Art Criticism and Appreciation PDF

Introduction to Art criticism and appreciation by Dr.Marwa Zakaria Art criticism and appreciation are essential aspects of engaging with and understanding the world of art. They involve evaluating and interpreting works of art, recognizing their aesthetic and intellectual value, and fo...

Introduction to Art criticism and appreciation by Dr.Marwa Zakaria Art criticism and appreciation are essential aspects of engaging with and understanding the world of art. They involve evaluating and interpreting works of art, recognizing their aesthetic and intellectual value, and forming a deeper connection with the artistic expressions  Concept of criticism The art that seeks to identify good statement from bad statement, and true speech from false speech However, the concept of art criticism goes further than that, as it deals with artwork by interpreting and analyzing it and identifying the points of beauty and ugliness in them as well as showing the social, psychological and cultural dimensions, and transmit the aesthetic experience and transferring it to the audience ( viewers). The art critic represents the link between the artist (with his artwork) and the viewer Some attempts appeared to evaluate the artistic works in the classical eras (Greek and Roman) An attempt to build a theory of art appeared in the Italian Renaissance, based on the Greek and Roman heritage, where Leonardo da Vinci published a book on painting. The main objective of the criticism process at that time was to encourage competition among artists. The practice of art criticism definitely began or started in the 18th century in 1737 When appeared catalogs, pamphlets, newspapers and magazines at the Paris Salon in that time , which dealt with the analysis and criticism of the exhibited artworks,  Denis Diderot (1713-1748) is considered one of the pioneers of criticism movement at that time  Art Criticism  Art criticism is the practice of analyzing and assessing works of art. It focuses on evaluating the artistic choices, techniques, and messages conveyed within the artwork.  Art critics often consider elements such as composition, color, texture, and the artist's intentions when examining a piece.  They may also explore how the art relates to its historical and cultural context.  Art criticism provides a structured approach to understanding art, allowing critics to form and communicate their opinions about an artwork's strengths, weaknesses, and significance.  The process of criticism for an artwork depends on three main elements, namely: 1- the artist, the “creator of the artwork” 2- the artwork 3- the recipient “the connoisseur”, And that through the process of perception, which results in an “emotion” towards the artwork. The interrelationship between these three elements is interactive and takes place within the cultural system  In principle, it is difficult to arrive at an accurate The definition for art, which Concept includes all the characteristics of Art involved in it.  However, there is agreement that art is an "artificial activity (that is, done through man and not through nature)  that is done through manual or intellectual skills or through both." And the second definition of art: “Art is the use of skill and imagination to create objects, aesthetic structures or aesthetic experience, through which the performer of this process (the artist) participates with others.” In this definition, two important art characteristics have been added, namely: innovation and communication with others. In general, the word art refers to one of the following four areas: aspects of human creativity Creating beautiful things that have meaning A high skill that can be learned through study and observation Photographs and similar media or any public presentations The concept of art today has become the subject of endless questioning and discussions. The following statements may give the word art more clarification: ‘Life is short, but art is eternal and continuous.’ Hippocrates (460-400 B.C.) - Greek philosopher Art completes what nature cannot.’  ‘ Aristotle (348-322 B.C.) - Greek philosopher All that is static is boring and  ‘ repetitive...and all that is dynamic is confusing....In between lies art.’ John Locke (1632-1704) - English philosopher  ‫أصبح مفهوم الفن اليوم محل تساؤل و جدل ومناقشات ﻻ‬ ‫تنتهى‪.‬‬ ‫المقوﻻت اﻵتية قد تعطى لكلمة فن توضيحا أكثر‪:‬‬ ‫‪ ‬الحياة قصيرة‪ ،‬أما الفن فهو خالد ومستمر‪.‬‬ ‫"هيبوقراط )‪ 400-460‬قﻢ(‪-‬فيلسوف اغريقى“‬ ‫‪ ‬الفن ُيكمل ما لﻢ تستطع الطبيعة تكملته‪.‬‬ ‫"أرسطو )‪ 322-348‬قﻢ(‪-‬فيلسوف إغريقى“‬ ‫‪ ‬كل ماهو استاتيكى )ساكن( يكون ممﻼ و مكررا‪...‬و‬ ‫كل ماهو ديناميكى )مفعﻢ ﺑالحركة( يكون‬ ‫مرﺑكا‪.....‬ﺑينهما يقع الفن‪.‬‬ ‫"جون لوك )‪ – (1704-1632‬فيلسوف انجليزى"‬  ‫‪ ‬النقد مهمة سهلة‪.....‬أما الفن فهو صعب‪.‬‬ ‫"ديتوش )‪-(1754-1860‬فيلسوف فرنسى“‬ ‫‪ ‬هل أخبرك عن أهﻢ خاصيتين للعمل الفنى؟ اﻷولى يجب أن يكون العمل‬ ‫الفنى غير قاﺑل للوصف‪ ،‬والثانية يجب أﻻ يكون مقلداً‪.‬‬ ‫"أوجست رينوار )‪-(1914-1841‬فنان فرنسى(‬ ‫‪ ‬الفن الحقيقى هو دافع ﻻ يقاوم داخل الفنان نفسه‪.