Art is a personal matter. Each of us perceives and interprets it differently. Our knowledge, our emotions, our culture, our associations with the elements have an impact on how we view and appreciate a work of art. In this article, we will explore the different levels of art appreciation to better understand how a work of art can evoke an emotion, a crush or a reflection.

 

The FIRST LEVEL of art appreciation is the formal or surface perception. It is the intellectual level where we observe the work in terms of colors, shapes, textures, composition. One can appreciate the harmony of the colors, the balance of the elements or on the contrary feel a certain uneasiness if the work is badly balanced or clumsy. This is the basic level of understanding of art, which can provoke a spontaneous reaction of pleasure or displeasure.

 

The SECOND LEVEL is based on the associations we make with the work. We look at the images, the symbols, the common elements and we try to interpret them. This level is associative, which means that we associate the work with other objects or images that have meaning for us. We can also refer to personal knowledge or to the historical context to better understand the work. This level is more complex and requires deeper reflection.

 

The THIRD LEVEL is emotional. Art can release deep emotions, good or bad, in the viewer. Some art can cause joy, happiness, love, or peace, while other art can cause sadness, anger, pain, or injustice. Art can touch us in unique and personal ways, as our emotions are tied to our personal history. The exhibitions are designed to offer a range of works that will appeal to different types of viewers, whether they are new to art or experts in the field.

 

Appreciating a work of art is a subjective and personal experience that takes into account our knowledge, emotions and culture. At Galerie Berthelet, we seek to create an artistic experience that will touch visitors on many levels, offering a variety of works carefully selected to create emotion and excitement.
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