, advertising or public relations
• Library and information science , or information technology
• Education , including teachers, curriculum designers and school administrators
• Content creation , including writing, editing and publishing

Employers value the strong critical thinking, communication and problem-solving skills that humanities degree holders possess.

5 Humanities Careers ¶

Humanities graduates gain the skills and experience to thrive in many different fields. Consider these five humanities careers and related fields for graduates with a liberal studies degree.

1. Public Relations Specialist ¶

Public relations (PR) specialists are professionals who help individuals, organizations and companies communicate with public audiences. First and foremost, their job is to manage their organizations’ or clients’ reputation. PR specialists use various tactics, such as social media, events like fundraisers and other media relations activities to shape and maintain their clients’ public image.

PR specialists have many different roles and responsibilities as part of their daily activities:

• Creating and distributing press releases
• Monitoring and analyzing media coverage (such as tracking their clients’ names in the news)
• Organizing events
• Responding to media inquiries
• Evaluating the effectiveness of PR campaigns

How a Liberal Studies Degree Prepares Graduates for PR ¶

Liberal studies majors are required to participate in class discussions and presentations, which can help them develop strong speaking skills. PR specialists often give presentations and speak to the media, so strong speaking skills are a must.

PR specialists must also be experts in their audience. The empathy and critical thinking skills that graduates develop while they earn their degree enables them to craft tailored, effective messages to diverse audiences as PR specialists.

Public Relations Specialist Salary ¶

The median annual salary for PR specialists was $62,800 in May 2021, according to the U.S. Bureau of Labor Statistics. The BLS expects the demand for PR specialists to grow by 8% between 2021 and 2031, faster than the average for all occupations.

The earning potential for PR specialists can vary. The size of the employer can affect the salary, as can the PR specialist’s level of experience and education and the specific duties and responsibilities of the job.

In general, PR specialists working for big companies in dense urban areas tend to earn more than those working for smaller businesses or in rural areas. Also, PR specialists working in science, health care and technology tend to earn more than those working in other industries.

BLS data is a national average, and the salary can also vary by location; for example, since the cost of living is higher in California and New York, the average salaries in those states tend to be higher compared with those in other states.

2. Human Resources Specialist ¶

Human resources (HR) specialists are professionals who are responsible for recruiting, interviewing and hiring employees for an organization. They also handle employee relations, benefits and training. They play a critical role in maintaining a positive and productive work environment for all employees.

How a Liberal Studies Degree Prepares Graduates for HR ¶

Liberal studies majors hone their communication skills through coursework that requires them to write essays, discussion posts, talks and research papers. These skills are critical for HR specialists, who must communicate effectively with company stakeholders, such as employees, managers and corporate leaders.

Additionally, because students who major in liberal studies get to understand the human experience, their classes can provide deeper insight into human behavior, motivation and communication. This understanding can be beneficial in handling employee relations, conflict resolution and other HR-related issues.

Human Resources Specialist Salary ¶

The median annual salary for HR in the U.S. was $122,510 in May 2021, according to the BLS. The demand for HR specialists is expected to grow by 8% between 2021 and 2031, per the BLS, faster than the average for all occupations.

3. Political Scientist ¶

A liberal studies degree not only helps prepare students for media and HR jobs—careers that may be more commonly associated with humanities—but also prepares graduates for successful careers as political scientists.

Political scientists are professionals who study the theory and practice of politics, government and political systems. They use various research methods, such as statistical analysis and historical analysis, to study political phenomena: elections, public opinions, the effects of policy changes. They also predict political trends.

How the Humanities Help With Political Science Jobs ¶

Political scientists need to have a deep understanding of political institutions. They have the skills to analyze complex policy initiatives, evaluate campaign strategies and understand political changes over time.

A liberal studies program provides a solid foundation of critical thinking skills that can sustain a career in political science. First, liberal studies degrees can teach students about the histories and theories of politics. Knowing the history and context of political ideas can be useful when understanding and evaluating current political trends.

Second, graduates with a liberal studies degree become accustomed to communicating with diverse audiences. This is a must to communicate with the public about complex policies and political processes.