‬‬ ‫"ألبرت آينﺸتاين )‪-(1955-1879‬فيزيائى وعالﻢ رياضيات ألمانى(‬ Art and Design  ART DESIGN Master Piece Mass Production Subjective Objective Pricing (no limit) Pricing (regarding the market) Concern with simple High concern with technology technology Creative process Creative process Mahmoud Mokhtar 1928 Samy Rafea opening 1975  The Lace Maker Detail by Johannes Vermeer Cezanne -The Card Players - 1890-1892 Fauvism- Henri Matisse-Conversation (1909)  process of art criticism There are many definitions of the process of art criticism, and some define it as an objective judgment that is produced through the process of evaluating perceptions in form and object, considering the factors of time and space. The main tasks of Determining the value the of the artistic work criticism process revealing its idea, and explaining its expressive.. The art a permanent and criticism continuous aims at evaluation of the processes of artistic creativity in order to achieve development and perfection Art criticism is characterized by o dynamism and renewal o it is closely related to material and moral cultural data o it develops according to the development of the mental system and creative abilities. The most important factors that affect the art criticism A- Bias and fanaticism towards an artistic trend, which results in this intolerance and subjective view B - The changes in the processes of artistic expression and the large flow of trends and artistic schools in a limited time, which may result in difficulty in pursuing and studying them, which results in lack of objectivity and confusion. C- Biasing a particular social class or political thought and promoting it through artistic criticism or attacking a social or political system through its artistic tendencies. D - Confusion resulting from the huge flow of techniques that are used in the formulation of artworks, as well as the overlap of many materials and other elements in the general composition of the artwork. E- The relationship between the critic and the artist may positively or negatively affect the criticism process F- The overlap between inherited artistic traditions and incoming artistic trends (the issue of originality and modernity in art, especially in Egypt). g- The level of education, the extent of cultural awareness, the experience and the continuous practice of the criticism process H- Being influenced by the opinions of some critics and quoting from them, without going through the experience of self-criticism and issuing judgments Objectives of the criticism process The main objective of the criticism process is to understand and evaluate art works and then make a judgment on them. In order for the artwork to be understood, there must be a method that enables us to see the artwork One of the objectives of the criticism process is to obtain the pleasure of tasting artistic works, through an extensive study of the artwork, to justify our taste for it and an appreciation for the creative value it contains. The criticism process also aims to provide critics to the audience of viewers (recipients) with new horizons that are generated from the artwork, by clarifying the relationship between the form and content of the artwork. One of the effects of the criticism process is to provide the recipients with new ideas and emotional charges, as well as spiritual pleasure. The criticism process also aims to develop the creative process and the emergence of new patterns and other trends, which subsequently leads to the flourishing of artistic works and the continuation of the creative process.  Art Appreciation  Art appreciation is the more personal and subjective side of experiencing art. It involves developing a deeper connection with art, emotionally and intellectually. Art appreciation doesn't require formal analysis but rather encourages viewers to trust their instincts and emotions when engaging with artwork. It's about experiencing the beauty and resonance of a piece, understanding the emotions it stirs, and appreciating the artist's creativity and skill. Art appreciation can be a highly personal and profound experience, as it allows individuals to relate to art on a more individual and emotional level.  Our appreciation of fine arts and modern artworks often lacks the foundation of art criticism and aesthetics that would help us properly evaluate and critique a work of art. Usually, our judgment is based on subjective, impressionistic criticism, rather than a structured analysis of the artistic or aesthetic qualities of the piece.  This explains why some people prefer artworks that resemble nature or natural images. These viewers choose not to expose themselves to too much information, allowing their perception to remain simpler and more flexible, so they can connect their emotions with what they see, linking it to the things they prefer. This approach aligns with widely accepted customs, traditions, and values. There is a need to establish principles of art appreciation through which we can analyze and evaluate a visual artwork. We will address the following points:  - Artistic excellence and communication theory  - Levels of art appreciation  - Dimensions of art appreciation  - The human attitude and self in relation to the artwork  - Factors that lead us to read and appreciate visual artworks  - Analysis of some visual artworks  Art Appreciation and Communication Theory Several studies have shown that the process of art appreciation follows what is called the "appreciation equation." This means that the artwork is a message sent from the "self" (the creator or artist) to the "other self" (the viewer or appreciator), with the goal of creating what can be called a "we" state. This refers to uniting the self and the other self in one shared emotional state, combining views, opinions, reactions, feelings, and emotions. Appreciation is the ability to respond to aesthetic stimuli, a response that moves a person's emotions and makes them live through and with the artwork, making it a part of their life and a growing asset over time. Art appreciation is the process of evaluating a displayed piece (the artwork) from one party (the artist) to another (the viewer), meaning it is an evaluative response that carries an element of enjoyment and pleasure for the appreciator.  