In giving comparisons of the experience of an art viewer in a real museum and an online art in a virtual museum, there is need to put considerations on the manner in which either setting is interacting with the art viewers. It is in this line that I acknowledge that there are comparative deficiencies with each setting as well as advantages. The limitations entailed in the two settings require the employment of given measures to sort the limitations and this is what is responsible for the varied presentation of art in both settings.
The physical museums are readily identifies culture. The primary function of the museums is to keep art collections that are to be accessed by the public. On the other hand, the digital art found online are in virtual museums (Pappas, 300). The virtual museums came into being following the advent of the internet as a worldwide system for communication and information delivery.
The pieces of art used to draw comparisons of physical viewing of art and viewing of art online are: the Water Lilies, 19919 Monet Metropolitan Museum of Art, as the physical art and the online art of Mona-Lisa. The art of Water Lilies is one among four pieces of art of water lilies that were done and completed by Monet.
The art was signed and sold in 1919. During this period, a majority of art was not yet finished and only countable paintings were made available for sale. The painting is one among a grouping of up to eleven pieces of art and they are roughly of the same size. Mona Lisa on the other hand is an oil painting done on a wood panel by an Italian painter called Leonardo da Vinci.
The main difference in viewing the painting online and visiting a museum to view one physically is that the virtual space of the art online is in two-dimension whereas being in same physical space with the art in a museum provides a three-dimensional viewing of the art. Being in the same physical space with the art enhances interaction with the piece of art. The three-dimensional aspect of physical space enhanced the line and shape of the art at the museum as it was within reach for my personal analysis even though there was no physical manipulation permitted.
The two-dimensional viewing of art online does not allow for the proper evaluation and analysis of the pieces of art as one has to use only what is provided to them on the website. The online versions of paintings have gone through editing and formatting. It is in this aspect that relying on color of the art to come up with descriptions becomes in appropriate. Texture closely borrows from this aspect of color as lighting on the art affects the texture in the view of the art viewers (DiPaola, et al. 610). I found out that I would not readily identify the painting of Mona Lisa as an oil paint mainly because I was viewing it on a screen.
Conclusively, I found out that being in the same physical space with the piece of art enhances one’s perception and they can have different angles of the art at will to come up with a personal take on the texture of the art. Viewing the piece of art online via a screen does not provide one with the ability to have the real perception of the color and texture of the art.
DiPaola, Steve, Caitlin Riebe, and James T Enns. “Following The Masters: Portrait Viewing And Appreciation Is Guided By Selective Detail.” Perception 42.6 (2013): 608-630. MEDLINE. Web. 29 Sept. 2016
Pappas, Demetra M. “Museum Bodies: The Politics And Practices Of Visiting And Viewing.” Visual Studies 28.3 (2013): 300-301. Academic Search Premier. Web. 29 Sept. 2016.
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