Political Scientist Specialist Salary ¶

According to the BLS, the median annual wage for political scientists was $122,510 in May 2021. The BLS projects that employment prospects for political scientists will grow by 6% between 2021 and 2031, about as fast as the average for all occupations.

4. Community Service Manager ¶

Community service managers are professionals who are responsible for overseeing and coordinating programs and services that benefit the local community. They may work for a government agency, nonprofit organization or community-based organization in community health, mental health or community social services.

Community service management includes the following:

• Training and overseeing community service staff and volunteers
• Securing and allocating resources to provide services such as housing assistance, food programs, job training and other forms of social support
• Developing and implementing efficient and effective community policies
• Fundraising and applying for grants grant to secure funding for their programs

In these and many other ways, community service managers play an important role in addressing social issues and improving the quality of life for people in their community.

Community Service Management and Liberal Studies ¶

Liberal studies prepares graduates for careers in community service management by providing the tools for analyzing and evaluating complex issues. These include tools to work through common dilemmas that community service managers may face. Such challenges include the following:

• What’s the best way to allocate scarce community mental health resources, such as limited numbers of counselors and social workers to support people experiencing housing instability?
• What’s the best way to monitor and measure the success of a community service initiative, such as a Meals on Wheels program to support food security for older adults?
• What’s the best way to recruit and train volunteers for community service programs, such as afterschool programs?

Because the humanities teach students how to think critically, graduates with a degree in liberal studies have the skills to think through these complex problems.

Community Service Manager Salary ¶

According to the BLS, the median annual wage for social and community managers was $74,000 in May 2021. The BLS projects that employment prospects for social and community managers will grow by 12% from 2021 to 2031, much faster than the average for all occupations.

5. High School Teacher ¶

High school teachers educate future generations, and graduates with a liberal studies degree have the foundation of critical thinking and communication skills to succeed in this important role.

We need great high school teachers more than ever. The U.S. had a shortage of 300,000 teachers in 2022, according to NPR and the National Education Association The teacher shortage particularly affected rural school districts, where the need for special education teachers is especially high.

How the Humanities Prepare Graduates to Teach ¶

Having a solid understanding of the humanities is important for individuals who want to become a great high school teacher. First, a degree that focuses on the humanities provides graduates with a deep understanding of the subjects that they’ll teach. Liberal studies degrees often include coursework in literature, history, visual arts and other subjects taught in high school, all of which can give graduates a strong foundation in the material.

Second, liberal studies courses often require students to read, analyze and interpret texts, helping future teachers develop the skills they need to effectively teach reading, writing and critical thinking to high school students.

Third, liberal studies courses often include coursework in research methods, which can help graduates develop the skills necessary to design and implement engaging and effective lesson plans.

Finally, liberal studies degrees often include classes on ethics, philosophy and cultural studies, which can give graduates the ability to understand and appreciate different perspectives, cultures and life experiences. This can help future teachers create inclusive and respectful learning environments and help students develop a sense of empathy and understanding toward others.

Overall, a humanities degree can provide graduates with the knowledge, skills and abilities needed to be effective high school teachers and make a positive impact on the lives of their students.

High School Teacher Salary ¶

According to the BLS, the median annual wage for high school teachers was $61,820 in May 2021. The BLS projects that the number of high school teacher jobs will grow by 5% between 2021 and 2031.

Take the Next Step in Your Humanities Career ¶

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Why do we study art.