The process of artistic appreciation is similar to the process of communication, as shown in the following figure: Communication channel Artwork form (poem - painting - dance movement - music) Receiver Sender Message (connoisseur) (artist) Environment (the society in which the artist lives) As shown in the figure, to complete the process of artistic appreciation, five basic elements must be available:  1 - A sender (artist) or creator with certain characteristics. Through an activity with characteristics, he created an artistic work with certain features, characteristics and properties.  2 - A message (the content of the artwork), which is what the work contains of intellectual, cultural, aesthetic, political, economic, social, philosophical, educational and educational content, which the creator wants to send to society or to a specific segment or class in society.  3 - A receiver (connoisseur) or recipient with certain characteristics that play an important role in shaping his response to this message and enjoying it to some degree.  4 - A communication channel, or a channel carrying the message or content of the artwork, which is represented in the physical form of the artwork and can be words, oil colors or movement, so the artwork becomes either a poem or a story, a literary article, or a play, or it may be a painting, statue, ballet, folk dance or music  5-The environment or society in which the connoisseur lives, which includes various elements that form a framework with its own connotations for the recipient, such as culture, customs, traditions, and norms, which provide the individual with standards and rules for accepting or rejecting the artwork.  Dimensions of artistic appreciation Many studies have confirmed that artistic appreciation - which is a human activity - depends in its degree of effectiveness on the extent of the contribution of four main dimensions, and these dimensions are:  1- The mental and cognitive dimension  It organizes other abilities and processes such as originality, understanding and imagination. It is the conscious cognitive and deductive abilities capable of absorbing, understanding and comparing the elements, foundations and values of the artwork. The more the connoisseur enjoys high conscious mental efficiency, the more he can invest those cognitive energies in mental processes that depend on comparison, deduction and inference, and the taste becomes of higher value. 2 - The cultural and social dimension  This dimension represents the cultures that provide the individual with what he has acquired from society in terms of customs, traditions, values, norms, and general culture, and what he embraces as ideals, and what drives him in terms of goals and motives. After this dimension, the connoisseur is provided with detailed principles, as well as the selected models and preferred methods of behavior, which are complex, compound, and intertwined like the interweaving of the threads of a fabric.  3- The emotional dimension It includes smaller elements such as motives, emotions, values, tendencies, personality traits, and the desire to explore the unknown to reach certainty. This dimension expresses the degree of satisfaction and the tendency to be affected by the artistic work, and it is important to develop this aspect in the connoisseur.  4-. The aesthetic dimension  This dimension includes the characteristics of preference, evaluation and formation, as well as the rhythmic characteristics in behavior such as speed, sharpness and intensity, which are involuntary characteristics. To confirm the aesthetic dimension for the connoisseur, especially the visual arts, it is possible to identify  the elements, foundations and values of the artwork, which are represented by the point, plan, space, shape, ground, surface textures and color.  The foundations of the work are represented by rhythm, movement, unity, harmony, contrast, repetition, repetition and harmony, etc.  The values of the artwork are represented by the aesthetic, creative, cultural, political and social values....etc. The above can be summarized in that the factors that contribute  to issuing judgments of taste or preference are multiple factors, including those related to the individual connoisseur with his readiness, experience, understanding, imagination and ability to compare different artistic trends, schools and currents,  and the characteristics of the artwork itself in terms of structure, content, purpose, connotations and affiliation. In the case of the visual arts, the characteristics are represented in understanding the elements, foundations and values of the artwork,  and those related to the surrounding environment, society and prevailing patterns of enjoyment and what this environment includes of elements that form a framework with its own connotations for the connoisseur.  