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  • Arthropods

    Arthropods (/ˈɑːrθrəpɒd/ ARTH-rə-pod)[3] are invertebrates in the phylum Arthropoda. They possess an exoskeleton with a cuticle made of chitin, often mineralised with calcium carbonate, a body with differentiated (metamericsegments, and paired jointed appendages. In order to keep growing, they must go through stages of moulting, a process by which they shed their exoskeleton to reveal a new one. They form an extremely diverse group of up to ten million species.

    Haemolymph is the analogue of blood for most arthropods. An arthropod has an open circulatory system, with a body cavity called a haemocoel through which haemolymph circulates to the interior organs. Like their exteriors, the internal organs of arthropods are generally built of repeated segments. They have ladder-like nervous systems, with paired ventral nerve cords running through all segments and forming paired ganglia in each segment. Their heads are formed by fusion of varying numbers of segments, and their brains are formed by fusion of the ganglia of these segments and encircle the esophagus. The respiratory and excretory systems of arthropods vary, depending as much on their environment as on the subphylum to which they belong.

    Arthropods use combinations of compound eyes and pigment-pit ocelli for vision. In most species, the ocelli can only detect the direction from which light is coming, and the compound eyes are the main source of information, but the main eyes of spiders are ocelli that can form images and, in a few cases, can swivel to track prey. Arthropods also have a wide range of chemical and mechanical sensors, mostly based on modifications of the many bristles known as setae that project through their cuticles. Similarly, their reproduction and development are varied; all terrestrial species use internal fertilization, but this is sometimes by indirect transfer of the sperm via an appendage or the ground, rather than by direct injection. Aquatic species use either internal or external fertilization. Almost all arthropods lay eggs, with many species giving birth to live young after the eggs have hatched inside the mother; but a few are genuinely viviparous, such as aphids. Arthropod hatchlings vary from miniature adults to grubs and caterpillars that lack jointed limbs and eventually undergo a total metamorphosis to produce the adult form. The level of maternal care for hatchlings varies from nonexistent to the prolonged care provided by social insects.

    The evolutionary ancestry of arthropods dates back to the Cambrian period. The group is generally regarded as monophyletic, and many analyses support the placement of arthropods with cycloneuralians (or their constituent clades) in a superphylum Ecdysozoa. Overall, however, the basal relationships of animals are not yet well resolved. Likewise, the relationships between various arthropod groups are still actively debated. Today, arthropods contribute to the human food supply both directly as food, and more importantly, indirectly as pollinators of crops. Some species are known to spread severe disease to humans, livestock, and crops.

    Etymology

    [edit]

    The word arthropod comes from the Greek ἄρθρον árthron ‘joint‘, and πούς pous (gen. ποδός podos) ‘foot‘ or ‘leg‘, which together mean “jointed leg”,[4] with the word “arthropodes” initially used in anatomical descriptions by Barthélemy Charles Joseph Dumortier published in 1832.[1] The designation “Arthropoda” appears to have been first used in 1843 by the German zoologist Johann Ludwig Christian Gravenhorst (1777–1857).[5][1] The origin of the name has been the subject of considerable confusion, with credit often given erroneously to Pierre André Latreille or Karl Theodor Ernst von Siebold instead, among various others.[1]

    Terrestrial arthropods are often called bugs.[Note 1] The term is also occasionally extended to colloquial names for freshwater or marine crustaceans (e.g., Balmain bugMoreton Bay bugmudbug) and used by physicians and bacteriologists for disease-causing germs (e.g., superbugs),[8] but entomologists reserve this term for a narrow category of “true bugs“, insects of the order Hemiptera.[8]

    Description

    [edit]

    Arthropods are invertebrates with segmented bodies and jointed limbs.[9] The exoskeleton or cuticles consists of chitin, a polymer of N-Acetylglucosamine.[10] The cuticle of many crustaceans, beetle mites, the clades Penetini and Archaeoglenini inside the beetle subfamily Phrenapatinae,[11] and millipedes (except for bristly millipedes) is also biomineralized with calcium carbonate. Calcification of the endosternite, an internal structure used for muscle attachments, also occur in some opiliones,[12] and the pupal cuticle of the fly Bactrocera dorsalis contains calcium phosphate.[13]

    Diversity

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    Protaetia cuprea (copper chafer). Beetles are the most diverse order of arthropods.

    Arthropoda is the largest animal phylum, with the estimates of the number of arthropod species varying from 1,170,000 to 5~10 million and accounting for over 80 percent of all known living animal species.[14][15] One arthropod sub-group, the insects, includes more described species than any other taxonomic class.[16] The total number of species remains difficult to determine. This is due to the census modeling assumptions projected onto other regions in order to scale up from counts at specific locations applied to the whole world. A study in 1992 estimated that there were 500,000 species of animals and plants in Costa Rica alone, of which 365,000 were arthropods.[16]

    They are important members of marine, freshwater, land and air ecosystems and one of only two major animal groups that have adapted to life in dry environments; the other is amniotes, whose living members are reptiles, birds and mammals.[17] Both the smallest and largest arthropods are crustaceans. The smallest belong to the class Tantulocarida, some of which are less than 100 micrometres (0.0039 in) long.[18] The largest are species in the class Malacostraca, with the legs of the Japanese spider crab potentially spanning up to 4 metres (13 ft)[19] and the American lobster reaching weights over 20 kg (44 lbs).

    Segmentation

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    Head

    _______________________

    Thorax

    _______________________

    Abdomen

    _______________________

    Segments and tagmata of an arthropod[17]

    Structure of a biramous appendage.[20]

    The embryos of all arthropods are segmented, built from a series of repeated modules. The last common ancestor of living arthropods probably consisted of a series of undifferentiated segments, each with a pair of appendages that functioned as limbs. However, all known living and fossil arthropods have grouped segments into tagmata in which segments and their limbs are specialized in various ways.[17]

    The three-part appearance of many insect bodies and the two-part appearance of spiders is a result of this grouping.[21] There are no external signs of segmentation in mites.[17] Arthropods also have two body elements that are not part of this serially repeated pattern of segments, an ocular somite at the front, where the mouth and eyes originated,[17][22] and a telson at the rear, behind the anus.

    Originally, it seems that each appendage-bearing segment had two separate pairs of appendages: an upper, unsegmented exite and a lower, segmented endopod. These would later fuse into a single pair of biramous appendages united by a basal segment (protopod or basipod), with the upper branch acting as a gill while the lower branch was used for locomotion.[23][24][20] The appendages of most crustaceans and some extinct taxa such as trilobites have another segmented branch known as exopods, but whether these structures have a single origin remain controversial.[25][26][20] In some segments of all known arthropods, the appendages have been modified, for example to form gills, mouth-parts, antennae for collecting information,[21] or claws for grasping;[27] arthropods are “like Swiss Army knives, each equipped with a unique set of specialized tools.”[17] In many arthropods, appendages have vanished from some regions of the body; it is particularly common for abdominal appendages to have disappeared or be highly modified.[17]

    0:  Ocular somite

    1-2…: ∎ Somites of head tagma (head / cephalon / prosoma)

    …7-10: ∎ Abdominal somites (further somites omitted)

    P: ∎ Protocerebral somite / appendage

    D: ∎ Deutocerebral somite / appendage

    T: ∎ Tritocerebral somite / appendage

    L: ∎ Walking leg / abdomen

    : Extinct taxa

    Alignment of anterior body segments and appendages across various arthropod taxa, based on the observations until the mid 2010s. Head regions in black.[22][28]

    The most conspicuous specialization of segments is in the head. The four major groups of arthropods – Chelicerata (sea spidershorseshoe crabs and arachnids), Myriapoda (symphylanspauropodsmillipedes and centipedes), Pancrustacea (oligostracanscopepodsmalacostracansbranchiopodshexapods, etc.), and the extinct Trilobita – have heads formed of various combinations of segments, with appendages that are missing or specialized in different ways.[17][28] Despite myriapods and hexapods both having similar head combinations, hexapods are deeply nested within crustacea while myriapods are not, so these traits are believed to have evolved separately. In addition, some extinct arthropods, such as Marrella, belong to none of these groups, as their heads are formed by their own particular combinations of segments and specialized appendages.[29]

    Working out the evolutionary stages by which all these different combinations could have appeared is so difficult that it has long been known as “The arthropod head problem“.[30] In 1960, R. E. Snodgrass even hoped it would not be solved, as he found trying to work out solutions to be fun.[Note 2]

    Exoskeleton

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    Main article: Arthropod exoskeleton

    Illustration of an idealized arthropod exoskeleton.

