Fine art dates back to the 17th century, when such art forms were developed for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolour, graphics and architecture thus distinguishing them from applied arts that had to serve some practical functionality. The word “fine” does not so much denote the quality of the artwork in question, but the purity of the discipline.
Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with minor arts including theater and dance. However, today the fine arts includes other forms such as film, photography, conceptual art, and printmaking. In some institutes of learning or in museums, fine art or frequently the term fine arts, are associated exclusively with visual art forms.
As originally conceived, and as understood for much of the modern era, the perception of aesthetic qualities required a refined judgment usually referred to as having good taste, which differentiated fine art from popular art and entertainment. However, in the Postmodern era, the value of good taste is disappearing, to the point that having bad taste has become synonymous with being avant-garde!
The separation of arts and crafts that exists in Europe and the United States is not shared by other cultures. In Japanese aesthetics of everyday life are worthy of being done with both skill and creativity; integrating not only art with craft but man-made with nature. Chinese fine art also includes many things that would be seen as crafts in the West, including ceramics, engraving, weaving, and embroidery. Latin American art was dominated by European colonialism until the 20th Century, when indigenous art began to reassert itself inspired by the Constructivist Movement arts with crafts based upon socialist principles.
Fine art. on a deeper level integrates experience and tries to make sense of what it really means and the debate for conversation is ongoing between the different demands of one’s life. The Life Room is really a very strange anomalous thing that logically gives people a chance to lose themselves: a place where people draw the figure by exploring their consciousness.
If we were to go down in history, the Life Room not only helps one to compose the figure in their mind but that is where the model takes shape or enactment whether it is for religious or for a narrative image. It is like a gymnasium, drawing, copying the figure and matching the relationship to the figure.
Another interesting part is when text is used in the drawing, the drawing then becomes expressive not just in a conceptual way but marks itself as a part of the drawing.
These drawings kind of operate in a slightly theatrical way. It is not about the subject but they are also about exploring one’s consciousness.
Sometimes when one draws from observation, one’s consciousness slips, sometimes there is focus, sometimes one tends to drift off ,or sometime one goes into an associated thought so the drawings in that way irrespective of what they mean in terms of social, political or psychological aspect, they are also on a rather simple level, a kind of record just the way the mind works in terms of perception and our perception take on after our imagination.
