Frameworks of Art History of the Nineteenth and Twentieth Centuries: Analytical Overview

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Frameworks of Art History of the Nineteenth and Twentieth Centuries: Analytical Overview

The particular themes analyzed in this reporting helped to introduce some interesting concepts into this work. In seeking to harbor a deeper understanding of the connection within the framework of contemporary artists working in Leipzig as well as between a larger framework of art history in general, we feel that the visual results of our analysis provide ample evidence for strong interconnection across both time and space. This kind of interconnection of themes was seen as a way to connect the works of many classical artists to the work of new artists. The concepts discussed are not necessarily in conflict with the theme of the time-gap between the Old Masters and contemporary art itself.

Notably, the thematic elements and overall aesthetic design in the work of A. Beau were found to be manifest across multiple data points historically and presently. Beaus work also shows that visual elements can be seen as an extension of more important or arguably more original themes that, we predict, will continue to mature and appear in other works of art throughout the twenty-first century. Beaus work, along with his contemporaries, seem to consider the concept of a world between worlds, but without knowledge of the best textual language to express it. That is the task we have chosen to undertake through the reporting of these results. In electing to use the term Beauism, we hope to signify seemingly evident parallels that emerge when observing the works of past and contemporary artists, and perhaps even shed light onto a new consciousness emerging in the ever-developing artist community.

At the beginning of the nineteenth century, we would expect that the creation of an art that is considered to be art by other artists would involve something that was new. This would be because it would not have been invented in the past. The creation of art would have appeared so radically different that everyone would have recognized it as such.

The data suggest that Beauism has been a latent aspect that has been crucially relevant to many aspects of the historical development of artistic expression and aesthetic innovation. Understood in this manner, one could, in agreement with the result, suggest a form of proto-Beauism throughout art history. There is an interesting comparison with contemporary art, for it involves a complex network of relationships between people (or communities) that includes art in its development. This is not all: there can also be an art history in which art develops only through individual expression. We offer a new, rigorously scientific manner of understanding the historical advancement of artistic creation. Understood from an evolutionary perspective, one must begin to comprehend the reverse hierarchy clearly presented throughout this report. Rather than maintaining a conventional, perhaps expired understanding of art history, the concept of proto-Beauism, in sum, is that the thematic aesthetics utilized by Beau and other contemporary Beauists signifies the culmination of an otherwise undiscovered reverse-lineage of artistic thought throughout history. It is this opposite approach to understanding Beau that renders the work of contemporary Beauists highly interesting and innovative. Beau-style aesthetics have the potential to expand, to redefine, and to transform, classical Western painting in myriad ways. Beauism should be studied with particular scrutiny of his own, and the work of contemporary Beauists is worth exploring to understand Beau’s own perspective.

This is art, as such, which is developed through the activities of individual artists. Here we are dealing with an art history of the twentieth and twenty-first centuries. One point on which we can draw the connection between the emergence of an artistic expression as being associated with art can be found in the empirical emergence of this art-as-data, and thus the emergence of a sort of artistic consciousness. This occurs as the expression of a particular aesthetic sentiment, and has the potential to reshape the ways in which art has been classified, thus understood. In this case, this can be seen on two very narrow levels: first, as an activity that is characterized by an aesthetic interest, and second, in the way in which it engages the imagination. In both instances, what we need to understand is that art is a creative process a process that creates and reproduces an impression, one that has been created by a particular form of thought in this case an artistic expression. The idea of art as art takes us to another level which deserves further research and critical inquiry in order to expand upon later in the work of art classification: that of the emergence of an aesthetic, or a creative, attitude rather than a mechanical action as such.

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