    Arthropod exoskeletons are made of cuticle, a non-cellular material secreted by the epidermis.[17] Their cuticles vary in the details of their structure, but generally consist of three main layers: the epicuticle, a thin outer waxy coat that moisture-proofs the other layers and gives them some protection; the exocuticle, which consists of chitin and chemically hardened proteins; and the endocuticle, which consists of chitin and unhardened proteins. The exocuticle and endocuticle together are known as the procuticle.[32] Each body segment and limb section is encased in hardened cuticle. The joints between body segments and between limb sections are covered by flexible cuticle.[17]

    The exoskeletons of most aquatic crustaceans are biomineralized with calcium carbonate extracted from the water. Some terrestrial crustaceans have developed means of storing the mineral, since on land they cannot rely on a steady supply of dissolved calcium carbonate.[33] Biomineralization generally affects the exocuticle and the outer part of the endocuticle.[32] Two recent hypotheses about the evolution of biomineralization in arthropods and other groups of animals propose that it provides tougher defensive armor,[34] and that it allows animals to grow larger and stronger by providing more rigid skeletons;[35] and in either case a mineral-organic composite exoskeleton is cheaper to build than an all-organic one of comparable strength.[35][36]

    The cuticle may have setae (bristles) growing from special cells in the epidermis. Setae are as varied in form and function as appendages. For example, they are often used as sensors to detect air or water currents, or contact with objects; aquatic arthropods use feather-like setae to increase the surface area of swimming appendages and to filter food particles out of water; aquatic insects, which are air-breathers, use thick felt-like coats of setae to trap air, extending the time they can spend under water; heavy, rigid setae serve as defensive spines.[17]

    Although all arthropods use muscles attached to the inside of the exoskeleton to flex their limbs, some still use hydraulic pressure to extend them, a system inherited from their pre-arthropod ancestors;[37] for example, all spiders extend their legs hydraulically and can generate pressures up to eight times their resting level.[38]

    Moulting

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    Main article: Ecdysis

    cicada climbing out of its exuviae while attached to tree

    The exoskeleton cannot stretch and thus restricts growth. Arthropods, therefore, replace their exoskeletons by undergoing ecdysis (moulting), or shedding the old exoskeleton, the exuviae, after growing a new one that is not yet hardened. Moulting cycles run nearly continuously until an arthropod reaches full size. The developmental stages between each moult (ecdysis) until sexual maturity is reached is called an instar. Differences between instars can often be seen in altered body proportions, colors, patterns, changes in the number of body segments or head width. After moulting, i.e. shedding their exoskeleton, the juvenile arthropods continue in their life cycle until they either pupate or moult again.[39]

    In the initial phase of moulting, the animal stops feeding and its epidermis releases moulting fluid, a mixture of enzymes that digests the endocuticle and thus detaches the old cuticle. This phase begins when the epidermis has secreted a new epicuticle to protect it from the enzymes, and the epidermis secretes the new exocuticle while the old cuticle is detaching. When this stage is complete, the animal makes its body swell by taking in a large quantity of water or air, and this makes the old cuticle split along predefined weaknesses where the old exocuticle was thinnest. It commonly takes several minutes for the animal to struggle out of the old cuticle. At this point, the new one is wrinkled and so soft that the animal cannot support itself and finds it very difficult to move, and the new endocuticle has not yet formed. The animal continues to pump itself up to stretch the new cuticle as much as possible, then hardens the new exocuticle and eliminates the excess air or water. By the end of this phase, the new endocuticle has formed. Many arthropods then eat the discarded cuticle to reclaim its materials.[39]

    Because arthropods are unprotected and nearly immobilized until the new cuticle has hardened, they are in danger both of being trapped in the old cuticle and of being attacked by predators. Moulting may be responsible for 80 to 90% of all arthropod deaths.[39]

    Internal organs

    [edit]

      = heart

      = gut

      = brain / ganglia

     O = eye

    Basic arthropod body structure

    Arthropod bodies are also segmented internally, and the nervous, muscular, circulatory, and excretory systems have repeated components.[17] Arthropods come from a lineage of animals that have a coelom, a membrane-lined cavity between the gut and the body wall that accommodates the internal organs. The strong, segmented limbs of arthropods eliminate the need for one of the coelom’s main ancestral functions, as a hydrostatic skeleton, which muscles compress in order to change the animal’s shape and thus enable it to move. Hence the coelom of the arthropod is reduced to small areas around the reproductive and excretory systems. Its place is largely taken by a hemocoel, a cavity that runs most of the length of the body and through which blood flows.[40]

    Respiration and circulation

    [edit]

    See also: Hemolymph and hemocyte

    Respiration and circulation in a myodocopid ostracod. Simplified transverse section through anterior body and carapace, showing gaseous diffusion through the inner lamella of the carapace (yellow arrows)

    Arthropods have open circulatory systems. Most have a few short, open-ended arteries. In chelicerates and crustaceans, the blood carries oxygen to the tissues, while hexapods use a separate system of tracheae. Many crustaceans and a few chelicerates and tracheates use respiratory pigments to assist oxygen transport. The most common respiratory pigment in arthropods is copper-based hemocyanin; this is used by many crustaceans and a few centipedes. A few crustaceans and insects use iron-based hemoglobin, the respiratory pigment used by vertebrates. As with other invertebrates, the respiratory pigments of those arthropods that have them are generally dissolved in the blood and rarely enclosed in corpuscles as they are in vertebrates.[40]

    The heart is a muscular tube that runs just under the back and for most of the length of the hemocoel. It contracts in ripples that run from rear to front, pushing blood forwards. Sections not being squeezed by the heart muscle are expanded either by elastic ligaments or by small muscles, in either case connecting the heart to the body wall. Along the heart run a series of paired ostia, non-return valves that allow blood to enter the heart but prevent it from leaving before it reaches the front.[40]

    Arthropods have a wide variety of respiratory systems. Small species often do not have any, since their high ratio of surface area to volume enables simple diffusion through the body surface to supply enough oxygen. Crustacea usually have gills that are modified appendages. Many arachnids have book lungs.[41] Tracheae, systems of branching tunnels that run from the openings in the body walls, deliver oxygen directly to individual cells in many insects, myriapods and arachnids.[42]

    Nervous system

    [edit]

    Central nervous system of a nectiopod remipede, showing the presence of both deutocerebrum (dc) and ventral nerve cord (vnc) organized by segmented ganglia.

    Living arthropods have paired main nerve cords running along their bodies below the gut, and in each segment the cords form a pair of ganglia from which sensory and motor nerves run to other parts of the segment. Although the pairs of ganglia in each segment often appear physically fused, they are connected by commissures (relatively large bundles of nerves), which give arthropod nervous systems a characteristic ladder-like appearance. The brain is in the head, encircling and mainly above the esophagus. It consists of the fused ganglia of the acron and one or two of the foremost segments that form the head – a total of three pairs of ganglia in most arthropods, but only two in chelicerates, which do not have antennae or the ganglion connected to them. The ganglia of other head segments are often close to the brain and function as part of it. In insects, these other head ganglia combine into a pair of subesophageal ganglia, under and behind the esophagus. Spiders take this process a step further, as all the segmental ganglia are incorporated into the subesophageal ganglia, which occupy most of the space in the cephalothorax (front “super-segment”).[43]

    Excretory system

    [edit]

    There are two different types of arthropod excretory systems. In aquatic arthropods, the end-product of biochemical reactions that metabolise nitrogen is ammonia, which is so toxic that it needs to be diluted as much as possible with water. The ammonia is then eliminated via any permeable membrane, mainly through the gills.[41] All crustaceans use this system, and its high consumption of water may be responsible for the relative lack of success of crustaceans as land animals.[44] Various groups of terrestrial arthropods have independently developed a different system: the end-product of nitrogen metabolism is uric acid, which can be excreted as dry material; the Malpighian tubule system filters the uric acid and other nitrogenous waste out of the blood in the hemocoel, and dumps these materials into the hindgut, from which they are expelled as feces.[44] Most aquatic arthropods and some terrestrial ones also have organs called nephridia (“little kidneys“), which extract other wastes for excretion as urine.[44]

