Portal:Visual arts
Introduction

The visual arts are art forms such as painting, drawing, printmaking, sculpture, ceramics, photography, video, image, filmmaking, design, crafts, and architecture. Many artistic disciplines such as performing arts, conceptual art, and textile arts, also involve aspects of the visual arts, as well as arts of other types. Within the visual arts, the applied arts, such as industrial design, graphic design, fashion design, interior design, and decorative art are also included.
Current usage of the term "visual arts" includes fine art as well as applied or decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' had for some centuries often been restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the decorative arts, crafts, or applied visual arts media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms. Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts.
The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions, painting has been seen as relying to the highest degree on the imagination of the artist and being the furthest removed from manual labour – in Chinese painting, the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes. (Full article...)
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The woodblock fragment Bois Protat ([bwɑ pʁɔta] ("Protat wood[block]"); also Protat block or Protat woodblock, c. 1370–1380) is a fragmentary woodblock for printing, and the images on it are the oldest surviving woodcut images from the Western world. It is cut on both sides, with a scene from Christ's crucifixion on the recto, and a kneeling angel from a presumed Annunciation scene on the verso. The crucifixion scene likely consisted of three or more blocks; the surviving block fragment features Longinus the Roman centurion at the Crucifixion, shown speaking with a banderole, a mediaeval precursor to the modern speech balloon containing his words.
The Bois Protat's name comes from the Mâconnais printer Jules Protat who acquired the block after its discovery in 1898 near La Ferté Abbey in Saône-et-Loire, France, where it was wedged under a stone floor. Because of such poor preservation, only a quarter of the block has survived, and only one side was able to withstand making prints at the time of discovery. It is kept in the Department of Prints and Photographs at the Bibliothèque nationale de France, the National Library of France in Paris. (Full article...)
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“ | The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. | ” |
— Marcel Duchamp, The Creative Act (1957) |
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Selected biography

Jean Bellette (occasionally Jean Haefliger; 25 March 1908 – 16 March 1991) was an Australian artist. Born in Tasmania, she was educated in Hobart and at Julian Ashton's art school in Sydney, where one of her teachers was Thea Proctor. In London she studied under painters Bernard Meninsky and Mark Gertler.
A modernist painter, Bellette was influential in mid-twentieth century Sydney art circles. She frequently painted scenes influenced by the Greek tragedies of Euripides and Sophocles and the epics of Homer. The only woman to have won the Sulman Prize more than once, Bellette claimed the accolade in 1942 with For Whom the Bell Tolls, and in 1944 with Iphigenia in Tauris. She helped found the Blake Prize for Religious Art, and was its inaugural judge. Bellette married artist and critic Paul Haefliger in 1935. The couple moved to Majorca in 1957; although she visited and exhibited in Australia thereafter, she did not return there to live, and became peripheral to the Australian art scene. (Full article...)
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