Is the Art Movement Romanticism Capitalized in Chicago Manual of Style

This folio sets out some guidance on special issues commonly encountered in writing about the visual arts, and has been developed past members of WikiProject Visual arts. Information technology should be read in conjunction with the Wikipedia Manual of Way. Queries tin be raised at the discussion pages here or at the Visual Arts Project.

Helpful Wikipedia links [edit]

• Wikipedia manner guidelines
  • Wikipedia:Citing sources
  • Wikipedia:Manual of Manner/Biographies
  • Wikipedia:Manual of Style/Lists of works

• Wikipedia guidelines
  • Wikipedia:Notability
  • Wikipedia:Notability (people)
  • Wikipedia:Naming conventions (use English language)

• Wikipedia:WikiProject Fact and Reference Check
• Wikipedia:Advice for the cultural sector is a special page dealing with the concerns of editors who are museum curators, librarians or archivists.

Text bug [edit]

Using infoboxes and templates [edit]

There are dedicated infoboxes and some templates for Visual arts articles at Wikipedia:WikiProject Visual arts#Templates, in addition to the standard biography infoboxes and national/cultural templates. There may be a conflict for space between the demand to illustrate visual arts manufactures and the use of infoboxes. This is decided on a instance-past-case footing.

Templates at the bottom of the page are unremarkably preferable to those at the side, where they may make information technology hard to contain proper illustration of a VA commodity. If so, they are likely to exist removed.

Information in an infobox contains basic introductory facts from the commodity. If something is not substantiated in the commodity, or would involve over-simplification, information technology should not exist included in the infobox. An culling to an infobox is to use a normal picture with caption.

Lead section [edit]

In general it is best and safest to use "artist" in the lead of a biography; very many artists were non just painters (many articles are currently defective in this respect). If the artist did significant work in several media, that should be indicated, as, for example:

Edgar Degas (19 July 1834 – 27 September 1917), born Hilaire-Germain-Edgar Degas (French pronunciation: ​ [ilɛːʁ ʒɛʁmɛ̃ ɛdɡaʁ də ɡɑ]), was a French artist, who worked in painting, sculpture, printmaking and drawing.

The lead section on individual works of art should requite at least the post-obit data (in roughly this order): Name(southward)/title(s) of piece of work, artist, date, type and materials, subject, nation or city of origin, present location. A reference to the mode, school or movement it or the artist belongs to is usually appropriate. If there is a quotation from a reliable source assessing its general quality or significance, that can exist added, but avoid unreferenced assertions which will be challenged, fifty-fifty if they are reasonable. An indication of the work'south place in the creative person'due south evolution, or a larger art historical movement, may be appropriate. Per WP:Atomic number 82 the rest of the section should generally summarize, at least for longer articles, the material covered in the other sections, especially if "unexpected" – if the object is widely considered to be a simulated, like the Getty kouros, practice non save this information for a later department. This is oft chosen the "no surprises" principle – after reading the lead, at that place should be no major surprises in the rest of the article.

Capitalization and art movements [edit]

Capitalization of art movements and art mode names is a circuitous upshot.^[1] The Higher Art Association style guide for Fine art Bulletin says (or, it seems, used to say):

In full general, sharply delimited period titles are capitalized, whereas large periods and terms applicable to several periods are non: e.m., Archaic, Bizarre, Early and Loftier Renaissance, Early on Christian, Gothic, Greek Classicism of the 5th century (otherwise, classicism), Imperial, Impressionism, Islamic, Mannerist, Heart Ages, Modernism, Neoclassicism for the tardily-eighteenth-century movement (otherwise, neoclassicism), Post-Impressionism, Pre-Columbian, Rococo, Roman, Romanesque, Romantic period, Xth Dynasty, antique, artifact, classicism (meet above), medieval, mod, neoclassicism (see above), postmodern, prehistoric, quattrocento.

In passing references to details of style, it may be appropriate to apply lower example terms due east.g.: baroque, gothic, mannerist, modernist – but always Renaissance, Impressionist, Middle Ages.

A way guide at zeal.com suggests using a lexicon to determine capitalization. However, dictionaries vary on art movement/style capitalization. (See User:Sparkit/capitalization.) The Wikipedia Manual of Style does not touch on fine art movements and styles in particular, but MOS:CAPS states that Wikipedia style is to use lower case when sources are inconsistent. See also the Association of Art Editors Mode Guide, 2013.

1. ^ :Clan of Art Editors Style Guide, 2013. Fine art movements, periods, and styles: "The question of whether to capitalize or lowercase is i of the near common in the field of art history and one of the most difficult in which to attain whatsoever agreement."