    Senses

    [edit]

    Long bristles (setae) of a Tliltocatl albopilosus tarantula

    The stiff cuticles of arthropods would block out information about the outside world, except that they are penetrated by many sensors or connections from sensors to the nervous system. In fact, arthropods have modified their cuticles into elaborate arrays of sensors. Various touch sensors, mostly setae, respond to different levels of force, from strong contact to very weak air currents. Chemical sensors provide equivalents of taste and smell, often by means of setae. Pressure sensors often take the form of membranes that function as eardrums, but are connected directly to nerves rather than to auditory ossicles. The antennae of most hexapods include sensor packages that monitor humidity, moisture and temperature.[45]

    Most arthropods lack balance and acceleration sensors, and rely on their eyes to tell them which way is up. The self-righting behavior of cockroaches is triggered when pressure sensors on the underside of the feet report no pressure. However, many malacostracan crustaceans have statocysts, which provide the same sort of information as the balance and motion sensors of the vertebrate inner ear.[45]

    The proprioceptors of arthropods, sensors that report the force exerted by muscles and the degree of bending in the body and joints, are well understood. However, little is known about what other internal sensors arthropods may have.[45]

    Optical

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    Main article: Arthropod eye

    Arthropod eyes
    Head of a wasp with three ocelli (center), and compound eyes at the left and right

    Most arthropods have sophisticated visual systems that include one or more usually both of compound eyes and pigment-cup ocelli (“little eyes”). In most cases, ocelli are only capable of detecting the direction from which light is coming, using the shadow cast by the walls of the cup. However, the main eyes of spiders are pigment-cup ocelli that are capable of forming images,[45] and those of jumping spiders can rotate to track prey.[46]

    Compound eyes consist of fifteen to several thousand independent ommatidia, columns that are usually hexagonal in cross section. Each ommatidium is an independent sensor, with its own light-sensitive cells and often with its own lens and cornea.[45] Compound eyes have a wide field of view, and can detect fast movement and, in some cases, the polarization of light.[47] On the other hand, the relatively large size of ommatidia makes the images rather coarse, and compound eyes are shorter-sighted than those of birds and mammals – although this is not a severe disadvantage, as objects and events within 20 cm (8 in) are most important to most arthropods.[45] Several arthropods have color vision, and that of some insects has been studied in detail; for example, the ommatidia of bees contain receptors for both green and ultra-violet.[45]

    Olfaction

    [edit]

    Further information: Insect olfaction

    Reproduction and development

    [edit]

    Aphid giving birth to live young from an unfertilized egg

    Harvestmen mating

    A few arthropods, such as barnacles, are hermaphroditic, that is, each can have the organs of both sexes. However, individuals of most species remain of one sex their entire lives.[48] A few species of insects and crustaceans can reproduce by parthenogenesis, especially if conditions favor a “population explosion”. However, most arthropods rely on sexual reproduction, and parthenogenetic species often revert to sexual reproduction when conditions become less favorable.[49] The ability to undergo meiosis is widespread among arthropods including both those that reproduce sexually and those that reproduce parthenogenetically.[50] Although meiosis is a major characteristic of arthropods, understanding of its fundamental adaptive benefit has long been regarded as an unresolved problem,[51] that appears to have remained unsettled.

    Aquatic arthropods may breed by external fertilization, as for example horseshoe crabs do,[52] or by internal fertilization, where the ova remain in the female’s body and the sperm must somehow be inserted. All known terrestrial arthropods use internal fertilization. Opiliones (harvestmen), millipedes, and some crustaceans use modified appendages such as gonopods or penises to transfer the sperm directly to the female. However, most male terrestrial arthropods produce spermatophores, waterproof packets of sperm, which the females take into their bodies. A few such species rely on females to find spermatophores that have already been deposited on the ground, but in most cases males only deposit spermatophores when complex courtship rituals look likely to be successful.[48]

    The nauplius larva of a penaeid shrimp

    Most arthropods lay eggs,[48] but scorpions are ovoviviparous: they produce live young after the eggs have hatched inside the mother, and are noted for prolonged maternal care.[53] Newly born arthropods have diverse forms, and insects alone cover the range of extremes. Some hatch as apparently miniature adults (direct development), and in some cases, such as silverfish, the hatchlings do not feed and may be helpless until after their first moult. Many insects hatch as grubs or caterpillars, which do not have segmented limbs or hardened cuticles, and metamorphose into adult forms by entering an inactive phase in which the larval tissues are broken down and re-used to build the adult body.[54] Dragonfly larvae have the typical cuticles and jointed limbs of arthropods but are flightless water-breathers with extendable jaws.[55] Crustaceans commonly hatch as tiny nauplius larvae that have only three segments and pairs of appendages.[48]

    Evolutionary history

    [edit]

    See also: Phylogeny of insects

    Last common ancestor

    [edit]

    Based on the distribution of shared plesiomorphic features in extant and fossil taxa, the last common ancestor of all arthropods is inferred to have been as a modular organism with each module covered by its own sclerite (armor plate) and bearing a pair of biramous limbs.[56] However, whether the ancestral limb was uniramous or biramous is far from a settled debate. This Ur-arthropod had a ventral mouth, pre-oral antennae and dorsal eyes at the front of the body. It was assumed to have been a non-discriminatory sediment feeder, processing whatever sediment came its way for food,[56] but fossil findings hint that the last common ancestor of both arthropods and Priapulida shared the same specialized mouth apparatus: a circular mouth with rings of teeth used for capturing animal prey.[57]

    Fossil record

    [edit]

    Marrella, one of the puzzling arthropods from the Burgess Shale

    It has been proposed that the Ediacaran animals Parvancorina and Spriggina, from around 555 million years ago, were arthropods,[58][59][60] but later study shows that their affinities of being origin of arthropods are not reliable.[61] Small arthropods with bivalve-like shells have been found in Early Cambrian fossil beds dating 541 to 539 million years ago in China and Australia.[62][63][64][65] The earliest Cambrian trilobite fossils are about 520 million years old, but the class was already quite diverse and worldwide, suggesting that they had been around for quite some time.[66] In the Maotianshan shales, which date back to 518 million years ago, arthropods such as Kylinxia and Erratus have been found that seem to represent transitional fossils between stem (e.g. Radiodonta such as Anomalocaris) and true arthropods.[67][68][24] Re-examination in the 1970s of the Burgess Shale fossils from about 505 million years ago identified many arthropods, some of which could not be assigned to any of the well-known groups, and thus intensified the debate about the Cambrian explosion.[69][70][71] A fossil of Marrella from the Burgess Shale has provided the earliest clear evidence of moulting.[72]

    Kylinxia may be a key transitional fossil between stem-arthropods and true arthropods.[67]
    Yicaris is one of the earliest crustaceans that have been discovered.

    The earliest fossil of likely pancrustacean larvae date from about 514 million years ago in the Cambrian, followed by unique taxa like Yicaris and Wujicaris.[73] The purported pancrustacean/crustacean affinity of some cambrian arthropods (e.g. PhosphatocopinaBradoriida and Hymenocarine taxa like waptiids)[74][75][76] were disputed by subsequent studies, as they might branch before the mandibulate crown-group.[73] Within the pancrustacean crown-group, only MalacostracaBranchiopoda and Pentastomida have Cambrian fossil records.[73] Crustacean fossils are common from the Ordovician period onwards.[77] They have remained almost entirely aquatic, possibly because they never developed excretory systems that conserve water.[44]

    Arthropods provide the earliest identifiable fossils of land animals, from about 419 million years ago in the Late Silurian,[41] and terrestrial tracks from about 450 million years ago appear to have been made by arthropods.[78] Arthropods possessed attributes that were easy coopted for life on land; their existing jointed exoskeletons provided protection against desiccation, support against gravity and a means of locomotion that was not dependent on water.[79] Around the same time the aquatic, scorpion-like eurypterids became the largest ever arthropods, some as long as 2.5 m (8 ft 2 in).[80]