Objectives of the art appreciation process Aesthetic goals: It aims to arouse a sense of the beauty of things and reveal the beauty in the artwork Intellectual goals: Some artworks may raise certain intellectual issues that affect the recipient (connoisseur) of the artwork, a series of ideas (ideas falling apart). Cultural objectives: It aims to raise awareness of the cultural awareness of the audience , by presenting some information or confirming the cultural aspects of a society. Future goals: The connoisseur's artwork may raise a future proposal for some issues or give certain predictions Psychological goals: Some artworks give a sense of psychological calm (such as the use of certain colors and shapes), and some artworks play a role in psychological treatment for a specific segment of connoisseurs. Economic objectives: Some works of art contribute to the revitalization of the economies of some countries and people, as well as contribute to the process of acquiring artworks Both art criticism and art appreciation play crucial roles in the art world. While art criticism provides a structured framework for understanding and assessing art, art appreciation allows for a more intimate and emotional connection with artistic creations. Together, they enrich our cultural experiences and contribute to a deeper understanding and enjoyment of art in all its forms. Whether you're an artist, a collector, or simply an art enthusiast, these two concepts can enhance your relationship with the world of art. Art  criticism approac hes  It believes that art is a natural product of its historical context and its psychological Contextual and social factors, beliefs Criticism and symbols.  According to this trend, art cannot be isolated from these factors. The factors of climate, location, nature of the era and genetic predispositions are also considered as a pivotal context for understanding the phenomenon of art in a particular society. And within the contextual criticism direction, the psychological formation of the artist and the use of psychoanalysis to reveal the symbolic contents resulting from feeling or unconsciousness. The philosophical convictions of the artist, as well as his political tendencies and ideological background also ente into this trend. In the process of art criticism, the concept of “context” refers to the method of forming the artwork, whether it is decorative or purely aesthetic - expressive - contemplative - documentary - re-reality. The context in the criticism process also refers to the visual field in which the artwork is viewed: Is the artwork in a museum? Or in places of worship, or is it a reproduction of the original and applied to a T-shirt, mug, earthenware, or mouse patch?  Impressionist Criticism In it, the focus is placed on the emotional charge caused by the artistic work of the connoisseur, whereby the connoisseur must unleash his emotions, and he is thus based on intuition, that is, on direct sensation Impressionist criticism attaches less importance to the strict rules that control the work of art and to its interest in esoteric interpretations.  Among the most famous advocates of impressionist criticism are Oscar Wilde and Anatole France, both of whom focused on the importance of emotional flow  Intentional Criticism And advocates of this trend call for considering the artwork as bearing the main purpose that the artist aims at,  and then it must be viewed and interpreted within the framework of the artist’s own experience.  Formalist Criticism Criticism and interpretation of artwork according to this trend is limited to the formations and formations that exist in the artwork The constructivist makes exclusion in the historical context, the biography of the artist, and psychoanalytic methods in the process of criticism Aristotle defined general conditions for the aesthetics of artistic work, which are: unity, order, and proportionality. The "New Symbolism" movement is also considered one of the most important formal trends in criticism, and it appeared in the late eighteenth century in Germany and then spread in England, Italy and France. Paul Valery, one of the pioneers of formal criticism, believes that art is a coherent unit based on colors, lines, and spaces (as in photography) and mass and the nature of the surface (as in sculpture), and that the form of an artistic work cannot be separated from its content. The important element in formal criticism is the "visual organization", which lies in achieving harmony between the elements of the artwork in a way that confirms and clarifies the artist's goal technically and aesthetically. The entrance to constructivist criticism requires extensive information about the foundations of art and the elements that are used in constructing the artwork. Art as a creative process There is a difference between art and artwork; Where art refers to a creative process that aims to reach a specific goal and by means of multiple elements, while the artwork is the material “physical” product of this process. Creativity is a very complex phenomenon with many faces. It is difficult to put a specific definition of creativity. Mackinnon, who is one of the most important researchers in the phenomenon of creativity, sees that creativity is a multifaceted phenomenon more than it is considered a defined theoretical concept. However, there are some different definitions of creativity, the most important of which are: a- “the willingness or ability to produce something new and of value” b- “a process by which the outcome is determined” C - "a new solution to a problem" D- "The integrated unity of a set of subjective and objective factors that lead to the achievement of a new and original production of value by the individual or the group (that is, there is individual creativity and collective creativity)" e- “The activity or process that leads to a production that is novel (new), original and valuable for the community.” F- “Finding new solutions to ideas, problems, approaches, etc., if they are reached in an independent way, even if they are not new to science and society.”  