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Art (from Lat. Ars, artis, and this replica of the gr. Τ?χνη) 1 is generally understood as any activity or product made by humans with an aesthetic purpose or communicative, through which express ideas, emotions or general world view, through various resources, including plastics, language, sound or mixtos.2 Art is a component of culture, reflecting in its conception of economic and social media, and transmission of ideas and values, inherent in any human culture across space and time. It is generally considered that the appearance of Homo sapiens art had a ritual function in principle, magical or religious, but that role changed with the evolution of humans, acquiring an aesthetic component and a social, educational, commercial or simply ornamental.

The notion of art continues today subject to deep controversies since its definition is open to multiple interpretations, which vary by culture, time, movement, or society for which the term has a specific meaning. The word 'art' has a wide meaning and can describe any human activity done with care and dedication, or any set of rules needed to develop optimal activity: we speak well of "cuisine", "medical art" " martial arts "," towed "in fishing, etc.. In that sense, art is synonymous with ability, skill, talent, experience. However, more often is generally considered art as a creative activity of the human being, which produces a series of objects (works of art) that are unique, and whose purpose is primarily aesthetic. In this context, art would be the generalization of a concept expressed since ancient times as "fine arts", now somewhat obsolete and reduced to academic and administrative areas. Similarly, the use of the word art to describe the performance of other activities has been replaced by terms such as 'technical' or 'trade'. This article is about art as a means of creative expression of human nature

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The definition of art is open, subjective, debatable. There is no agreement among historians, philosophers and artists. Over time there have been many definitions of art, including: "Art is the right ordering of reason '(Thomas Aquinas)," art is what sets its own rules "(Schiller)," the Art is the style "(Max Dvorák)" Art is an expression of society "(John Ruskin)," art is freedom of genius "(Adolf Loos)," art is the idea "(Marcel Duchamp); "Art is the new" (Jean Dubuffet), "art is the action of life" (Joseph Beuys), "art is anything that people call art" (Dino Formaggio). The concept has changed over time: the Renaissance, art is only considered the liberal arts, architecture, sculpture and painting were "Crafts". Art has always been one of the main means of expression of the human being, through which expresses ideas and feelings, how it relates to the world. Their function can vary from the most practical to ornamental, can have a religious content or simply aesthetic, it can be lasting or ephemeral. In the twentieth century is lost even the substrate material: Beuys said that life is an art form, highlighting the vital, action. So, everyone can be an artist.

The term comes from the Latin ars art, and is equivalent to the Greek τ?χνη (techne, from which 'technical'). Originally applied to all production done by the man and the disciplines of expertise. Thus, artists were both cook, gardener or builder, as the painter or poet. Over time, the Latin derivation (ars -> art) was used to designate the disciplines in the arts of the aesthetic and emotional, and Greek derivation (techne -> technical), for those disciplines that deal with intellectual products and items uso.3 Today, it is difficult to find both terms (art and technique) are confused or used interchangeably.

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In the Greco-Roman antiquity, a major cradles of Western civilization and culture that first reflected on the art was considered art as a skill of human beings in any productive land, being virtually synonymous with 'skill': skill construct an object to command an army to convince the public debate, or agronomic measurements. In short, any skill subject to rules to specific provisions that make the object of learning and development and technical upgrading. Instead, the poetry, the inspiration came from, was not classified as art. Thus, Aristotle, for example, that defined art as "permanent readiness to produce things in a rational way," and Quintilian was established that "it is based on a method and order" (ordine et via) .4 Plato in the Protagoras, spoke of art, believing that is the ability to do things through intelligence, through a learning process. For Plato, art is a general sense, is the creative capacity of Cassiodorus humano.5 be excelled in the art appearance products, according to rules, identifying three main objectives of the art teaching (doceat), touch (moveat) and please (delectet)