    The oldest known arachnid is the trigonotarbid Palaeotarbus jerami, from about 420 million years ago in the Silurian period.[81][Note 3] Attercopus fimbriunguis, from 386 million years ago in the Devonian period, bears the earliest known silk-producing spigots, but its lack of spinnerets means it was not one of the true spiders,[83] which first appear in the Late Carboniferous over 299 million years ago.[84] The Jurassic and Cretaceous periods provide a large number of fossil spiders, including representatives of many modern families.[85] The oldest known scorpion is Dolichophonus, dated back to 436 million years ago.[86] Lots of Silurian and Devonian scorpions were previously thought to be gill-breathing, hence the idea that scorpions were primitively aquatic and evolved air-breathing book lungs later on.[87] However subsequent studies reveal most of them lacking reliable evidence for an aquatic lifestyle,[88] while exceptional aquatic taxa (e.g. Waeringoscorpio) most likely derived from terrestrial scorpion ancestors.[89]

    The oldest fossil record of hexapod is obscure, as most of the candidates are poorly preserved and their hexapod affinities had been disputed. An iconic example is the Devonian Rhyniognatha hirsti, dated at 396 to 407 million years ago, its mandibles are thought to be a type found only in winged insects, which suggests that the earliest insects appeared in the Silurian period.[90] However later study shows that Rhyniognatha most likely represent a myriapod, not even a hexapod.[91] The unequivocal oldest known hexapod is the springtail Rhyniella, from about 410 million years ago in the Devonian period, and the palaeodictyopteran Delitzschala bitterfeldensis, from about 325 million years ago in the Carboniferous period, respectively.[91] The Mazon Creek lagerstätten from the Late Carboniferous, about 300 million years ago, include about 200 species, some gigantic by modern standards, and indicate that insects had occupied their main modern ecological niches as herbivoresdetritivores and insectivores. Social termites and ants first appear in the Early Cretaceous, and advanced social bees have been found in Late Cretaceous rocks but did not become abundant until the Middle Cenozoic.[92]

    External phylogeny

    [edit]

    The velvet worm (Onychophora) is closely related to arthropods[93]

    From 1952 to 1977, zoologist Sidnie Manton and others argued that arthropods are polyphyletic, in other words, that they do not share a common ancestor that was itself an arthropod. Instead, they proposed that three separate groups of “arthropods” evolved separately from common worm-like ancestors: the chelicerates, including spiders and scorpions; the crustaceans; and the uniramia, consisting of onychophoransmyriapods and hexapods. These arguments usually bypassed trilobites, as the evolutionary relationships of this class were unclear. Proponents of polyphyly argued the following: that the similarities between these groups are the results of convergent evolution, as natural consequences of having rigid, segmented exoskeletons; that the three groups use different chemical means of hardening the cuticle; that there were significant differences in the construction of their compound eyes; that it is hard to see how such different configurations of segments and appendages in the head could have evolved from the same ancestor; and that crustaceans have biramous limbs with separate gill and leg branches, while the other two groups have uniramous limbs in which the single branch serves as a leg.[94]

    onychophorans
    includes Aysheaia and Peripatus
    armored lobopodsincludes Hallucigenia and Microdictyondinocarids (s.l.)anomalocarid-includes modern tardigrades as
    well as extinct animals like
    Kerygmachela and Opabinialike taxa (s.l.)anomalocarids (s.s.)Anomalocarisarthropodsincludes living groups and
    extinct forms such as trilobites

    Simplified summary of Budd’s (1996) “broad-scale” cladogram[93]

    Further analysis and discoveries in the 1990s reversed this view, and led to acceptance that arthropods are monophyletic, in other words they are inferred to share a common ancestor that was itself an arthropod.[95][96] For example, Graham Budd‘s analyses of Kerygmachela in 1993 and of Opabinia in 1996 convinced him that these animals were similar to onychophorans and to various Early Cambrian “lobopods“, and he presented an “evolutionary family tree” that showed these as “aunts” and “cousins” of all arthropods.[93][97] These changes made the scope of the term “arthropod” unclear, and Claus Nielsen proposed that the wider group should be labelled “Panarthropoda” (“all the arthropods”) while the animals with jointed limbs and hardened cuticles should be called “Euarthropoda” (“true arthropods”).[98]

    A contrary view was presented in 2003, when Jan Bergström and Hou Xian-guang argued that, if arthropods were a “sister-group” to any of the anomalocarids, they must have lost and then re-evolved features that were well-developed in the anomalocarids. The earliest known arthropods ate mud in order to extract food particles from it, and possessed variable numbers of segments with unspecialized appendages that functioned as both gills and legs. Anomalocarids were, by the standards of the time, huge and sophisticated predators with specialized mouths and grasping appendages, fixed numbers of segments some of which were specialized, tail fins, and gills that were very different from those of arthropods. In 2006, they suggested that arthropods were more closely related to lobopods and tardigrades than to anomalocarids.[99] In 2014, it was found that tardigrades were more closely related to arthropods than velvet worms.[100]

    ProtostomesSpiralia (annelidsmolluscsbrachiopodschaetognatha, etc.)   EcdysozoaNematoida (nematodes and close relatives)  Scalidophora (priapulids and Kinorhyncha, and LoriciferaPanarthropodaOnychophorans TactopodaTardigrades EuarthropodaChelicerates   MandibulataEuthycarcinoids Myriapods  PancrustaceaCrustaceans Hexapods 
    Relationships of Ecdysozoa to each other and to annelids, etc.,[101][failed verification] including euthycarcinoids[102]

    Higher up the “family tree”, the Annelida have traditionally been considered the closest relatives of the Panarthropoda, since both groups have segmented bodies, and the combination of these groups was labelled Articulata. There had been competing proposals that arthropods were closely related to other groups such as nematodespriapulids and tardigrades, but these remained minority views because it was difficult to specify in detail the relationships between these groups.

    In the 1990s, molecular phylogenetic analyses of DNA sequences produced a coherent scheme showing arthropods as members of a superphylum labelled Ecdysozoa (“animals that moult”), which contained nematodes, priapulids and tardigrades but excluded annelids. This was backed up by studies of the anatomy and development of these animals, which showed that many of the features that supported the Articulata hypothesis showed significant differences between annelids and the earliest Panarthropods in their details, and some were hardly present at all in arthropods. This hypothesis groups annelids with molluscs and brachiopods in another superphylum, Lophotrochozoa.

    If the Ecdysozoa hypothesis is correct, then segmentation of arthropods and annelids either has evolved convergently or has been inherited from a much older ancestor and subsequently lost in several other lineages, such as the non-arthropod members of the Ecdysozoa.[103][101]

    Internal phylogeny

    [edit]

    Early arthropods

    [edit]

    Further information: Deuteropoda

    Arthropod fossil phylogeny[104]
    Arthropodagiant lobopodians †gilled lobopodians †Radiodonta †DeuteropodaChelicerataMegacheira †Artiopoda †Isoxyida †Mandibulata
    Summarized cladogram of the relationships between extinct arthropod groups. For more, see Deuteropoda.

    Aside from the four major living groups (crustaceanscheliceratesmyriapods and hexapods), a number of fossil forms, mostly from the early Cambrian period, are difficult to place taxonomically, either from lack of obvious affinity to any of the main groups or from clear affinity to several of them. Marrella was the first one to be recognized as significantly different from the well-known groups.[29]

    Modern interpretations of the basal, extinct stem-group of Arthropoda recognised the following groups, from most basal to most crownward:[105][104]

    The Deuteropoda is a recently established clade uniting the crown-group (living) arthropods with these possible “upper stem-group” fossils taxa.[105] The clade is defined by important changes to the structure of the head region such as the appearance of a differentiated deutocerebral appendage pair, which excludes more basal taxa like radiodonts and “gilled lobopodians”.[105]

    Controversies remain about the positions of various extinct arthropod groups. Some studies recover Megacheira as closely related to chelicerates, while others recover them as outside the group containing Chelicerate and Mandibulata as stem-group euarthropods.[106] The placement of the Artiopoda (which contains the extinct trilobites and similar forms) is also a frequent subject of dispute.[107] The main hypotheses position them in the clade Arachnomorpha with the Chelicerates. However, one of the newer hypotheses is that the chelicerae have originated from the same pair of appendages that evolved into antennae in the ancestors of Mandibulata, which would place trilobites, which had antennae, closer to Mandibulata than Chelicerata, in the clade Antennulata.[106][108] The fuxianhuiids, usually suggested to be stem-group arthropods, have been suggested to be Mandibulates in some recent studies.[106] The Hymenocarina, a group of bivalved arthropods, previously thought to have been stem-group members of the group, have been demonstrated to be mandibulates based on the presence of mandibles.[104]

