Author: Curt Doolittle

WHAT IS THE CRITERIA FOR HIGH ART AND JUDGING HIGH ART?
I teach that high art should be judged by a concrete set of criteria: the materials, the craftsmanship using them, the design or aesthetics of the piece, the intellectual, cultural, and civilizational depth of content or meaning of the piece, it’s relevance to and position in the movement to which it belongs, and the scale – favoring monumental scale whenever possible.

Usually we use the sequence decoration, design, craft, art, and high art to distinguish between different art forms. In the language of art historians, “high art” is typically used to denote those art forms that have been historically associated with the fine arts and are often characterized by their perceived higher status or more sophisticated, intellectual appeal. High art is often seen as having a focus on aesthetics and is associated with works that have been created for contemplative or aesthetic purposes, and not merely functional or practical ones.

CATEGORIES
High art typically includes works such as:
Painting – Especially classical forms such as portraiture, landscapes, historical scenes, or mythological subjects rendered with high technical skill.
Sculpture – Marble, bronze, or other high-quality materials sculpted into figures or scenes, often representing philosophical, historical, or mythological themes.
Literature – Works of poetry and prose that are considered to have literary merit or significant artistic quality.
Music – Classical music, opera, and complex instrumental compositions fall under this category.
Dance – Ballet and other forms of structured, theatrical dance are included.
Theater – This includes both dramatic and comedic works that are considered to have enduring and high cultural value.
Architecture – Structures that are valued for their aesthetic, architectural innovation or historical significance.

High art is traditionally thought to require a cultivated taste to be appreciated, which contrasts it with “low” or popular art forms that are generally more accessible and designed for mass consumption. However, the distinction between high and low art has been increasingly challenged and blurred, especially with the rise of postmodern art movements that reject such hierarchical categorizations.

CRITERIA
The criteria for judging high art is deeply rooted in the traditions of art theory and criticism. Let’s look at each element:

Materials: The intrinsic value and durability of the materials used can signify the work’s intended permanence and importance. Historically, works made with precious or enduring materials are often classified as high art.
Craftsmanship: The level of skill and expertise in manipulating materials is a testament to the artist’s mastery and the art’s potential to stand the test of time, an important consideration in historical high art.
Design or Aesthetics: The formal qualities of art, including balance, proportion, harmony, and beauty, are crucial in art historical evaluation. The aesthetic innovation or adherence to classical standards often informs the work’s standing within the high art category.
Intellectual, Cultural, and Civilizational Depth: This expands the content or meaning of a piece to include its ability to engage with and reflect upon broader intellectual, cultural, and civilizational discourses, which has always been a hallmark of high art through the ages.
Relevance to a Movement: The work’s contribution to, representation of, or challenge to artistic movements is a key factor in historical significance and classification as high art, signaling its pivotal role in the evolution of art history.
Scale: Monumental scale can be indicative of high art, partly because it suggests a level of ambition and resource investment, and partly because such works are often public or state commissions, which historically have had high status.

This framework mirros the historical record and the scholarly discourse in high art. It encapsulates many of the attributes that have been revered and sought after in the arts over the centuries. The inclusion of intellectual, cultural, and civilizational depth particularly underscores the expectation that high art should engage with significant themes and contribute to the discourse of its time, which is a persistent thread throughout art history.

Cheers

Curt Doolittle
The Natural Law Institute
The Science of Cooperation