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Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art.  It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

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Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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• Humanities LibreTexts - Introduction to Art - Design, Context, and Meaning
• Art in Context - Types of Art - A Brief Exploration of the Different Kinds of Art
• Boise State Pressbooks - Introduction to Art
• Stanford Encyclopedia of Philosophy - The Definition of Art
• Official Site of the National Gallery of Art, Washington, United States

art , a visual object or experience consciously created through an expression of skill or imagination. The term art encompasses diverse media such as painting , sculpture , printmaking , drawing , decorative arts , photography , and installation.

(Read Sister Wendy’s Britannica essay on art appreciation.)

The various visual arts exist within a continuum that ranges from purely aesthetic purposes at one end to purely utilitarian purposes at the other. Such a polarity of purpose is reflected in the commonly used terms artist and artisan , the latter understood as one who gives considerable attention to the utilitarian. This should by no means be taken as a rigid scheme, however. Even within one form of art, motives may vary widely; thus a potter or a weaver may create a highly functional work that is at the same time beautiful—a salad bowl, for example, or a blanket—or may create works that have no purpose beyond being admired. In cultures such as those of Africa and Oceania, a definition of art that encompasses this continuum has existed for centuries. In the West, however, by the mid-18th century the development of academies for painting and sculpture established a sense that these media were “art” and therefore separate from more utilitarian media. This separation of art forms continued among art institutions until the late 20th century, when such rigid distinctions began to be questioned.

Particularly in the 20th century, a different sort of debate arose over the definition of art . A seminal moment in this discussion occurred in 1917, when Dada artist Marcel Duchamp submitted a porcelain urinal entitled Fountain to a public exhibition in New York City . Through this act, Duchamp put forth a new definition of what constitutes a work of art: he implied that it is enough for an artist to deem something “art” and put it in a publicly accepted venue . Implicit within this gesture was a challenge to the established art institutions—such as museums, exhibiting groups, and galleries—that have the power to determine what is and is not considered art. Such intellectual experimentation continued throughout the 20th century in movements such as conceptual art and minimalism . By the turn of the 21st century, a variety of new media (e.g., video art ) further challenged traditional definitions of art.

Art is treated in a number of articles. For general discussions of the foundations, principles, practice, and character of art, see aesthetics . See also art conservation and restoration .

For the technical and theoretical aspects of traditional categories of art, see drawing ; painting ; printmaking ; sculpture . For technical and historical discussions of decorative arts and furnishings, see basketry ; enamelwork ; floral decoration ; furniture ; glassware ; interior design ; lacquerwork ; metalwork ; mosaic ; pottery ; rug and carpet ; stained glass ; tapestry . See photography for a complete history of that medium.

For treatments of the various arts as practiced by specific peoples and cultures, see , for example, African art ; Central Asian arts ; Egyptian art and architecture ; Islamic arts ; Oceanic art and architecture ; South Asian arts .

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“Without Art Mankind Could Not Exist”: Leo Tolstoy’s Essay What is Art

In his essay “What is Art?” Leo Tolstoy, the author of War and Peace, defines art as a way to communicate emotion with the ultimate goal of uniting humanity.

How can we define art? What is authentic art and what is good art? Leo Tolstoy answered these questions in “What is Art?” (1897), his most comprehensive essay on the theory of art. Tolstoy’s theory has a lot of charming aspects. He believes that art is a means of communicating emotion, with the aim of promoting mutual understanding. By gaining awareness of each other’s feelings we can successfully practice empathy and ultimately unite to further mankind’s collective well-being. 

Furthermore, Tolstoy firmly denies that pleasure is art’s sole purpose. Instead, he supports a moral-based art able to appeal to everyone and not just the privileged few. Although he takes a clear stance in favor of Christianity as a valid foundation for morality, his definition of religious perception is flexible. As a result, it is possible to easily replace it with all sorts of different ideological schemes.

Personally, I do not approach Tolstoy’s theory as a set of laws for understanding art. More than anything, “What is art?” is a piece of art itself. A work about the meaning of art and a fertile foundation on which truly beautiful ideas can flourish.

