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Abstract
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Abstract
Realism in a work of art has been a subject of ongoing debates concerning truth, reality, and fact for millennia. These discussions, predominantly led by philosophers and individuals with external interests in art, have sought to classify art and artists based on objective external criteria and scientific principles. However, the intricate nature of art has proven to be an impediment to its comprehension through such classifications. Scientific methodologies and non-artistic reasoning have often marginalized the artist, resulting in an incomplete understanding or interpretation of the artwork’s reality within the artist’s subjective relationship to it. Against the backdrop of unresolved notions of truth, reality, and fact, the question of whether there exists a reality to be represented and whether such representation yields realism remains a topic of contentious debate.
From the standpoint of artists, it becomes apparent that reality and realism encompass far more profound connotations than mere formal and representational issues. The indiscriminate assessment of artworks, which arise from entirely subjective processes, using the same criteria for description and categorization, poses a significant hindrance to understanding, or at the very least perceiving, the reality of art, particularly its realism. Examination of the expressions and manifestos of artists who have embraced diverse periods, worldviews, and styles reveals that their common ground lies in the pursuit of truth in their art and their endeavors to convey this truth through their works. The prevalence of regarding the artwork itself as a manifestation of reality among artists underscores the necessity to reevaluate scientific studies and interpretations concerning the realm of art.
Keywords: Artist, realism, truth, art history, artist manifestos.