    List of arthropod groups and genera († denotes extinct taxa)

    Living arthropods

    [edit]

    See also: List of arthropod orders

    The phylum Arthropoda is typically subdivided into four subphyla, of which one is extinct:[145]

    1. Artiopods are an extinct group of formerly numerous marine arthropods that disappeared in the Permian–Triassic extinction event, though they were in decline prior to this killing blow, having been reduced to a handful of orders in the Late Devonian extinction.[146] They contain groups such as the trilobitesnektaspidsaglaspidids, and the cheloniellids among others.
    2. Chelicerates comprise the marine sea spiders and horseshoe crabs, along with the terrestrial arachnids such as mitesharvestmenspidersscorpions and related organisms characterized by the presence of cheliceraeappendages just above/in front of the mouthparts. Chelicerae appear in scorpions and horseshoe crabs as tiny claws that they use in feeding, but those of spiders have developed as fangs that inject venom.
    3. Myriapods comprise millipedescentipedespauropods and symphylans, characterized by having numerous body segments each of which bearing one or two pairs of legs (or in a few cases being legless). All members are exclusively terrestrial.
    4. Pancrustaceans comprise ostracodsbarnaclescopepodsmalacostracanscephalocaridansbranchiopodsremipedes and hexapods. Most groups are primarily aquatic (two notable exceptions being woodlice and hexapods, which are both purely terrestrial) and are characterized by having biramous appendages. The most abundant group of pancrustaceans are the terrestrial hexapods, which comprise insectsdipluransspringtails, and proturans, with six thoracic legs.

    The phylogeny of the major extant arthropod groups has been an area of considerable interest and dispute.[147] Recent studies strongly suggest that Crustacea, as traditionally defined, is paraphyletic, with Hexapoda having evolved from within it,[148][149] so that Crustacea and Hexapoda form a clade, Pancrustacea. The position of MyriapodaChelicerata and Pancrustacea remains unclear as of April 2012. In some studies, Myriapoda is grouped with Chelicerata (forming Myriochelata);[150][151] in other studies, Myriapoda is grouped with Pancrustacea (forming Mandibulata),[148] or Myriapoda may be sister to Chelicerata plus Pancrustacea.[149]

    The following cladogram shows the internal relationships between all the living classes of arthropods as of the late 2010s,[152][153][154] as well as the estimated timing for some of the clades:[155]

    ArthropodaChelicerataPycnogonidaProsomapodaXiphosuraArachnidaMandibulataMyriapodaChilopodaSymphylaDignathaPauropodaDiplopodaPancrustaceaOligostracaOstracodaMystacocaridaIchthyostracaAltocrustaceaMulticrustaceaCopepodaMalacostracaTantulocaridaThecostracaAllotriocaridaCephalocaridaAthalassocaridaBranchiopodaLabiocaridaRemipediaHexapodaEllipluraCollembolaProturaCercophoraDipluraInsecta440 mya470 mya493 myaCrustaceansEntognaths
    SubphylaClassesMembersExample species
    ChelicerataPycnogonida
    Xiphosura
    Arachnida
    sea spiders
    horseshoe crabs
    harvestmensolifugesmitesscorpionsspidersticks etc.

    Platycryptus undatus
    (ArachnidaAraneae)
    MyriapodaSymphyla
    Pauropoda
    Diplopoda
    Chilopoda
    pseudocentipedes
    hexameroceratanstetrameroceratans
    bristle millipedespill millipedesflat-backed millipedes, etc.
    scutigeromorphslithobiomorphsScolopendromorphs, etc.

    Archispirostreptus gigas
    (DiplopodaSpirostreptida)
    CrustaceaOstracoda
    Mystacocarida
    Pentastomida
    Branchiura
    Thecostraca
    Copepoda
    Malacostraca
    Cephalocarida
    Branchiopoda
    Remipedia
    seed shrimp
    Mystacocaridans
    tongue worms
    fish lice
    barnacles, etc.
    calanoidscyclopoidsmisophrioidssiphonostomatoids, etc.
    mantis shrimpskeleton shrimpwoodliceshrimpcrabslobsterskrill, etc.
    horseshoe shrimp
    fairy shrimptadpole shrimpwater fleasclam shrimp
    remipedes

    Ocypode ceratophthalma
    (MalacostracaDecapoda)
    HexapodaInsecta
    Entognatha
    insects
    springtails, etc.

    Saturnia pavonia
    (InsectaLepidoptera)

    Interaction with humans

    [edit]

    Main article: Arthropods in culture

    See also: Insects as food

    Insects and scorpions on sale in a food stall in Bangkok, Thailand

    Crustaceans such as crabslobsterscrayfishshrimp, and prawns have long been part of human cuisine, and are now raised commercially.[156] Insects and their grubs are at least as nutritious as meat, and are eaten both raw and cooked in many cultures, though not most European, Hindu, and Islamic cultures.[157][158] Cooked tarantulas are considered a delicacy in Cambodia,[159][160][161] and by the Piaroa Indians of southern Venezuela, after the highly irritant hairs – the spider’s main defense system – are removed.[162] Humans also unintentionally eat arthropods in other foods,[163] and food safety regulations lay down acceptable contamination levels for different kinds of food material.[Note 4][Note 5] The intentional cultivation of arthropods and other small animals for human food, referred to as minilivestock, is now emerging in animal husbandry as an ecologically sound concept.[167] Commercial butterfly breeding provides Lepidoptera stock to butterfly conservatories, educational exhibits, schools, research facilities, and cultural events.

    However, the greatest contribution of arthropods to human food supply is by pollination: a 2008 study examined the 100 crops that FAO lists as grown for food, and estimated pollination’s economic value as €153 billion, or 9.5 per cent of the value of world agricultural production used for human food in 2005.[168] Besides pollinating, bees produce honey, which is the basis of a rapidly growing industry and international trade.[169]

    The red dye cochineal, produced from a Central American species of insect, was economically important to the Aztecs and Mayans.[170] While the region was under Spanish control, it became Mexico‘s second most-lucrative export,[171] and is now regaining some of the ground it lost to synthetic competitors.[172] Shellac, a resin secreted by a species of insect native to southern Asia, was historically used in great quantities for many applications in which it has mostly been replaced by synthetic resins, but it is still used in woodworking and as a food additive. The blood of horseshoe crabs contains a clotting agent, Limulus Amebocyte Lysate, which is now used to test that antibiotics and kidney machines are free of dangerous bacteria, and to detect spinal meningitisForensic entomology uses evidence provided by arthropods to establish the time and sometimes the place of death of a human, and in some cases the cause.[173] Recently insects have also gained attention as potential sources of drugs and other medicinal substances.[174]

    The relative simplicity of the arthropods’ body plan, allowing them to move on a variety of surfaces both on land and in water, have made them useful as models for robotics. The redundancy provided by segments allows arthropods and biomimetic robots to move normally even with damaged or lost appendages.[175][176]

    Disease[177]InsectCases per yearDeaths per year
    MalariaAnopheles mosquito267 M1 to 2 M
    Dengue feverAedes mosquito5 M5,000
    Yellow feverAedes mosquito4,4321,177
    FilariasisCulex mosquito250 Munknown

    Although arthropods are the most numerous phylum on Earth, and thousands of arthropod species are venomous, they inflict relatively few serious bites and stings on humans. Far more serious are the effects on humans of diseases like malaria carried by blood-sucking insects. Other blood-sucking insects infect livestock with diseases that kill many animals and greatly reduce the usefulness of others.[177] Ticks can cause tick paralysis and several parasite-borne diseases in humans.[178] A few of the closely related mites also infest humans, causing intense itching,[179] and others cause allergic diseases, including hay feverasthma, and eczema.[180]

    Many species of arthropods, principally insects but also mites, are agricultural and forest pests.[181][182] The mite Varroa destructor has become the largest single problem faced by beekeepers worldwide.[183] Efforts to control arthropod pests by large-scale use of pesticides have caused long-term effects on human health and on biodiversity.[184] Increasing arthropod resistance to pesticides has led to the development of integrated pest management using a wide range of measures including biological control.[181] Predatory mites may be useful in controlling some mite pests.[185][186]

  • Art

    Art describes a diverse range of cultural activity centered around works utilizing creative or imaginative talents, which are expected to evoke a worthwhile experience,[1] generally through an expression of emotional power, conceptual ideas, technical proficiency, and/or beauty.[2][3][4]

    There is no generally agreed definition of what constitutes art,[5][6][7] and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are paintingsculpture, and architecture.[8] Theatredance, and other performing arts, as well as literaturemusicfilm and other media such as interactive media, are included in a broader definition of “the arts“.[2][9] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.