Most of the paintings used for this article were drawn by realist painter Ilya Repin. The Russian painter created a series of portraits of Tolstoy, which were exhibited together at the 2019 exhibition “Repin: The Myth of Tolstoy” at the State Museum L.N. Tolstoy. More information regarding the relationship between Tolstoy and Repin can be found in this article . 

Who was Tolstoy?

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Leo Tolstoy ( Count Lev Nikolayevich Tolstoy) was born in 1828 in his family estate of Yasnaya Polyana, some 200km from Moscow. His family belonged in the Russian aristocracy and thus Leo inherited the title of count. In 1851 he joined the tsarist army to pay off his accumulated debt but quickly regretted this decision. Eventually, he left the army right after the end of the Crimean War in 1856. 

After traveling Europe and witnessing the suffering and cruelty of the world, Tolstoy was transformed. From a privileged aristocrat, he became a Christian anarchist arguing against the State and propagating non-violence. This was the doctrine that inspired Gandhi and was expressed as non-resistance to evil. This means that evil cannot be fought with evil means and one should neither accept nor resist it.  

Tolstoy’s writing made him famous around the world and he is justly considered among the four giants of Russian Literature next to Dostoevsky, Chekhov, and Turgenev. His most famous novels are War and Peace (1869) and Anna Karenina (1877). However, he also wrote multiple philosophical and theological texts as well as theatrical plays and short stories. Upon completing his masterpiece Anna Karenina , Tolstoy fell into a state of insufferable existential despair.

Charmed by the faith of the common people, he turned to Christianity. Eventually, he dismissed the Russian Church and every other Church as corrupted and looked for his own answers. His theological explorations led to the formulation of his own version of Christianity, which deeply influenced his social vision.  He died in 1910 at the age of 82 after suffering from pneumonia.

Art Based On Beauty And Taste 

Tolstoy wrote “What is art?” in 1897. There, he laid down his opinions on several art-related issues. Throughout this essay , he remains confident that he is the first to provide an exact definition for art:

“…however strange it may seem to say so, in spite of the mountains of books written about art, no exact definition of art has been constructed. And the reason of this is that the conception of art has been based on the conception of beauty.”  

So, what is art for Tolstoy? Before answering the question, the Russian novelist seeks a proper basis for his definition. Examining works of other philosophers and artists, he notices that they usually assume that beauty is art’s foundation. For them beauty is either that which provides a certain kind of pleasure or that which is perfect according to objective, universal laws.

Tolstoy thinks that both cases lead to subjective definitions of beauty and in turn to subjective definitions of art. Those who realize the impossibility of objectively defining beauty, turn to a study of taste asking why a thing pleases. Again, Tolstoy sees no point in this, as taste is also subjective. There is no way of explaining why one thing pleases someone but displeases someone else, he concludes. 

Theories that Justify the Canon

Theories of art based on beauty or taste inescapably include only that type of art that appeals to certain people:

“First acknowledging a certain set of productions to be art (because they please us) and then framing such a theory of art that all those productions which please a certain circle of people should fit into it.”

These theories are made to justify the existing art canon which covers anything from Greek art to Shakespeare and Beethoven. In reality, the canon is nothing more than the artworks appreciated by the upper classes. To justify new productions that please the elites, new theories that expand and reaffirm the canon are constantly created: 

“No matter what insanities appear in art, when once they find acceptance among the upper classes of our society, a theory is quickly invented to explain and sanction them; just as if there had never been periods in history when certain special circles of people recognized and approved false, deformed, and insensate art which subsequently left no trace and has been utterly forgotten.”  

The true definition of art, according to Tolstoy, should be based on moral principles. Before anything, we need to question if a work of art is moral. If it is moral, then it is good art. If it is not moral, it is bad. This rationale leads Tolstoy to a very bizarre idea. At one point in his essay, he states that Shakespeare’s Romeo and Juliette, Goethe’s Wilhelm Meister, and his own War and Peace are immoral and therefore bad art. But what does Tolstoy exactly mean when he says that something is good or bad art? And what is the nature of the morality he uses for his artistic judgments?

What is Art?

Art is a means of communicating feelings the same way words transmit thoughts. In art, someone transmits a feeling and “infects” others with what he/she feels. Tolstoy encapsulates his definition of art in the following passages:

“To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling – this is the activity of art. Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hand on to others feelings he has lived through, and that other people are infected by these feelings and also experience them.”

