6) " Fine art is certainly not what you observe, but what you make others see” Examine this statement with regards to a range of examples.
Many performers use art-making as a tool to make sense of their area, and to transfer their intuitive impressions worldwide in its many forms in something touchable. Structural exhibitions in fine art such as shade, symbolism and composition often evoke emotional and internal responses from the audience; inferring that probably the act of art-making is not conspicuously to express what you see – but what you allow other folks to translate and absorb. Artists just like Tom Roberts, Sydney Lengthy and Sally Williams almost all differ in style, yet talk about similar conceptual traits for the reason that their works allow the target audience to engage, question and speak out loud with their primary portrayal in the Australian Landscape.
Sydney Long's " Spirit in the Plains” (1897) was considered to always be an odd function during the time, as it didn't look like the style of art that was emerging by British artists in the concluding years of the 19th hundred years. This work is a distinctive example of just how art can be viewed not to be what you discover, but what you make others see – as it was created throughout the pinnacle of conventional realistic look. This educated other music artists of his time to consider expressing the spiritual facets of the property, as well as inspire the British audience and critics to find the Australian panorama in a new light. Rather than just creating the obvious attributes of the surroundings, Long focused more conceptually on the presentation of the musical ambiance he felt the Australian rose bush obtained – emphasised by the metallic greys, the apparently dancing brolgas and the overall poetic and stylish feel with the scene.