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In the visual arts, style is a "...distinctive manner which permits the grouping of works into related categories."〔Fernie, Eric. ''Art History and its Methods: A critical anthology''. London: Phaidon, 1995, p. 361. ISBN 978-0-7148-2991-3〕 or "...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made."〔Gombrich, 150〕 It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art".〔George Kubler summarizing the view of Meyer Schapiro (with whom he disagrees), quoted by Alpers in Lang, 138〕 Style is often divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late".〔Elkins, s. 1〕 In some artists, such as Picasso for example, these divisions may be marked and easy to see, in others they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, between the very slow development in style typical of Prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development. After dominating academic discussion in art history in the 19th and early 20th century, so-called "style art history" has come under increasing attack in recent decades, and many art historians now prefer to avoid stylistic classifications where they can.〔Elkins, s. 2; Kubler in Lang, 163-164; Alpers in Lang, 137-138; 161〕 ==Overview== Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence,〔George Kubler goes further "No human acts escape style", Kubler in Lang, 167; II, 3 in his list; Elkins, s. 2〕 and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker.〔Lang, 177-178〕 Whether the artist makes a conscious choice of style, or can identify his own style, hardly matters. Artists in recent developed societies tend to be highly conscious of their own style, arguably over-conscious, whereas for earlier artists stylistic choices were probably "largely unselfconscious".〔Elsner, 106-107, 107 quoted〕 Most stylistic periods are identified and defined later by art historians, but artists may choose to define and name their own style. The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles. Some originated as terms of derision, including Gothic, Baroque, and Rococo.〔Gombrich, 131; Honour & Fleming, 13-14; Elkins, s. 2〕 Cubism on the other hand was a conscious identification made by a few artists; the word itself seems to have originated with critics rather than painters, but was rapidly accepted by the artists. Western art, like that of some other cultures, most notably Chinese art, has a marked tendency to revive at intervals "classic" styles from the past.〔Honour & Fleming, 13〕 In critical analysis of the visual arts, the style of a work of art is typically treated as distinct from its iconography, which covers the subject and the ''content'' of the work, though for Jas Elsner this distinction is "not, of course, true in any actual example; but it has proved rhetorically extremely useful".〔Elsner, 107-108, 108 quoted〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Style (visual arts)」の詳細全文を読む スポンサード リンク
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