In its essence, art is a means of union among men brought together by commonly experienced feelings. It facilitates access to the psychology of others fostering empathy and understanding by tearing down the walls of the Subject. This function of art is not only useful but also necessary for the progress and wellbeing of humanity.

The innumerable feelings experienced by humans both in past and present are available to us only through art. The loss of such a unique ability would be a catastrophe. “Men would be like beasts”, says Tolstoy, and even goes as far as to claim that without art, mankind could not exist. This is a bold declaration, which recalls the Nietzschean aphorism that human existence is justified only as an aesthetic phenomenon.

Art in the Extended and Limited Sense of the Word

Tolstoy’s definition expands to almost every aspect of human activity way beyond the fine arts. Even a boy telling the story of how he met a wolf can be art. That is, however, only if the boy succeeds in making the listeners feel the fear and anguish of the encounter. Works of art are everywhere, according to this view. Cradlesong, jest, mimicry, house ornamentation, dress and utensils, even triumphal processions are all works of art. 

This is, in my view, the strongest point of Tolstoy’s theory. Namely, that it considers almost the totality of human activity as art. However, there is a distinction between this expanded art, and art in the limited sense of the word. The latter corresponds to the fine arts and is the area that Tolstoy investigates further in his essay.  A weak point of the theory is that it never examines the act of creation and art that is not shared with others. 

Real and Counterfeit Art

The distinction between real and counterfeit, good and bad art is Tolstoy’s contribution to the field of art criticism. Despite its many weaknesses, this system offers an interesting alternative to judging and appreciating art.

Tolstoy names real art (i.e. authentic, true to itself) the one resulting from an honest, internal need for expression. The product of this internal urge becomes a real work of art, if it successfully evokes feelings to other people. In this process, the receiver of the artistic impression becomes so united with the artist’s experience, that he/she feels like the artwork is his/her own. Therefore, real art removes the barrier between Subject and Object, and between receiver and sender of an artistic impression. In addition, it removes the barrier between the receivers who experience unity through a common feeling.

“In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.” Furthermore, a work that does not evoke feelings and spiritual union with others is counterfeit art. No matter how poetical, realistic, effectful, or interesting it is, it must meet these conditions to succeed. Otherwise it is just a counterfeit posing as real art.  

Emotional Infectiousness

Emotional infectiousness is a necessary quality of a work of art. The degree of infectiousness is not always the same but varies according to three conditions:

• The individuality of the feeling transmitted: the more specific to a person the feeling, the more successful the artwork.
• The clearness of the feeling transmitted: the clearness of expression assists the transition of feelings and increases the pleasure derived from art.
• The sincerity of the artist: the force with which the artist feels the emotion he/she transmits through his/her art. 

Out of all three, sincerity is the most important. Without it, the other two conditions cannot exist. Worth noting is that Tolstoy finds sincerity almost always present in “peasant art” but almost always absent in “upper-class art”. If a work lacks even one of the three qualities, it is counterfeit art. In contrast, it is real if it possesses all three. In that case, it only remains to judge whether this real artwork is good or bad, more or less successful. The success of an artwork is based firstly on the degree of its infectiousness. The more infectious the artwork, the better.  

The Religious Perception of Art

Tolstoy believes that art is a means of progress towards perfection. With time, art evolves rendering accessible the experience of humanity for humanity’s sake. This is a process of moral realization and results in society becoming kinder and more compassionate. A genuinely good artwork ought to make accessible these good feelings that move humanity closer to its moral completion. Within this framework, a good work of art must also be moral. 

But how can we judge what feelings are morally good? Tolstoy’s answer lies in what he calls “the religious perception of the age”. This is defined as the understanding of the meaning of life as conceived by a group of people. This understanding is the moral compass of a society and always points towards certain values. For Tolstoy, the religious perception of his time is found in Christianity. As a result, all good art must carry the foundational message of this religion understood as brotherhood among all people. This union of man aiming at his collective well-being, argues Tolstoy, must be revered as the highest value of all. 