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                          During every year in school I have had to take and study some type of art. Every year in elementary school, my class would attend weekly art classes where we would draw, paint, sculpt things with our hands, and learn about types of art and artist throughout history. I would also have to attend a weekly music class where my class would sing, learn to play different instruments, and learn about music notes. In middle school, I had to be in either choir or band or take an art class. In high school, all students were required to take 2 art type classes in order to graduate. The same is true in college; art is part of the core curriculum. I have always wondered what the reasoning behind all of these art classes was. I used to think that students were made to take art and music classes in elementary school so that they could work on and fine-tune their abilities. It is true that it is much easier to learn and remember things at a younger age. However, this would not explain why art is required beyond elementary level. What would be the reasoning behind the continued art requirement throughout the rest of years in school? I believe that we study art and other creative things for more of a reason than the fact that it is easiest to learn as a child. I believe that studying art allows all of us to learn to become more responsive and creative everything in life. More than just in how well we can draw, paint, sculpt, or perform on stage.              Participating in any type of art allows individuals to be expressive and creative. It can be used as a way to express feelings that a person does not know how to put into words. Art can be a safe and harmless form of expression. It can be an outlet for some people who have a lot of pent-up hatred or aggression. For others, art is a form of relaxation and allows them to become calmer and feel better by simply singing, painting, or performing.              Art allows people to be creative and learn to be creative in all aspects of life, not just to be able paint, sing, or act.

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2. The Role of a Museum Curator

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Guest Essay

The One Idea That Could Save American Democracy

By Astra Taylor and Leah Hunt-Hendrix

Ms. Taylor and Ms. Hunt-Hendrix are political organizers and the authors of the book “Solidarity: The Past, Present, and Future of a World-Changing Idea.”

These days, we often hear that democracy is on the ballot. And there’s a truth to that: Winning elections is critical, especially as liberal and progressive forces try to fend off radical right-wing movements. But the democratic crisis that our society faces will not be solved by voting alone. We need to do more than defeat Donald Trump and his allies — we need to make cultivating solidarity a national priority.

For years, solidarity’s strongest associations have been with the left and the labor movement — a term invoked at protests and on picket lines. But its roots are much deeper, and its potential implications far more profound, than we typically assume. Though we rarely speak about it as such, solidarity is a concept as fundamental to democracy as its better-known cousins: equality, freedom and justice. Solidarity is simultaneously a bond that holds society together and a force that propels it forward. After all, when people feel connected, they are more willing to work together, to share resources and to have one another’s backs. Solidarity weaves us into a larger and more resilient “we” through the precious and powerful sense that even though we are different, our lives and our fates are connected.

We have both spent years working as organizers and activists . If our experience has taught us anything, it is that a sense of connection and mutualism is rarely spontaneous. It must be nurtured and sustained. Without robust and effective organizations and institutions to cultivate and maintain solidarity, it weakens and democracy falters. We become more atomized and isolated, suspicious and susceptible to misinformation, more disengaged and cynical, and easily pitted against one another.

Democracy’s opponents know this. That’s why they invest huge amounts of energy and resources to sabotage transformative, democratic solidarity and to nurture exclusionary and reactionary forms of group identity. Enraged at a decade of social movements and the long-overdue revival of organized labor, right-wing strategists and their corporate backers have redoubled their efforts to divide and conquer the American public, inflaming group resentments in order to restore traditional social hierarchies and ensure that plutocrats maintain their hold on wealth and power. In white papers, stump speeches and podcasts, conservative ideologues have laid out their vision for capturing the state and using it as a tool to remake our country in their image.

If we do not prioritize solidarity, this dangerous and anti-democratic project will succeed. Far more than just a slogan or hashtag, solidarity can orient us toward a future worth fighting for, providing the basis of a credible and galvanizing plan for democratic renewal. Instead of the 20th-century ideal of a welfare state, we should try to imagine a solidarity state.

We urgently need a countervision of what government can and should be, and how public resources and infrastructure can be deployed to foster social connection and repair the social fabric so that democracy can have a chance not just to limp along, but to flourish. Solidarity, here, is both a goal worth reaching toward and the method of building the power to achieve it. It is both means and ends, the forging of social bonds so that we can become strong enough to shift policy together.

Historically, the question of solidarity has been raised during volatile junctures like the one we are living through. Contemporary conceptions of solidarity first took form after the democratic revolutions of the 18th century and over the course of the Industrial Revolution. As kings were deposed and the church’s role as a moral authority waned, philosophers and citizens wondered how society could cohere without a monarch or god. What could bind people in a secular, pluralistic age?