    Visual artworks: (clockwise from upper left) an 1887 self-portrait by Vincent van Gogh; a female ancestor figure by a Chokwe artist; detail from The Birth of Venus (c. 1484–1486) by Sandro Botticelli; and an OkinawanShisa lion

    The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.[10] The resulting artworks are studied in the professional fields of art criticism and the history of art.

    Overview

    In the perspective of the history of art,[11] artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of “artistic works” does not fit well outside modern Western societies.[12] One early sense of the definition of art is closely related to the older Latin meaning, which roughly translates to “skill” or “craft”, as associated with words such as “artisan”. English words derived from this meaning include artifactartificialartificemedical arts, and military arts. However, there are many other colloquial uses of the word, all with some relation to its etymology.

    20th-century bottle, Twa peoples, Rwanda. Artistic works may serve practical functions, in addition to their decorative value.

    Over time, philosophers like PlatoAristotleSocrates and Immanuel Kant, among others, questioned the meaning of art.[13] Several dialogues in Plato tackle questions about art, while Socrates says that poetry is inspired by the muses and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the Phaedrus (265a–c), and yet in the Republic wants to outlaw Homer‘s great poetic art, and laughter as well. In Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. The dialogue Ion suggests that Homer’s Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.[14]

    With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner.[15] For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama.[16] Aristotle believed that imitation is natural to mankind and constitutes one of mankind’s advantages over animals.[17]

    The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century.[18] Fine art refers to a skill used to express the artist’s creativity, or to engage the audience’s aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer works of art.

    Within this latter sense, the word art may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience’s experience with the creative skill. The creative arts (art as discipline) are a collection of disciplines which produce artworks (art as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual’s thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.[19]

    Back of a Renaissance oval basin or dish, in the Metropolitan Museum of Art

    Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference.[20] However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.

    The nature of art has been described by philosopher Richard Wollheim as “one of the most elusive of the traditional problems of human culture”.[21] Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle.[22] Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.[22] Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator.[23][24] The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation.[25] George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as “the art world” has conferred “the status of candidate for appreciation”.[26] Larry Shiner has described fine art as “not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old.”[27]

    Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as “a special faculty of the human mind to be classified with religion and science”.[28]

    History

    Main article: History of art

    Löwenmensch figurine, Germany, between 35,000 and 41,000 years old. One of the oldest-known examples of an artistic representation and the oldest confirmed statue ever discovered.[29]

    A shell engraved by Homo erectus was determined to be between 430,000 and 540,000 years old.[30] A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry.[31] A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave.[32] Containers that may have been used to hold paints have been found dating as far back as 100,000 years.[33]

    The oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.

    Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found,[34] but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.

    The first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43,000 and 35,000 BC, so being the first centre of human art.[35][36][37][38]

    Cave paintings, Lascaux, France, c. 17,000 BCE

    Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient EgyptMesopotamiaPersia, India, China, Ancient Greece, Rome, as well as IncaMaya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.[39]

    In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.[40]

    Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.[41]

    The stylized signature of Sultan Mahmud II of the Ottoman Empire was written in Islamic calligraphy. It reads “Mahmud Khan son of Abdulhamid is forever victorious”.
    The Great Mosque of Kairouan in Tunisia, also called the Mosque of Uqba, is one of the finest, most significant and best preserved artistic and architectural examples of early great mosques. Dated in its present state from the 9th century, it is the ancestor and model of all the mosques in the western Islamic lands.[42]

    In the east, Islamic art‘s rejection of iconography led to emphasis on geometric patternscalligraphy, and architecture.[43] Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning Terracotta Army of Emperor Qin[44]), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition.[45] Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.[46]

    Chinese painting by Song dynasty artist Ma Lin, c. 1250. 24.8 × 25.2 cm

    The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake‘s portrayal of Newton as a divine geometer,[47] or David‘s propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic artSymbolismimpressionism and fauvism among others.[48][49]

    The history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of ImpressionismExpressionismFauvismCubismDadaismSurrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.[50]

    Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, “It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist.”[51] Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.[52]

    In The Origin of the Work of Art, Martin Heidegger, a German philosopher and seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which “that which is” can be revealed. Works of art are not merely representations of the way things are, but actually produce a community’s shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.

    Historically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.[53][54][55]

    Forms, genres, media, and styles

    Napoleon I on his Imperial Throne by Ingres (French, 1806), oil on canvas

    Main article: The arts

    The creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form.[56] Art form refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae),[57] such as colorcontourdimensionmediummelodyspacetexture, and value. Form may also include Design principles, such as arrangement, balancecontrastemphasisharmonyproportionproximity, and rhythm.[58]

    In general there are three schools of philosophy regarding art, focusing respectively on form, content, and context.[58] Extreme Formalism is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form.[59] Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content—i.e., denotations and connotations—while others prefer terms like meaning and significance.[58]

    Extreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded.[60] It defines the subject as the persons or idea represented,[61] and the content as the artist’s experience of that subject.[62] For example, the composition of Napoleon I on his Imperial Throne is partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is Napoleon, and the content is Ingres‘s representation of Napoleon as “Emperor-God beyond time and space”.[58] Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is “socially unhealthy, philosophically unreal, and politically unwise”.[58]

    Finally, the developing theory of post-structuralism studies art’s significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work.[63] The cultural context often reduces to the artist’s techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. Art criticism continues to grow and develop alongside art.[58]

    Skill and craft

    See also: Conceptual art and artistic skill

    The Creation of Adam, detail from Michelangelo‘s fresco in the Sistine Chapel (1511)

    Art can connote a sense of trained ability or mastery of a medium. Art can also refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.[64]

    There is an understanding that is reached with the material as a result of handling it, which facilitates one’s thought processes. A common view is that the epithet art, particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill.[65] Rembrandt‘s work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity.[66] At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency,[67] yet at nearly the same time the artist who would become the era’s most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.[68][69]

    Detail of Leonardo da Vinci‘s Mona Lisa, c. 1503–1506, showing the painting technique of sfumato

    A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp‘s Fountain is among the first examples of pieces wherein the artist used found objects (“ready-made”) and exercised no traditionally recognised set of skills.[70] Tracey Emin‘s My Bed, or Damien Hirst‘s The Physical Impossibility of Death in the Mind of Someone Living follow this example. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst’s celebrity is founded entirely on his ability to produce shocking concepts.[71] The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art.[72]

    Purpose

    Navajo rug made c. 1880
    Mozarabic Beatus miniature. Spain, late 10th century

    Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of art is “vague”, but that it has had many unique, different reasons for being created. Some of these functions of art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss).[73]

    Non-motivated functions

    The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.[73]

    1. Basic human instinct for harmony, balance, rhythm. Art at this level is not an action or an object, but an internal appreciation of balance and harmony (beauty), and therefore an aspect of being human beyond utility.Imitation, then, is one instinct of our nature. Next, there is the instinct for ‘harmony’ and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry. – Aristotle[74]
    2. Experience of the mysterious. Art provides a way to experience one’s self in relation to the universe. This experience may often come unmotivated, as one appreciates art, music or poetry.The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. – Albert Einstein[75]
    3. Expression of the imagination. Art provides a means to express the imagination in non-grammatic ways that are not tied to the formality of spoken or written language. Unlike words, which come in sequences and each of which have a definite meaning, art provides a range of forms, symbols and ideas with meanings that are malleable.Jupiter’s eagle [as an example of art] is not, like logical (aesthetic) attributes of an object, the concept of the sublimity and majesty of creation, but rather something else—something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken. – Immanuel Kant[76]
    4. Ritualistic and symbolic functions. In many cultures, art is used in rituals, performances and dances as a decoration or symbol. While these often have no specific utilitarian (motivated) purpose, anthropologists know that they often serve a purpose at the level of meaning within a particular culture. This meaning is not furnished by any one individual, but is often the result of many generations of change, and of a cosmological relationship within the culture.Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term ‘art’. – Silva Tomaskova[77]

