Why art is an expression?

Art is the expression or application of human creativity and imagination. Whether it's a poem, a doodle or a musical, art, in all its forms, captures ideas, transmits emotions, reveals experiences and reveals perspectives that reflect individual and collective circumstances. Art promotes the development of a civilization, since it supports the established system and also prevents subversive messages from being silenced: art promotes, reflects and reveals change in politics and morality. Art doesn't have to produce beautiful objects or events, since a great work of art can validly awaken emotions other than those awakened by beauty, such as terror, anxiety or laughter.

Art as a representation of external existence (it is true that “seen through a temperament”) has been replaced by art as an expression of the inner life of the human being. Collingwood views art as an expression at the level of imagination; for Croce, art is an intuitive expression. Implicit at this point is the obvious recognition of what art really is; in other words, the author doesn't have to tell you that it's art when otherwise you wouldn't have a clue. With boring predictability, almost everyone who discusses art today falls into a “relative gap”, in which they go to annoying lengths to demonstrate how open they are and how unavoidably lax the concepts are of art.

Despite conflicting theories, works of art can be considered to have “family resemblances” or “lines of resemblance” that link very different instances such as art. But because it was the subject of debate in the art world, it managed to break into the art world, and today it is considered art, and Odell is considered an artist. Identifying examples of art is relatively simple, but it's difficult to find a definition of art that includes all possible cases. These influences must contribute to the cultural understanding of what art is at any time, making ideas about art dependent on culture.

The fundamental difference between art and beauty is that art is about who produced it, while beauty depends on who looks at it. Sufficiency for something to be art requires a meaning for art lovers, which endures as long as the samples or types of the work of art persist. So where does the subjective notion that beauty can still be found in art lie? If beauty is the result of a process by which art gives pleasure to our senses, then it must remain a matter of personal discernment, even if outside forces cry out to take control of it. Artistic periods such as classical, Byzantine, neoclassical, romantic, modern and postmodern reflect the changing nature of art in social and cultural contexts; and changing values are evident in the different contents, shapes and styles.

The answer to the question could, perhaps, be found in Berys Gaut's criteria for deciding if any artifact is, in fact, art: if the pieces of art work only as pieces of art, as intended by their creators. The stratification of art based on value and the resulting tension also increase its meaning, and the meaning of art for society.