Although it relates to religion, religious perception is not the same with religious cult. In fact, the definition of religious perception is so wide, that it describes ideology in general. To this interpretation leads Tolstoy’s view that, even if a society recognizes no religion, it always has a religious morality. This can be compared with the direction of a flowing river:

If the river flows at all, it must have a direction. If a society lives, there must be a religious perception indicating the direction in which, more or less consciously, all its members tend.

It is safe to say that more than a century after Tolstoy’s death, “What is Art?” retains its appeal. We should not easily dismiss the idea that (good) art communicates feelings and promotes unity through universal understanding. This is especially the case in our time where many question art’s importance and see it as a source of confusion and division. 

• Tolstoy, L.N. 1902. What is Art? In the Novels and Other Works of Lyof N. Tolstoy . translated by Aline Delano. New York: Charles Scribner’s Sons. pp. 328-527. Available at: http://www.gutenberg.org/ebooks/43409
• Jahn, G.R. 1975. ‘The Aesthetic Theory of Leo Tolstoy’s What Is Art?’. The Journal of Aesthetics and Art Criticism , Vol. 34, No. 1. pp. 59-65. Available at: https://www.jstor.org/stable/428645
• Morson, G.S. 2019. ‘Leo Tolstoy’. Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Leo-Tolstoy

Theodor Adorno on the Essay: An Antidote to Modernity

By Antonis Chaliakopoulos MSc Museum Studies, BA History & Archaeology Antonis is an archaeologist with a passion for museums and heritage and a keen interest in aesthetics and the reception of classical art. He holds an MSc in Museum Studies from the University of Glasgow and a BA in History and Archaeology from the University of Athens (NKUA) where he is currently working on his PhD.

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Art Appreciation Essay

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Read this essay on art to learn more about knowing, identifying, and understanding the qualities of art.

Art is an object that possesses beauty, admired and appreciated by the people, and cannot be found anywhere but in particular places where people can visit. Creating artwork, therefore, requires excellent imagination to give the piece of work the desired aesthetic value. The works of Art in the Ancient culture were of various forms which included architecture, sculpture, and graphic arts (Funch, 1999).

Architecture and sculpture are the oldest forms of art that existed and still exist in the present day. For example, the pyramids that are among the tallest structures in the world.

The primary materials used in architecture were stone, wood, and glass. The sculpture also used stone and wood. Other materials used in sculpture included bronze, marble, silver, copper, wood, and clay. The two techniques involved were carving and casting. Carving means subtracting material to get the desired figure while casting is adding material to obtain the desired figure (Carroll & Eurich, 1992).

Initially, a two-dimensional form of work was used for both architecture and sculpture, but as art advanced through the ages, the two-dimensional form of work was applied. The materials used for both architecture and sculpture included wood and stone. Sculptures also used marble, copper, bronze, silver, and clay.

Sculpture and architecture employed some techniques and processes that were similar to arrive at the final desired object. Carving and casting were mainly used in sculpture which was also practiced in some parts of architectural objects to obtain the shapes required.

The sculptures were painted using the colors of the natural things they represent, while architectural objects were painted according to their use, and the message they portrayed.

Materials were put together in a line to form the shape aimed at both architecture and sculpture. The texture is the roughness or smoothness of a surface as is seen when it is illuminated by light. Different materials have different textures so the artist can make materials of the textures he requires. Most sculptured objects have a smooth finish, while architectural objects are rough.

The value of an Art depends on the materials used to make it, its size, and the image it represents. The beauty and the natural appearance of an object are found in its symmetry(Art Through the Ages, n.d.).

This is used mainly in sculptures of animal or human images to display the true natural appearance. The artists obtained a balance by making symmetrical sculptures and some architectural objects like the pyramids in Egypt. The balance was achieved to give the art natural beauty and safety (Parker, 2003).

The work of art always carries a subject matter. Sculptures of animals by the people of the past appreciated the mysterious way that a supernatural being created the world. Architectural buildings were sacred places and symbolized the presence of God, a sign of adherence to traditional values and way of accompanying death after life.

Works of art such as sculptures represent the real natural environment and thus appreciate nature. The art’s message is to display the purity of nature and for the moral evaluation of the people. Sculptures of Gods and buildings like pyramids represented the presence of a supernatural being and a creator (Horovitz, 1995).

