Style (visual arts)

Lore & Background

Style is often divided into the general style of a period, country, or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between early, middle, or late. In some artists, such as Picasso, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical of prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development.

After dominating academic discussion in art history in the 19th and early 20th centuries, so-called 'style art history' has come under increasing attack in recent decades, and many art historians now prefer to avoid stylistic classifications where they can. Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence, and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker. Whether the artist makes a conscious choice of style, or can identify his own style, hardly matters. Artists in recent developed societies tend to be highly conscious of their own style, arguably over-conscious, whereas for earlier artists stylistic choices were probably largely unselfconscious.

Reader's Guide

Style serves as a fundamental tool for art historians to group and analyze works of art, linking them by artist, period, training, location, school, movement, or culture. Its importance lies in its ability to structure art history, though its dominance has been challenged in recent decades. The concept is dynamic, with change occurring at varying speeds across different eras, from the slow evolution in prehistoric or Ancient Egyptian art to the rapid shifts in Modern art. Style is distinct from iconography, which covers subject and content, though this distinction is rhetorically useful rather than absolute. The study of style has evolved from classical and medieval writings through Renaissance and Baroque theorists, to 19th-century German-speaking scholars who constructed schemes of period styles. In architecture, stylistic change often follows new techniques or materials, while in other fields debate continues over whether change responds to technical possibilities, internal impetus (Kunstwollen), or social and economic factors. By the later 20th century, criticisms aimed to reduce Hegelian elements of the concept, and some art historians now avoid stylistic classifications, though style remains alive in archaeology and certain art-historical contexts.

Did You Know?

• Style is often divided into general style of a period, country, or cultural group, and individual style of the artist within that group style.
• The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles; some originated as terms of derision, including Gothic, Baroque, and Rococo.
• Style is seen as usually dynamic, always changing by a gradual process, though the speed varies greatly from very slow development in prehistoric art to rapid changes in Modern art.
• After dominating academic discussion in the 19th and early 20th centuries, 'style art history' has come under increasing attack in recent decades.

Historical Foundations & Regional Traditions

Visual arts instruction stretches back millennia, with drawing embedded in Western formal education since the Hellenistic period. In East Asia, the tradition took a markedly different shape: during the Chinese Zhou dynasty, calligraphy was counted among the Six Arts expected of gentlemen, and later, under imperial China, both calligraphy and painting became part of the four arts practiced by scholar-officials. For nonprofessional artists in that region, brushwork typically served as the central focus of artistic study. Meanwhile, in Europe, the craft of art was transmitted through workshops and private homes rather than institutional classrooms. Florentine contracts from the late 13th century outline the obligations of masters to clothe and feed their apprentices, who in turn pledged faithful service. Northern European workshops operated under comparable terms. These early structures established a template—art as a skill passed from master to student within a tightly governed community—that would echo through centuries of artistic training across the continent.

Pedagogical Models & Curricular Frameworks

Art education has never followed a single universal curriculum; instead, distinct frameworks have emerged across different regions and eras. In some Canadian provinces, a sixfold model organizes instruction into Creative-Productive, Cultural-Historical, and Critical-Responsive components. In the United States, Discipline Based Art Education gained prominence during the 1980s and 1990s, emphasizing specific technical skills, art criticism, and art history. Heavily supported by the Getty Education Institute for the Arts, DBAE lost momentum after the Institute stopped its funding in 1998. A contrasting philosophy emerged in Massachusetts in the 1970s with Teaching for Artistic Behavior, a choice-based model that positions students as the artists, guiding their own individual creative interests. As classroom culture has shifted away from direct instruction toward student-centered and inquiry-based learning, TAB-influenced curricula have grown in popularity. In the liberal arts tradition of higher education, art is frequently offered as an appreciation course focused on aesthetic criticism rather than hands-on creation.

The Atelier & Apprenticeship Tradition

Before formal art schools existed, the primary vehicle for learning was the atelier, where a master artist took on apprentices in a relationship governed by guild statutes. Florentine contracts from the late 13th century reveal that the master was obligated to provide clothing and food, while the apprentice—expected to be a faithful servant—often paid the master during the earliest years of training, with compensation arriving later if the apprenticeship proved productive. Michelangelo offered a strikingly detailed training roadmap: a young painter should devote a full year to drawing alone, then spend six years grinding colors, preparing panels, and working with gold leaf while continuing to study drawing, followed by another six years mastering fresco and tempera techniques. This model of slow, layered mastery persisted in Northern European workshops as well. The tradition survived into the modern era through figures like Gustave Moreau, whose studio produced Picasso, Braque, and many other influential artists. In the 18th century, design schools were established across Europe, and these early European examples of skill and values later inspired the Colonists of early America.

Contemporary Approaches & Broader Impact

Modern art education extends well beyond the traditional studio. Drawing is treated as an empirical practice in which the student observes, interprets, and selects marks that capture an object, place, or scene. Beyond technical reproduction, many educators emphasize imagination, experimentation, and purposeful play, encouraging students to link their work to conceptual messages and personal experiences. Peer critique and student analysis of artwork push learners to consider deeper meaning rather than merely appreciating surface beauty. Visual culture and issue-based approaches allow students to explore societal and personal concerns through artistic practice. Research has shown that strong art programs can boost performance in other academic areas, partly because art activities engage the brain's right hemisphere and delateralize thinking—a concept popularized by Betty Edwards' Drawing on the Right Side of the Brain. Art education has also been adapted for special education populations, and cultural exchange in the classroom—such as emulating African or Native-American mask-making techniques—can foster cross-cultural appreciation. Outside formal institutions, private studio instruction and apprenticeships continue to supplement academic learning.