The use of art descriptions and explanations—especially written ones—has a deep history, but the formal practice developed over time in stages, especially as art moved into public institutions and became part of intellectual discourse.
1. Early Religious and Royal Patronage (before the 1500s):
No written descriptions were common, but symbolic meaning was built into the artwork itself—especially in religious art.
In churches, priests or scholars explained artwork to the public orally, especially since most people were illiterate.
In royal courts, court artists or patrons might include inscriptions or heraldic symbols to convey identity or meaning.
2. Renaissance (1400s–1600s):
Artists began signing their work and sometimes included Latin inscriptions or visual clues to indicate meaning.
Thinkers like Vasari (in Lives of the Artists, 1550) began writing biographies and interpretations of artists’ works—this was an early form of art writing and interpretation.
Patrons also began commissioning works with specific meanings or allegories, often recorded in letters or contracts.
3. Baroque & Enlightenment (1600s–1700s):
Art academies emerged (like the French Académie des Beaux-Arts), and with them came formal rules and rationales for what art should do.
Exhibition catalogues started to appear, offering short descriptions of artworks shown in salons or royal collections.
Paintings were often described in terms of themes, moral lessons, or classical references.
4. Romanticism & Realism (1800s):
As artists sought to express personal emotion or social truth, art critics like Baudelaire began to write about art in newspapers and books.
Artists started writing manifestos or letters explaining their intentions (e.g., Courbet’s political realism).
Public museums like the Louvre or British Museum began offering labels and guided tours—bringing written description to mass audiences.
5. Modernism (1900s):
As art became more abstract, the need for explanation grew—leading to manifestos (e.g., Futurism, Dada, Surrealism).
Art critics and theorists like Greenberg, Benjamin, and Berger began interpreting and contextualizing work for readers.
Museums introduced more sophisticated wall texts, catalogues, and artist statements.
6. Contemporary Art (1970s–present):
Art description has become nearly standardized—most galleries and museums now include:
Artist statements
Curatorial essays
Wall labels with conceptual and historical context
Conceptual and installation art especially requires explanation, as the idea is often not visible in the object.
So, while symbolic and oral explanation existed in ancient and medieval times, formal art descriptions as we know them today really took off during the Renaissance, then institutionalized in the Enlightenment, and became essential in Modern and Contemporary art.
If a painting is created mainly to match a luxurious interior rather than to express something deeply personal or challenge ideas, then it leans more toward decorative art, even if it’s technically a painting. It becomes part of the decor rather than a standalone statement.
That raises an interesting question—does the intent of the artist or the way the artwork is used define whether it’s fine art or decorative art? If someone paints with raw emotion and meaning but it ends up as a luxury wall piece, does that change what it is?
Especially with modern abstract painting—it’s everywhere in high-end homes, hotels, and corporate spaces. A lot of it seems designed to be aesthetically pleasing but not too thought-provoking, so it blends into the environment rather than demanding attention. It feels like abstraction has been commercialized into a luxury good rather than a form of deep expression, at least in many cases.
Of course, that doesn’t mean all abstract art today is purely decorative. There are still artists pushing boundaries and using abstraction in meaningful ways. But a lot of what sells seems to be more about fitting a vibe than saying something.
If a painting is created mainly to match a luxurious interior rather than to express something deeply personal or challenge ideas, then it leans more toward decorative art, even if it’s technically a painting. It becomes part of the decor rather than a standalone statement.
That raises an interesting question—does the intent of the artist or the way the artwork is used define whether it’s fine art or decorative art? If someone paints with raw emotion and meaning but it ends up as a luxury wall piece, does that change what it is?
Especially with modern abstract painting—it’s everywhere in high-end homes, hotels, and corporate spaces. A lot of it seems designed to be aesthetically pleasing but not too thought-provoking, so it blends into the environment rather than demanding attention. It feels like abstraction has been commercialized into a luxury good rather than a form of deep expression, at least in many cases.
Of course, that doesn’t mean all abstract art today is purely decorative. There are still artists pushing boundaries and using abstraction in meaningful ways. But a lot of what sells seems to be more about fitting a vibe than saying something.
If a painting is created mainly to match a luxurious interior rather than to express something deeply personal or challenge ideas, then it leans more toward decorative art, even if it’s technically a painting. It becomes part of the decor rather than a standalone statement.
That raises an interesting question—does the intent of the artist or the way the artwork is used define whether it’s fine art or decorative art? If someone paints with raw emotion and meaning but it ends up as a luxury wall piece, does that change what it is?
Especially with modern abstract painting—it’s everywhere in high-end homes, hotels, and corporate spaces. A lot of it seems designed to be aesthetically pleasing but not too thought-provoking, so it blends into the environment rather than demanding attention. It feels like abstraction has been commercialized into a luxury good rather than a form of deep expression, at least in many cases.
Of course, that doesn’t mean all abstract art today is purely decorative. There are still artists pushing boundaries and using abstraction in meaningful ways. But a lot of what sells seems to be more about fitting a vibe than saying something.
“I don’t think it’s necessary to be original. It’s necessary to be honest.”
Martin Creed: What’s the point of it? is the first major retrospective of Creed’s ingenious and often highly provocative work. Since the beginning of his career, when he made small objects that could be placed anywhere, Creed has made work that questions the very nature of art and challenges taboos. His work takes on a multitude of forms—from sculpture, paintings, neons, films and installations, to music and performance—appearing both in the art gallery and in broader public circulation. At once rigorous and humorous, his art continually surprises, disrupts and overturns our expectations. It reflects on the unease we face in making choices, the comfort we find in repetition, the desire to control, and the inevitable losses of control that shape existence.
Martin Creed Work No. 88 1995 A sheet of A4 paper crumpled into a ball.