Functions of art are divided into personal, social and physical functions. Individual purposes include religious practices and a sense of control over the entire universe. Social functions dealt with aspects of the life of all the people not personally. It also covered the political functions of the people.

Physical functions were symbolized by architecture, crafts, and industrial design. Artists had a crucial role in ancient cultures. They served the interests of the people, appreciated nature and showed the changing times (Parker, 2003).

Art Through the Ages . Web.

Carroll, H. A., & Eurich, A. C. (1992). Abstract intelligence and art appreciation. Journal of Educational Psychology, 23(3), 214-220.

Funch, B. S. (1999). The psychology of art appreciation. London: Abm Komers.

Horovitz, B. L. (1995). Art Appreciation of Children. The Journal of Educational Research, 31(2), 17-23.

Parker, D. H. (2003). The Principles Of Aesthetics . Web.

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A look at James Baldwin’s enduring influence on art and activism

Jeffrey Brown Jeffrey Brown

Lena I. Jackson Lena I. Jackson

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• Copy URL https://www.pbs.org/newshour/show/a-look-at-james-baldwins-enduring-influence-on-art-and-activism

The legendary writer and activist James Baldwin would have turned 100 this month. He is best known for his novels and essays and as a moral voice addressing race, sexuality and the very fabric of American democracy. Jeffrey Brown looks at Baldwin's enduring legacy for our series, Art in Action, exploring the intersection of art and democracy and for our arts and culture coverage, CANVAS.

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Notice: Transcripts are machine and human generated and lightly edited for accuracy. They may contain errors.

Amna Nawaz:

This month, the legendary writer and activist James Baldwin would have turned 100 years old.

Baldwin is best known for his novels and essays and as a moral voice addressing race, sexuality and the very fabric of American democracy. Nearly 40 years after his death, his words are more relevant than ever.

Jeffrey Brown looks at his enduring legacy for our series Art in Action, exploring the intersection of art and democracy, and our ongoing Canvas coverage.

James Baldwin, Writer:

The inequality suffered by the American Negro population of the United States has hindered the American dream.

Jeffrey Brown:

James Baldwin, novelist, essayist, civil rights activist, public intellectual, here debating William F. Buckley Jr. at the University of Cambridge in 1965.

Eddie Glaude Jr., Princeton University:

He's engaged in this ongoing work of self-creation, in this sustained reflection on the power of the American idea. He's bringing the full weight of his intellect to bear on this project.

Eddie Glaude Jr. is a professor of African American studies at Princeton University and author of the 2020 book "Begin Again: James Baldwin's America and Its Urgent Lessons for Our Own."

Eddie Glaude Jr.:

I think, if you read Baldwin closely, there is this underlying idea that we have yet to discover who we are, right, because the ghosts of the past in so many ways, not only blind us, but they have us by the throat.

James Arthur Baldwin was born in Harlem in 1924 and raised there by his mother and stepfather, a Baptist preacher. The oldest of nine children, he excelled in school and served as a junior minister.

A man on the margins, Black and queer, he spent years of his life abroad, much of it in France, beginning at age 24. He wrote novels, including "Go Tell It on the Mountain," an autobiographical book about growing up in Harlem, and "Giovanni's Room" about a tormented love affair between two men living in Paris, and powerful essays exploring race and American identity, including "Notes of a Native Son" and "The Fire Next Time."

He's one of the greatest essayists we have ever produced, the world has ever produced I think, and his subject is us. But his vantage point, it's not that of a victim. His vantage point is from those who've had to bear the burden of America's refusal to look itself squarely in the face.

He was also a playwright and poet, an activist who marched and spoke out for civil rights, including on television, here on "The Dick Cavett Show" in 1969.

James Baldwin:

And the word Negro in this country really is designed, finally, to disguise the fact that one is talking about another man, a man like you, who wants what you want.

And insofar as the American public wants to think there has been progress, they overlook one very simple thing. I don't want to be given anything by you. I just want you to leave me alone, so I can do it myself.

Baldwin died in 1987, but he's remained a powerful cultural presence, one that's only grown in the past decade.

There are days — this is one of them — when you wonder what your role is in this country and what your future is in it.