Characteristics of the creative process A psychological process that is subject to scientific research and analysis It includes perceiving, remembering, imagining, thinking, analyzing, and the ability to reorganize perceptions and find relationships among them, as well as the ability to compare and distinguish. It includes fluency, which is the ability to produce the largest possible amount of valuable ideas in each time, and originality, which is the ability to invent new, unprecedented ideas or solutions. It is available to everyone and is not limited to a selected group of people, but it reaches its peak in some people and the creativity process may not occur in people who suffer from dispersion, lack of focus, disability and lack of interest The creative process has a personal and individual aspect that is achieved through the different end results of solving a problem The creative process has an important social dimension, as art is a communication process between the "artist" and the community "the connoisseurs". The creative process has a historical and evolutionary dimension represented in the artist’s personality and its development through the processes of artistic and mental “perceptual” maturity, changing the view of the visual world and moving from one style to another. The creative process is characterized by divergent thinking, which negates previously accepted ideas, and it differs from conventional thinking, which leads to previously known outcomes. Stages of the creative process: Several attempts have been made to identify the stages in which the creative process takes place, the most famous of these attempts being that of G. Wallas”, which identified four stages for it, which are: A- Preparation stage:  Any creative act requires conscious and strong preparation for a long period. The preparation may be general and it relates to a branch of specialization such as engineering, design and medicine. The preparation can also be special, and in this case the preparation is directly related to a specific problem that the researcher is trying to find a solution B - the incubation stage And this stage can last for a long or short period, and it can take moments, minutes, days, months or even years, and the solution may appear suddenly (unexpected solution) at a time when the problem is forgotten, but it is not absent from the subconscious mind that looking busy  C - the stage of insight (intuition) It is the stage in which the creative process reaches its climax, where the idea appears suddenly and the idea or material appears as if it had been organized automatically and without planning, and thus all the ambiguity is removed and everything that was vague before becomes clear.  D. Realization stage  It is the last stage in the creative process, and the investigation includes the raw material resulting from the foresight process, and this material is subjected to an investigation whether it is true, and the validity of the material or idea that has been reached is verified by subjecting it to practical application, which may take long or short, As an example of this, the period of investigation, verification and approval of the discovery of Mendeleev’s periodic table of chemical elements is about thirty years, while the period of preparation for this discovery lasted about fifteen years.  And many artists treat their subjects with more than one information in order to reach creative production. They first understand their subjects in a form of meanings, such as love, heroism, poverty, war, peace, etc., and then they transform these meanings into forms and Lines, spaces, colors, shadows and light. The information stored in the memory is produced through thinking processes, especially the “atypical” divergent thinking processes that are characterized by the launch and in the process of creativity it is necessary for this information to be re-verified through new associations or in the form of new forms  Obstacles to the creative process: The creativity process may be exposed to some obstacles that affect it negatively. These obstacles can be classified into two main categories, namely:  First: Environmental Obstacles The environment in which the creative process takes place must be appropriate and provide the appropriate conditions, in terms of the availability of suitable space, good and organized furnishing inside the place, as well as appropriate lighting and a calm atmosphere free from noise and noise, and the workplace should be safe and comfortable in general. And he likes having music. There are some uncomfortable environments, such as places that are unbearably humid, hot or cold. As well as places surrounded by noise or disturbing sounds or emit unpleasant odors and lack of lighting. In the case of group work, the creativity process may be exposed to some obstacles if there is a lack of cooperation between members of the group or there is mistrust among its members. Another obstacle is the presence of subversive elements within the group. The creative process is also affected by the lack of financial, physical and organizational assistance. And falls under these factors: hunger and thirst, problems of financial financing and the lack of necessary tools and devices.  