    Motivated functions

    Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) sell a product, or used as a form of communication.[73][78]

    1. Communication. Art, at its simplest, is a form of communication. As most forms of communication have an intent or goal directed toward another individual, this is a motivated purpose. Illustrative arts, such as scientific illustration, are a form of art as communication. Maps are another example. However, the content need not be scientific. Emotions, moods and feelings are also communicated through art.[Art is a set of] artefacts or images with symbolic meanings as a means of communication. – Steve Mithen[79]
    2. Art as entertainment. Art may seek to bring about a particular emotion or mood, for the purpose of relaxing or entertaining the viewer. This is often the function of the art industries of motion pictures and video games.[80]
    3. The Avant-Garde. Art for political change. One of the defining functions of early 20th-century art has been to use visual images to bring about political change. Art movements that had this goal—DadaismSurrealismRussian constructivism, and Abstract Expressionism, among others—are collectively referred to as the avant-garde arts.By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement. I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog’s life. – André Breton (Surrealism)[81]
    4. Art as a “free zone”, removed from the action of the social censure. Unlike the avant-garde movements, which wanted to erase cultural differences in order to produce new universal values, contemporary art has enhanced its tolerance towards cultural differences as well as its critical and liberating functions (social inquiry, activism, subversion, deconstruction, etc.), becoming a more open place for research and experimentation.[82]
    5. Art for social inquiry, subversion or anarchy. While similar to art for political change, subversive or deconstructivist art may seek to question aspects of society without any specific political goal. In this case, the function of art may be used to criticize some aspect of society. Graffiti art and other types of street art are graphics and images that are spray-painted or stencilled on publicly viewable walls, buildings, buses, trains, and bridges, usually without permission. Certain art forms, such as graffiti, may also be illegal when they break laws (in this case vandalism).
    6. Art for social causes. Art can be used to raise awareness for a large variety of causes. A number of art activities were aimed at raising awareness of autism,[83][84][85] cancer,[86][87][88] human trafficking,[89][90] and a variety of other topics, such as ocean conservation,[91] human rights in Darfur,[92] murdered and missing Aboriginal women,[93] elder abuse,[94] and pollution.[95] Trashion, using trash to make fashion, practiced by artists such as Marina DeBris is one example of using art to raise awareness about pollution.
    7. Art for psychological and healing purposes. Art is also used by art therapists, psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing Series, for example, is used to determine the personality and emotional functioning of a patient. The end product is not the principal goal in this case, but rather a process of healing, through creative acts, is sought. The resultant piece of artwork may also offer insight into the troubles experienced by the subject and may suggest suitable approaches to be used in more conventional forms of psychiatric therapy.[96]
    8. Art for propaganda, or commercialism. Art is often used as a form of propaganda, and thus can be used to subtly influence popular conceptions or mood. In a similar way, art that tries to sell a product also influences mood and emotion. In both cases, the purpose of art here is to subtly manipulate the viewer into a particular emotional or psychological response toward a particular idea or object.[97]
    9. Art as a fitness indicator. It has been argued that the ability of the human brain by far exceeds what was needed for survival in the ancestral environment. One evolutionary psychology explanation for this is that the human brain and associated traits (such as artistic ability and creativity) are the human equivalent of the peacock‘s tail. The purpose of the male peacock’s extravagant tail has been argued to be to attract females (see also Fisherian runaway and handicap principle). According to this theory superior execution of art was evolutionarily important because it attracted mates.[98]

    The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.

    Steps

    Art can be divided into any number of steps one can make an argument for. This section divides the creative process into broad three steps, but there is no consensus on an exact number.[99]

    Preparation

    The Thinker in The Gates of Hell at the Musée Rodin

    In the first step, the artist envisions the art in their mind. By imagining what their art would look like, the artist begins the process of bringing the art into existence. Preparation of art may involve approaching and researching the subject matter. Artistic inspiration is one of the main drivers of art, and may be considered to stem from instinct, impressions, and feelings.[99]

    Creation

    The Great Wave off Kanagawa, the first in Hokusai‘s c. 1830–1832 series Thirty-six Views of Mount Fuji

    In the second step, the artist executes the creation of their work. The creation of a piece can be affected by factors such as the artist’s moodsurroundings, and mental state. For example, The Black Paintings by Francisco de Goya, created in the elder years of his life, are thought to be so bleak because he was in isolation and because of his experience with war. He painted them directly on the walls of his apartment in Spain, and most likely never discussed them with anyone.[100] The Beatles stated drugs such as LSD and cannabis influenced some of their greatest hits, such as Revolver.[101] Trial and error are considered an integral part of the creation process.[99]

    Appreciation

    The last step is art appreciation, which has the sub-topic of critique. In one study, over half of visual arts students agreed that reflection is an essential step of the art process.[99] According to education journals, the reflection of art is considered an essential part of the experience.[102][103] However an important aspect of art is that others may view and appreciate it as well. While many focus on whether those viewing/listening/etc. believe the art to be good/successful or not, art has profound value beyond its commercial success as a provider of information and health in society.[104] Art enjoyment can bring about a wide spectrum of emotion due to beauty. Some art is meant to be practical, with its analysis studious, meant to stimulate discourse.[105]

    Public access

    The Metropolitan Museum of Art in Manhattan. Museums are important forums for the display of visual art.

    Since ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society.[106]

    Nevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood. In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite,[107] though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East.[108] Once coins were widely used, these also became an art form that reached the widest range of society.[109]

    Another important innovation came in the 15th century in Europe, when printmaking began with small woodcuts, mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations.[110] Popular prints of many different sorts have decorated homes and other places for centuries.[111]

    Kunstmuseum Basel, the Museum of Art in Basel, Switzerland, is the oldest public museum of art in the world.

    In 1661, the city of Basel, in Switzerland, opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries.[112]

    Public buildings and monuments, secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design. Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests.[113] Many areas of royal palaces, castles and the houses of the social elite were often generally accessible, and large parts of the art collections of such people could often be seen, either by anybody, or by those able to pay a small price, or those wearing the correct clothes, regardless of who they were, as at the Palace of Versailles, where the appropriate extra accessories (silver shoe buckles and a sword) could be hired from shops outside.[114]

    Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century.[115] In Italy the art tourism of the Grand Tour became a major industry from the Renaissance onwards, and governments and cities made efforts to make their key works accessible. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum, established in 1753. The Uffizi in Florence opened entirely as a gallery in 1765, though this function had been gradually taking the building over from the original civil servants’ offices for a long time before.[116] The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries open to the public existed in Vienna, Munich and other capitals. The opening of the Musée du Louvre during the French Revolution (in 1793) as a public museum for much of the former French royal collection certainly marked an important stage in the development of public access to art, transferring ownership to a republican state, but was a continuation of trends already well established.[117]

    Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found.[118] Thus, the museum itself is not only a blunt stage for the presentation of art, but plays an active and vital role in the overall perception of art in modern society.

    Museums in the United States tend to be gifts from the very rich to the masses. (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.[119]

    There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is “necessary to present something more than mere objects”[120] said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was an idea, it could not be bought and sold. “Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art … substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form … [have] endeavored to undermine the art object qua object.”[121]

    Versailles: Louis Le Vau opened up the interior court to create the expansive entrance cour d’honneur, later copied all over Europe.

    In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works,[122] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. “With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors.”[123]

    Controversies

    Théodore Géricault‘s Raft of the Medusa, c. 1820

    Art has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions. It has been a crucial factor in the history of Islamic art, where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of JesusThe Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.[124][125]

    The content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism, and economic changes in the production of art, the artists’ vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault’s Raft of the Medusa (c. 1820), was in part a political commentary on a recent event. Édouard Manet’s Le Déjeuner sur l’Herbe (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world.[126][127] John Singer Sargent’s Madame Pierre Gautreau (Madam X) (1884), caused a controversy over the reddish pink used to color the woman’s ear lobe, considered far too suggestive and supposedly ruining the high-society model’s reputation.[128][129] The gradual abandonment of naturalism and the depiction of realistic representations of the visual appearance of subjects in the 19th and 20th centuries led to a rolling controversy lasting for over a century.