In the 2016 documentary "I Am Not Your Negro," director Raoul Peck drew from Baldwin's own words. As he told me then:

Raoul Peck, Director:

He was already a classic, and he wrote those things 40, 50 years ago. And watching the film, you think that he would have — he wrote that in the morning, the morning before watching the film, because those words are so accurate, they are so prescient and so impactful, that you can't do it better.

In 2018, Baldwin's 1974 novel "If Beale Street Could Talk" was adapted by Oscar-winning director Barry Jenkins.

Barry Jenkins, Director:

Whether I had won eight Oscars or no Oscars, it's James damn Baldwin, you know? It's James Baldwin. That's pressure enough, in and of itself, because I wanted to honor his legacy in the way that I thought it should be honored.

And now a celebration of the centennial of his birth, including an exhibition at the National Portrait Gallery called This Morning, This Evening, So Soon: James Baldwin and the Voices of Queer Resistance, which takes its name from a short story he published in 1960, another at the Schomburg Center for Research in Black Culture titled Jimmy: Gods Black Revolutionary Mouth, presenting Baldwin's archive of personal papers.

There's a new album by singer-songwriter and bassist Meshell Ndegeocello called No More Water: The Gospel of James Baldwin, and reissues of seminal works with new introductions and artwork.

Cree Myles, Host, "The Baldwin 100": What is the best lesson you have learned being in the spiritual community that you are in with James Baldwin?

Along with a podcast, "The Baldwin 100," in which host Cree Myles talks with contemporary writers and thinkers.

What is his relevance today, especially when you think about younger people, younger readers, younger citizens?

Cree Myles:

Despite the time that has passed, his amount of truth is still relatively radical. When I think about his novels and "Giovanni's Room," and we're thinking about the ways that he grappled with, like, sexuality, those are things were still coming to terms with.

Acclaimed Irish novelist Colm Toibin contributed the new book "On James Baldwin."

Colm Toibin, Author, "On James Baldwin": I'm interested in him as, I suppose, someone who really found ways of dealing with individuality versus community, with being an artist in a difficult time.

But more than anything, more than anything, he wrote well.

Toibin saw connections to his own upbringing and told us how Baldwin has influenced him as writer and man.

Colm Toibin:

It's a question of engaging with this great intelligence and with the sensuous intelligence, with someone sort of thinking brilliantly and glittering sort of way.

But it is also, of course, developing strategies, which he did in relation to his family, in relation to Harlem, in relation to Black America, in relation to exile, in relation to attempting to being an artist in a time of flux, and also in a way of being a gay artist, a homosexual artist coming out of a world which is very conservative and very religious, and attempting also to build strategies around that that give you energy, rather than ones that take you down.

One deeply resonant thread through all the commemorations, Baldwin's focus on the fragility of democracy itself.

Baldwin's exposing the lie that is the source of the suffering, that defines this fragile project, it seems to me. He's committed to democracy. He's committed to America. After all, we are deeply American. But, by virtue of that commitment, he has to relentlessly critique it.

It comes as a great shock to discover the country, which is your birthplace and to which you owe your life and your identity, has not, in its whole system of reality, evolved any place for you.

A commitment, as Glaude puts it, to the complex experiment called America.

For the "PBS News Hour," I'm Jeffrey Brown.

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In his more than 30-year career with the News Hour, Brown has served as co-anchor, studio moderator, and field reporter on a wide range of national and international issues, with work taking him around the country and to many parts of the globe. As arts correspondent he has profiled many of the world's leading writers, musicians, actors and other artists. Among his signature works at the News Hour: a multi-year series, “Culture at Risk,” about threatened cultural heritage in the United States and abroad; the creation of the NewsHour’s online “Art Beat”; and hosting the monthly book club, “Now Read This,” a collaboration with The New York Times.

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North College Hill teen uses art to help kids quit vaping

See samantha murry-shakir's award-winning cartoon.

 Samantha Murry-Shakir's still a teenager, but she's been creating art for well over a decade.  

Back in first grade, she made a bear out of torn brown construction paper and pasted it onto a turquoise background – a project she later entered in a citywide contest.  

“I'm an artist,” said Murry-Shakir, 18, who graduated from North College Hill High School earlier this year. “I’ve been doing art for as long as I can remember.” 