Second: Cultural Obstacles They are obstacles related to the artist's culture and method of upbringing, as well as the preconceived ideas that surround him. Among these factors: the fear of failure or falling into error or taking uncalculated risks. These factors arise as a result of the artist's lack of confidence in himself or due to the value systems on which he was raised. Dumping and focusing on making judgments rather than caring about generating and growing ideas. Also, sometimes there are individuals who do not have the ability and patience to bear the period of "incubation", which may last for a long time. The lack of enthusiasm or lack of enthusiasm negatively affects the creative process on the pretext of time pressure. And also the rush to get results and solutions as a result of boredom. Another thing that hinders the creative process is the lack of control over the intensity of realism and the intensity of imagination, that is, there is extremism in one of them.  Psychological interpretation of the creativity process - Sigmund Freud's interpretation of creativity: Sigmund Freud (1856-1939) believes that artistic creativity is a means of achieving the desires latent in the imagination that have been frustrated by reality either due to external obstacles or moral inhibitions,.  the artist, according to Freud, is a frustrated character who lies between the world of reality that frustrates desires, and the world of imagination that fulfills these desires. Freud explains creativity according to the concept of sublimation or elevation,. Freud likens works of art to dreams, in his view they come in the form of a compromise or middle ground that seeks to avoid any direct conflict with the forces of repression and aims primarily to arouse the interest and sympathy of others, and they are also capable of arousing and satisfying the instincts of others, the recipients of the work of art. Sigmund Freud has a famous study on the artist Leonardo da Vinci in which he used the method of psychoanalysis by examining the unconscious motives behind da Vinci's personality, starting with the repression processes carried out by his subconscious that were formed during the artist's childhood - as Freud claims - and then concludes with the sublimation processes carried out by the artist that directed him towards research, knowledge and artistic creativity. Freud's interpretation is based primarily on the content of the artwork rather than on its form. Surrealism is considered one of the most important artistic trends influenced by Freudian theory.  Jung's interpretation: Carl Gustav Jung (1875-1961)  attributes the creative process to the unconscious, which is divided - according to Jung - into two types: the individual unconscious, which refers to all the individual's acquisitions during his life experience of thoughts and feelings, and the collective unconscious, whose contents are inherited from myths, legends and beliefs that are renewed across generations and affect the form and content of the human mind. Jung considered the collective unconscious to be the basic foundation of the human soul and personality, which is represented by what he called the archetypes. Jung considered symbols and dreams to be rich material for studying human art, as they are the material in which the archetypes are embodied. Unlike Freud, Jung believes that dreams have a role in prophecy and informing the future, and he considers them a means of achieving balance, anticipating the future, and creating great works of art. Jung also differs from Freud in that he emphasized the importance of social aspects and cultural and civilizational influences, which Freud ignored.  Ehrenzweig's interpretation:  While Freud and Jung's studies focused on the creative process through the content of the resulting artworks, Ehrenzweig emphasizes the importance of the role of form and structure, as he sees that artworks and the automatic formal elements they contain contain a hidden system that follows some aesthetic systems and requires special sensitivity to discover it, such that it may be difficult to understand it through ordinary visual sensory vision. The main focus of Ehrenzweig's interpretation is to give vision a special priority. Ehrenzweig agrees with both Freud and Jung on the influence of dreams and their role in the process of artistic creation, and he also pointed out the importance of intuition and the unconscious. Therefore, Ehrenzweig can be considered a Freudian who focused his attention on the form and structure of the artwork.  