During the Renaissance began to take shape a change of mind, separating the crafts and sciences, the arts, which first included poetry, hitherto considered a type of philosophy or of prophecy, which was crucial for the publication in 1549 of the Italian translation of Aristotle's Poetics. This change significantly stepped progressive improvement in the social situation of the artist, due to the interest of rich and noble Italian notables began to show the beauty. The products of the artist gained a new status of objects intended for aesthetic and, therefore, the art became a means of social promotion, increasing the patronage of the arts and promoting coleccionismo.7 emerged in this context several theoretical treatises on art such as Leon Battista Alberti (De Pictura, 1436-1439, De re aedificatoria, 1450, and De statua, 1460), or Commentaries (1447) by Lorenzo Ghiberti. Alberti was influenced by Aristotle seeks to provide a scientific art. He spoke of decorum, treatment of the artist to adapt the objects and subjects measured artistic sense, a perfectionist. Ghiberti was the first to accrue the history of art, distinguishing classical antiquity, medieval period and what he called "the rebirth of the arts" .8

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With Mannerism began modern art: things are no longer represented as they are, but as seen by the artist. Beauty is relative, you miss the unique beauty of Renaissance science-based, to the many beauties of mannerism, derived from nature. Appeared in the art a new component of imagination, reflecting both the fantastic and grotesque, as can be seen in the work of Brueghel and Arcimboldo. Giordano Bruno was one of the first thinkers who foreshadowed modern ideas: he said that creation is infinite, there is no center, no limits, neither God nor man, all is movement, dynamism. For Bruno, there are so many arts as artists, introducing the idea of ??originality of the artist. Art has no rules, not learned, but comes from the inspiración.9

The following advances were made in the eighteenth century Enlightenment, which began to be some of the artistic autonomy: the art turned away from religion and the representation of power to be a true reflection of the will of the artist, focusing more on sensible qualities of the work not in the Jean-Baptiste Dubos significado.10 in Critical reflections on poetry and painting (1719), opened the way to the relativity of taste, reasoning that the aesthetic is not given by reason, but on feelings. Thus, art moved to Dubos, comes to mind in a more direct and immediate rational knowledge. Dubos made possible the democratization of taste, to oppose the academic regulations, and introduced the figure of the 'genius', as an attribute given by nature, which is beyond the rules.

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In the romance, which began in Germany in the late eighteenth century with the movement known as Sturm und Drang, the triumph of the idea of ??an art that emerges spontaneously from the individual, developing the notion of genius, art is the expression of the emotions of the artist, beginning to be mitificado.11 Authors like Friedrich von Schlegel and Novalis reflected on the art: Athenäum magazine, published by them, came the first manifestations of the autonomy of art, linked to nature. For them, the artwork found inside the artist and his own language natural.12

Arthur Schopenhauer devoted the third book of The World as Will and Representation theory of art: art is a way to escape the unhappy state of man himself. Identified knowledge with artistic creation, which is the deepest form of knowledge. Art is the reconciliation between the will and conscience, between object and subject, achieving a state of contemplation, of joy. The aesthetic consciousness is a state of disinterested contemplation, where things are more profound in its purity. The art speaks the language of intuition, not reflection, is complementary to the philosophy, ethics and religion. Influenced by Eastern philosophy, said the man must free the will to live, the 'want', the source of dissatisfaction. Art is a way to get rid of will to go beyond the 'I' .13

Richard Wagner picked up the ambivalence between the sensible and the spiritual Schopenhauer in Opera and Drama (1851), Wagner raised the idea of ??"total work of art" (Gesamtkunstwerk), which would be a synthesis of poetry, the word - masculine element to the music, the female element. He believed that the primitive language would vowel, while the consonant was a rationalizing element, thus the introduction of music in the word would be a return to primitive innocence of language

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In the late nineteenth century came aestheticism, which was a reaction to prevailing utilitarian at the time and the ugliness and materialism of the industrial age. Against this, there was a tendency that gave the art and beauty own autonomy, embodied in the formula of Théophile Gautier "art for art's sake" (l'art pour l'art), even to speak of "aesthetic religion ".15 This position was intended to isolate the artist from society to independently seek their own inspiration and let themselves be misled by only one individual's search for belleza.16 Thus, the beauty away from any moral component, becoming the ultimate goal of the artist, who gets to live his life as a work of art-as shown in the figure of the dandy-17 One of the theorists of the movement was Walter Pater, who influenced the English called decadence, establishing his works that the artist must live life intensely, following as ideal beauty. For Pater, the art is "the magic circle of existence," an isolated and autonomous world in the service of pleasure, creating genuine metaphysics of beauty