This past spring, Samantha’s artistic and writing skills landed her the first-place prize in her school-wide anti-vaping contest. 

“There are risks with every puff,” she wrote in her award-winning essay. “My peers may be stuck in this cycle of flavored vapor for years.” 

Part of the issue, she said, is how easily teens can acquire vapes. North College Hill High School, for instance, is less than a five-minute walk from a vape shop.  

She channeled the discouragement she felt from seeing classmates vaping in between classes into her submission, where she expressed concern about how vapes affect teens' mental and physical health. 

“I could totally write an essay about that,” she remembered thinking. “I have some feelings.” 

Murry-Shakir used an app called MediBang as a tool to draw her cartoon. Digital art is her preferred medium, though she likes to dabble in watercolor and acrylic as well. 

In her free time, Murry-Shakir works at her local public library. “I like to read a lot. I own at least 250 books,” she said.  

Her job is shelving books, but she says the library’s a great hangout spot for kids who want to use computers, hang out with friends, or do homework after school. 

Murry-Shakir is only at the beginning of her writing and drawing career. In August, she’ll attend the University of Cincinnati to major in fine arts. After college, she’s got her sights set on a career in publishing and illustration. 

“I want to become an author,” she said. “Or at the very least, a graphic novel illustrator.” 

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The Secret to Tom Wolfe’s Irresistible Snap, Crackle and Pop

How the author of “The Right Stuff,” “Radical Chic and Mau-Mauing the Flak Catchers” and other classics turned sociology into art.

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By David Brooks

David Brooks is an Opinion columnist for The Times. This essay is adapted from his introduction to a new edition of “Radical Chic and Mau-Mauing the Flak Catchers,” to be published by Picador this month.

There are certain writers you should never read before you yourself sit down to write, like P.G. Wodehouse and Tom Wolfe. For if you do, you will not be able to get their voices and rhythms out of your head, and you will have to confront the absolute certainty that you can’t pull off what they did. In Wolfe’s case you’ll find that you can’t quite replicate the raw energy of his prose: the fun; the snap, crackle, pop; the fuzzy effusions of new sociological categories — masters of the universe, social X-rays.

And then there’s his sheer audacity. His essay “Radical Chic” — about a cocktail party the conductor Leonard Bernstein and his wife, Felicia, threw for the Black Panthers in 1970 — begins with Bernstein waking up in the middle of the night in a state of wild alarm. He had mentioned having a bad dream in an interview somewhere, and Wolfe took that little autobiographical morsel and spun it into a grand tour through the inside of Bernstein’s brain. Any responsible journalist can report, “Bernstein had a nightmare,” but Wolfe has the guts to take a flight of fancy and describe the nightmare from the inside, with its moments of narcissistic grandiosity and its descent into degrading humiliation.

Wolfe was known for his style, but it was his worldview that made him. He read Max Weber at Yale and it all clicked : Life is a contest for status. Some people think humans are driven by money, or love, or to heal the wounds they suffered in childhood, but Wolfe put the relentless scramble up the pecking order at the center of his worldview. It gave him his brilliant eye for surfaces, for the care with which people put on their social displays. He had the ability to name the status rules that envelop us in ways we are hardly aware of. He had a knack for capturing what it feels like to be caught up in a certain sort of social dilemma.

He was drawn to times and places where the status rules were shifting. His book “The Right Stuff,” about the U.S. space program, takes place at such a moment. Before, the combat pilots were the tippy-top alpha males in the world of flight, but then along came the astronauts to knock them off their perch. In “Radical Chic,” you can catch glimpses of the old blue-blood Protestant elite — the Astors, the Whitneys, the Rockefellers. But this is 1970. A new crowd is beginning to displace them: the Bernsteins, Barbara Walters. The members of this rising elite have often made their money in culture and the media, and include the formerly unthinkables — Catholics, Jews, Black people.

The old aristocrats had it so easy, those stately bankers in the J.P. Morgan mold. They may have been frequently bewildered about why the masses didn’t like them, but their own place in the social aristocracy was secure. It was right there in their bloodlines — the generations of grandees stretching back centuries. The status rules were simple. All you had to do was live like an English earl and collect European culture by the boatload, and you could cruise through Manhattan amid the sound of others bowing and scraping.

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