The 19th-century thinkers who began seriously contemplating and writing about the idea of solidarity often used the image of the human body, where different parts work in tandem. Most famously, the French sociologist Émile Durkheim put solidarity at the center of his inquiry, arguing that as society increased in complexity, social bonds between people would strengthen, each person playing a specialized role while connected to a larger whole. Solidarity and social cohesion, he argued, would be the natural result of increasing social and economic interdependence. But as Durkheim himself would eventually recognize, the industrial economy that he initially imagined would generate solidarity would actually serve to weaken its fragile ties, fostering what he called anomie, the corrosive hopelessness that accompanied growing inequality.

In the United States, solidarity never achieved the same intellectual cachet as in Europe. Since this nation’s founding, the concept has generally been neglected, and the practice actively suppressed and even criminalized. Attempts to forge cross-racial solidarity have met with violent suppression time and again, and labor organizing, effectively outlawed until the New Deal era, still occupies hostile legal ground. Decades of market-friendly policies, promoted by Republicans and Democrats alike, have undermined solidarity in ways both subtle and overt, from encouraging us to see ourselves as individual consumers rather than citizens to fostering individualism and competition over collectivity and cooperation.

As our profit-driven economy has made us more insecure and atomized — and more susceptible to authoritarian appeals — the far right has seized its opportunity. A furious backlash now rises to cut down the shoots of solidarity that sprung up as a result of recent movements pushing for economic, racial, environmental and gender justice. In response, programs that encourage diversity and inclusion are being targeted by billionaire investors, while small acts of solidarity — like helping someone get an abortion or bailing protesters out of jail — have been criminalized.

Awaiting the return of Mr. Trump, the Heritage Foundation has mapped out a plan to remake government and society, using the full power of the state to roll back what it calls “the Great Awokening” and restore a Judeo-Christian, capitalist “culture of life” and “blessedness.” “Woke” has been turned into a pejorative so that the word can be wielded to tarnish and break the solidarity that people have only just begun to experience.

Our vision of a solidarity state offers a pointed rejoinder to this project. Social democrats and socialists have been right to emphasize the need for redistribution and robust public investment in goods and services. We must restructure our economy so that it works for the many and not the few. But unlike conservatives — think, for example, of Margaret Thatcher, the prime minister of Britain who in 1981 said, “Economics are the method; the object is to change the heart and soul” — liberals and leftists have tended to downplay the role of policy in shaping public sensibilities. This is a mistake.

Laws and social programs not only shape material outcomes; they also shape us, informing public perceptions and preferences, and generating what scholars call policy feedback loops. There is no neutral state to aspire to. Policies can either foster solidarity and help repair the divides that separate us or deepen the fissures.

Today, the American welfare state too often does the latter. As sociologists including Suzanne Mettler and Matthew Desmond have detailed, lower-income people tend to be stigmatized for needing assistance, while more-affluent citizens reap a range of benefits that are comparatively invisible, mainly through tax credits and tax breaks. Both arrangements — the highly visible and stigmatized aid to the poor and the more invisible and socially acceptable aid to the affluent — serve to foster resentment and obscure how we are all dependent on the state in various ways.

Instead of treating citizens as passive and isolated recipients of services delivered from on high, a solidarity state would experiment with creative ways of fostering connection and participation at every opportunity for more Americans. What if we had basic guarantees that were universal rather than means-tested programs that distinguish between the deserving and undeserving, stigmatizing some and setting groups apart? What if, following the model of a widely admired program in Canada, the government aided groups of private citizens who want to sponsor and subsidize migrants and refugees? What if public schools, post offices, transit systems, parks, public utilities and jobs programs were explicitly designed to facilitate social connection and solidarity in addition to providing essential support and services?

We’ll get there only if we take up the challenge of building solidarity from wherever we happen to sit. Both means and end, solidarity can be a source of power, built through the day-to-day work of organizing, and our shared purpose. Solidarity is the essential and too often missing ingredient of today’s most important political project: not just saving democracy but creating an egalitarian, multiracial society that can guarantee each of us a dignified life.

Astra Taylor and Leah Hunt-Hendrix are political organizers and the authors of the book “Solidarity: The Past, Present, and Future of a World-Changing Idea.”

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