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On the other hand, Charles Baudelaire was one of the first authors who analyzed the relationship between art and newly emerging industrial era, prefiguring the notion of "modern beauty": there is no eternal and absolute beauty, but every concept of beauty has something eternal and something transitory, something absolute, something special. Beauty comes from passion and, as each individual his particular passion, it also has its own concept of beauty. In its relationship with art, beauty on the one hand express an idea "eternally subsisting", which would be the "soul of art," and another one component and circumstantial, that is the "body art". Thus, the duality of art is an expression of the duality of man, his desire for perfect happiness facing the passions that move him toward her. Facing the eternal half, anchored in the ancient classical art, Baudelaire saw in half on modern art, whose logos are transitory, the fleeting, ephemeral and changing, synthesized in fashion. Baudelaire had a Neoplatonic concept of beauty that is human aspiration toward a higher ideal, accessible through art. The artist is the "hero of modernity" whose main feature is the melancholy that is the longing for beauty ideal.19

In contrast to aestheticism, Hippolyte Adolphe Taine developed a sociological theory of art in his Philosophy of Art (1865-1869) determinism applied to art based on race, context and time (race, milieu, moment). For Taine, aesthetics, the "science of art", it operates like any other scientific discipline based on rational and empirical parameters. Similarly, Jean Marie Guyau in problems of contemporary aesthetics (1884) and art from the sociological point of view (1888), proposed an evolutionary view of art, that art is life, and it evolves like this and, like the human life is socially organized, art should reflect society

Sociological aesthetics had a great relationship with the visual realism and leftist political movements, especially the utopian socialism: authors such as Henri de Saint-Simon, Charles Fourier and Pierre Joseph Proudhon advocated the social function of art, which contributes to the development of society, combining beauty and utility in a harmonious whole. On the other hand, in the UK, the work of theorists such as John Ruskin and William Morris made a functionalist view of art: The Stones of Venice (1851-1856) Ruskin denounced the destruction of beauty and the popularization of art carried out by industrial society, and the degradation of the working class, defending the social function of art. In The Art of the People (1879) called for radical changes in the economy and society, claiming an art "made by the people and for the people." For his part, Morris, founder of the Arts & Crafts, Art advocated a functional, practical, to meet material needs and not just spiritual. In aesthetic writings (1882-1884) and the purposes of art (1887) proposed a concept of utilitarian art but production systems away from overly technified, next to a concept of socialism near the medieval corporatism

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On the other hand, the function of art was challenged by the Russian writer Lev Tolstoy in What is Art? (1898) raised the social justification of art, arguing that art being a form of communication can only be valid if it conveys emotions can be shared by all men. For Tolstoy, the only justification is the contribution of art to the brotherhood of man: a work of art can have social value when transmitting values ??of brotherhood, that is, emotions that encourage the unification of pueblos.22

At that time it started to approach the study of art from the field of psychology, Sigmund Freud psychoanalysis applied to art in a childhood memory of Leonardo da Vinci (1910), arguing that art would be one way to represent a desire a repressed impulse, so sublimated. He believed that the artist is a narcissistic figure, close to the child, reflecting the art desires, and stated that artistic works can be studied as dreams and mental illness with psychoanalysis. His method was semiotic study of symbols, and felt that a work of art is a symbol. But as the symbol represents a certain concept symbolized, study the work of art to arrive at creative obra.23 origin Similarly, Carl Gustav Jung's psychology and related disciplines such as philosophy, sociology, religion, mythology , literature and art. In Contributions to analytical psychology (1928) suggested that the symbolic elements present in the art are "primordial images" or "archetypes" that are innately present in the "collective unconscious" of being humano.24

Wilhelm Dilthey, from the cultural aesthetics, formulated a theory about the unity between art and life. Foreshadowing the avant-garde, Dilthey and loomed in the late nineteenth century as the art away from academic rules, and how it was becoming increasingly important public function, which has the power to ignore or praise the work of a particular artist . Found in all this an "anarchy of taste," which blamed a change of interpretation of social reality, but he perceived as transitory, being necessary to find "a healthy relationship between aesthetic thought and art." Thus, as the salvation of art offered the "human sciences", especially the psychology of artistic creation should be analyzed through the prism of the psychological interpretation of fantasy. In Life and Poetry (1905) presented the poetry as an expression of life, as 'experience' (Erlebnis) that reflects the external reality of life. Artistic creation is as reinforce our vision as a function of the outside world, presenting it as a coherent and meaningful.

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