    Performance by Joseph Beuys, 1978: Everyone an artist – On the way to the libertarian form of the social organism

    In the 20th century, Pablo Picasso’s Guernica (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub’s Interrogation III (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano’s Piss Christ (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ‘s sacrifice and final suffering, submerged in a glass of the artist’s own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.[130][131]

    Theory

    Main article: Aesthetics

    Before Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art’s role as the communication by artifice of an essential truth that could only be found in nature.[132]

    The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.[133]

    Arrival of Modernism

    Composition with Red Blue and Yellow (1930) by Piet Mondrian (Dutch, 1872–1944)

    The arrival of Modernism in the late 19th century led to a radical break in the conception of the function of art,[134] and then again in the late 20th century with the advent of postmodernismClement Greenberg‘s 1960 article “Modernist Painting” defines modern art as “the use of characteristic methods of a discipline to criticize the discipline itself”.[135] Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:

    Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.[135]

    After Greenberg, several important art theorists emerged, such as Michael FriedT. J. ClarkRosalind KraussLinda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg’s definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.[136][137]

    Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comicsbillboards and pornography.[138][139]

    Duchamp once proposed that art is any activity of any kind-everything. However, the way that only certain activities are classified today as art is a social construction.[140] There is evidence that there may be an element of truth to this. In The Invention of Art: A Cultural History, Larry Shiner examines the construction of the modern system of the arts, i.e. fine art. He finds evidence that the older system of the arts before our modern system (fine art) held art to be any skilled human activity; for example, Ancient Greek society did not possess the term art, but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanshipgeometry, carpentry, prophecy, and farming, etc.[141]

    New Criticism and the “intentional fallacy”

    Following Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy. At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.[142][143]

    In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled “The Intentional Fallacy“, in which they argued strongly against the relevance of an author’s intention, or “intended meaning” in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.[144][145]

    In another essay, “The Affective Fallacy“, which served as a kind of sister essay to “The Intentional Fallacy” Wimsatt and Beardsley also discounted the reader’s personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. Ironically, one of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his 1970 essay “Literature in the Reader”.[146][147]

    As summarized by Berys Gaut and Paisley Livingston in their essay “The Creation of Art”: “Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms’ assumption that the artist’s activities and experience were a privileged critical topic.”[148] These authors contend that: “Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work.”[149]

    Gaut and Livingston define the intentionalists as distinct from formalists stating that: “Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works.” They quote Richard Wollheim as stating that, “The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself.”[149]

    “Linguistic turn” and its debate

    The end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the “innocent eye debate” in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.[150]

    Decisive for the linguistic turn debate in art history and the humanities were the works of yet another tradition, namely the structuralism of Ferdinand de Saussure and the ensuing movement of poststructuralism. In 1981, the artist Mark Tansey created a work of art titled The Innocent Eye as a criticism of the prevailing climate of disagreement in the philosophy of art during the closing decades of the 20th century. Influential theorists include Judith ButlerLuce IrigarayJulia KristevaMichel Foucault and Jacques Derrida. The power of language, more specifically of certain rhetorical tropes, in art history and historical discourse was explored by Hayden White. The fact that language is not a transparent medium of thought had been stressed by a very different form of philosophy of language which originated in the works of Johann Georg Hamann and Wilhelm von Humboldt.[151] Ernst Gombrich and Nelson Goodman in his book Languages of Art: An Approach to a Theory of Symbols came to hold that the conceptual encounter with the work of art predominated exclusively over the perceptual and visual encounter with the work of art during the 1960s and 1970s.[152] He was challenged on the basis of research done by the Nobel prize winning psychologist Roger Sperry who maintained that the human visual encounter was not limited to concepts represented in language alone (the linguistic turn) and that other forms of psychological representations of the work of art were equally defensible and demonstrable. Sperry’s view eventually prevailed by the end of the 20th century with aesthetic philosophers such as Nick Zangwill strongly defending a return to moderate aesthetic formalism among other alternatives.[153]

    Classification disputes

    Main article: Classificatory disputes about art

    The original Fountain by Marcel Duchamp, 1917, photographed by Alfred Stieglitz at the 291 after the 1917 Society of Independent Artists exhibit. Stieglitz used a backdrop of The Warriors by Marsden Hartley to photograph the urinal. The exhibition entry tag can be clearly seen.[154]

    Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp‘s Fountain, the movies, J. S. G. Boggs‘ superlative imitations of banknotes, conceptual art, and video games.[155] Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, “the passionate concerns and interests that humans vest in their social life” are “so much a part of all classificatory disputes about art.”[156] According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst‘s and Emin‘s work by arguing “For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all” they are not advancing a definition or theory about art, but questioning the value of Hirst’s and Emin’s work.[157] In 1998, Arthur Danto, suggested a thought experiment showing that “the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object’s arthood.”[158][159]

    Anti-art is a label for art that intentionally challenges the established parameters and values of art;[160] it is a term associated with Dadaism and attributed to Marcel Duchamp just before World War I,[160] when he was making art from found objects.[160] One of these, Fountain (1917), an ordinary urinal, has achieved considerable prominence and influence on art.[160] Anti-art is a feature of work by Situationist International,[161] the lo-fi Mail art movement, and the Young British Artists,[160] though it is a form still rejected by the Stuckists,[160] who describe themselves as anti-anti-art.[162][163]

    Architecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example.[164]

    Value judgment

    Aboriginal hollow log tombs. National Gallery, Canberra, Australia.

    Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as “that meal was a work of art” (the cook is an artist), or “the art of deception” (the highly attained level of skill of the deceiver is praised). It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism. At the simplest level, a way to determine whether the impact of the object on the senses meets the criteria to be considered art is whether it is perceived to be attractive or repulsive. Though perception is always colored by experience, and is necessarily subjective, it is commonly understood that what is not somehow aesthetically satisfying cannot be art. However, “good” art is not always or even regularly aesthetically appealing to a majority of viewers. In other words, an artist’s prime motivation need not be the pursuit of the aesthetic. Also, art often depicts terrible images made for social, moral, or thought-provoking reasons. For example, Francisco Goya‘s painting depicting the Spanish shootings of 3 May 1808 is a graphic depiction of a firing squad executing several pleading civilians. Yet at the same time, the horrific imagery demonstrates Goya’s keen artistic ability in composition and execution and produces fitting social and political outrage. Thus, the debate continues as to what mode of aesthetic satisfaction, if any, is required to define ‘art’.[165][166]

    The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the zeitgeist. Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human.[167]

    By extension, it has been argued by Emily L. Spratt that the development of generative artificial intelligence, especially in regard to artificial intelligence art and its uses with images, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativity.[168][169] Music and artificial intelligence has taken a similar path.

    Art and law

    An essential legal issue are art forgeriesplagiarismreplicas and works that are strongly based on other works of art.

    Intellectual property law plays a significant role in the art world. Copyright protection is granted to artists for their original works, providing them with exclusive rights to reproduce, distribute, and display their creations. This safeguard empowers artists to govern the usage of their work and safeguard against unauthorized copying or infringement.[170]

    The trade in works of art or the export from a country may be subject to legal regulations. Internationally there are also extensive efforts to protect the works of art created. The UNUNESCO and Blue Shield International try to ensure effective protection at the national level and to intervene directly in the event of armed conflicts or disasters. This can particularly affect museums, archives, art collections and excavation sites. This should also secure the economic basis of a country, especially because works of art are often of tourist importance. The founding president of Blue Shield International, Karl von Habsburg, explained an additional connection between the destruction of cultural property and the cause of flight during a mission in Lebanon in April 2019: “Cultural goods are part of the identity of the people who live in a certain place. If you destroy their culture, you also destroy their identity. Many people are uprooted, often no longer have any prospects and as a result flee from their homeland.”[171][172][173][174][175][176] In order to preserve the diversity of cultural identityUNESCO protects the living human treasure through the Convention for the Safeguarding of the Intangible Cultural Heritage.