conclusion Psychological analyses look at the artist in a somewhat negative light, considering him a person full of complexes, frustrations and feelings of deficiency. They also considered that the creative process is based on the subconscious and intuition, without considering the creator who seeks in his artistic works to present creations characterized by originality and innovation, not only for himself, but for human society. The results of psychological theories, regarding the creative process, are considered inaccurate and cannot be generalized; as there are artistic works characterized by rationality, deep study and clarity of ideas among their creators. Perhaps the most prominent feature in the criticism of the psychological approach in general and the criticism of psychoanalytic theories in their various schools in particular is: “viewing the work as a mere (reflection) of the artist’s personality.” However, it is a grave mistake - and one with bad consequences - to look at works of art as nothing more than this and to close our eyes to their inherent aesthetic nature and creative value as objects of aesthetic perception. If we must mention the negative criticisms directed at psychoanalytic trends in particular, there are many criticisms that we summarize as follows: (1)- Looking at the artwork as if it were only a kind of puzzle whose meaning can never be understood directly - and on the other hand it leads to reconsidering the artworks and symbols as abstract, rigid, traditional signs whose explanations we find in a dictionary or reference.  (2) Psychoanalytic trends focused on the emotional and motivational aspects of the artistic phenomenon, but their focus was less on the cognitive and perceptual aspects. “Jung emphasized the importance of the collective unconscious and archetypes. He also emphasized the importance of intuition, projection, and other mysterious processes that lack procedural definition of their content. Art cannot be reduced to the simplicity of the primitive, undeveloped mind, because art is a reflection of human nature, and its development is not a simple matter. “The painting is simply not an expression of primitiveness.” (3)- "Psychoanalytic theories have erred when they looked at the artist in a negative light, considering him a person full of frustrations, complexes, and feelings of deficiency that he wants to get rid of - and they were unsuccessful when they considered the unconscious, intuition, or sublimation to be the decisive factor in creativity - and they did not care to look at the creator in a positive, constructive light, considering that he is trying to present something new and original, not only for himself, but for human society in general." However, there are some positives to Freudian theory or psychoanalytic trends. In the opinion of critic Jerome Stolnitz: "The greatest contribution of Freudianism may be its demonstration of the richness of symbolic content in various works and the hidden latent meanings that emerged from them. Freudianism was able to demonstrate this by revealing the origins of these symbols in the artist's needs and motives."  Elements of art and principles of design - Elements of art:  The basic (primary) components that the artist uses in creating his artistic work are called the elements of the artistic work, and they include:  Line - color - degrees of shadow and light (color value) - shapes - bodies - texture - space.  These elements are characterized by being literal material things that are easy to perceive and reveal in the artistic work.  Principles of Design  These are the characteristics or style through which the elements of art are arranged and organized within a work of art.  The artist forms his works according to a specific style in which the arrangement of the elements of art is controlled. One artist differs from another in how these elements are organized and arranged, even if the subject of the artwork is repeated, as each artist has his own abilities to organize and formulate the basic elements of art. The principles of formation and design are:  Balance includes symmetrical balance, asymmetrical balance, and radial balance.  Emphasis, sometimes called “dominance,” means the dominance of a particular element in an artistic work so that it has primacy among the other elements. The less important elements are called subordinate elements. These are elements that help to show the main element and confirm it.. Harmony refers to the absence of disharmony in the relationships of the parts of the artistic work “Movement” is a visual movement represented by effects that give a sense of dynamism, such as wavy lines, dense adjacent lines, or formations that characterize the visual art “Op Art.” Proportions express the relationships of parts within the artwork in terms of size and dimensions Harmony refers to the absence of disharmony in the relationships of the parts of the artistic work “Movement” is a visual movement represented by effects that give a sense of dynamism, such as wavy lines, dense adjacent lines, or formations that characterize the visual art “Op Art.” Proportions express the relationships of parts within the artwork in terms of size and dimensions Rhythm is the way the elements resonate, and there is what is called exponential, horizontal, and diagonal rhythm. Unity is one of the principles related to the principle of compatibility, as unity refers to harmony in the elements used with diversity in their size or shape, such as the use of small and large circles within an artwork, where the circle represents the “unity of the artwork.”.  “Variety” and this principle of composition is closely related to the previous principle “Unity”, as what is meant by diversity here is the difference in forms and shapes of a single element, and the principle of diversity refers to the multiplicity of different elements in the artistic work, taking into account the principles of “compatibility” and “ "Unity", "rhythm", etc.  - Contrast, including contrast in color (white x black), size (large x small), space, line, and space.