Lists of works [edit]

Lists of works within a biography should be used cautiously; they are really only advisable for major artists with a minor oeuvre, like Leonardo da Vinci or Giorgione. Longer ones are all-time moved to separate articles like List of works by Caspar David Friedrich. If compiled from old sources like EB 1911, there are likely to be inaccuracies every bit (a) many works in individual collections will have been sold and (b) some in museums will have been re-attributed. A short section on notable works is better, although care must exist taken to give a worldwide view, not just roofing works in the English-speaking world.

Lists of museums, galleries, or collections [edit]

Although these types of lists may be institute in artist'southward resumes, they are not very useful to Wikipedia readers if they but listing institutional names and nothing else. A reader tin typically find much better information through a bones web search. A list of notable works, every bit described previously, may optionally be annotated with the location of the artworks, if known and non expected to change.

Articles to write [edit]

There is a need for more manufactures on non-Western historic fine art, and on applied or decorative art from all times and places, where coverage is generally very poor at nowadays.

Generally, very curt manufactures (say less than 200 words of main text) on private works of art are to be avoided, as the data tin be included in the main article on the artist, or incorporated with other similar brusque pieces in a dedicated article, such as Portraits past Vincent van Gogh.

When there is sufficient notability and data to merit a divide commodity on an individual work of art, all pertinent facts as specified in Image captions (below) should exist included, every bit well as relevant textile covering the content, iconography, style, significance in the artist'due south oeuvre, and provenance.

Shorter articles on artists (i.eastward. a stub) are adequate, provided the subject meets the notability guidelines, and the commodity meets our standard of verification, with a sufficient number of independent reliable secondary sources (see sources below).

Multiples, copies and versions [edit]

• MOS:ART/MULTI

Where a piece of work of art is produced in multiple copies, as with a bandage bronze sculpture, a impress, or works of decorative fine art produced under manufactory conditions, the commodity should equally far equally possible cover all copies, and unremarkably should reflect this in its title and text, rather than specifying 1 location. The aforementioned generally goes for objects produced as a matching fix, even if they are at present separated. If the articles get long enough, it may be appropriate to give individual members of a set their own articles, every bit with the 6 paintings in Marriage A-la-Style (Hogarth). Examples: Bust of Winston Churchill (Epstein) (10 or more casts), Sèvres pot-pourri vase in the shape of a send (in porcelain with several examples), and Raphael Cartoons (a set).

Article titles [edit]

Commodity titles
All naming conventions
Category:Wikipedia naming conventions
Nature
Fauna (animals) Flora (plants)
Arts· Entertainment· Media
Books Broadcasting Comics Films Manuscripts Music Operas Television Video games Visual arts
People
Clergy Ethnicities and tribes Ancient Romans Royalty and dignity Sports Baseball players
Science· Technology· Transport
Astronomy Chemistry Medicine Programming languages Shipping Ships
Government· Politics· Law
Regime and legislation Legal Political parties
Organizations
Companies Latter Mean solar day Saints Sports teams
Numbers· Dates
Numbers and dates
Places· Events
Places Events
Lists· Categories
Categories Lists Long lists Stub sorting
Language/state-specific
Writing systems All languages All countries Armenian Bangladesh Burmese Chinese German language Greek Hebrew Indic Irish Japanese Korean Macedonian Mongolian New Zealand Old Norse Polish Russian Tibetan Ukrainian
Formatting
Capitalization Use English Definite or indefinite article at beginning of name Plurals Acronyms Technical restrictions
5 t e

Biographies [edit]

If a biography needs disambiguating and then John Smith (artist) is unremarkably the best choice, as opposed to due east.grand. John Smith (painter) (see Pb section higher up). For other people John Smith (potter) or "fine art historian", "silversmith" may be advisable. For movements, or techniques, add (art) or a more than specific term such as (sculpture) if advisable.

Works of art [edit]

For articles on individual works of art:

• The title of a work of art is italicised in text, as well as the article title itself (utilize {{Italic title}}). Other artworks may accept names (unitalicised) rather than titles, a fine stardom. These include illuminated manuscripts (except where they are the unique manuscript of a work whose title is the name for the manuscript) and other objects that are of some practical use, or archaeological artefacts, which are not italicised in any context: Royal Golden Cup, Sedgeford Torc etc. For a title with no owner'due south proper noun or location in it to exist italicised, it has to be plausible to some degree that the creator would have considered the proper noun nosotros know an object by every bit its title.
• If the championship is not very specific, or refers to a common discipline, add the surname of the creative person in parentheses afterwards, eastward.grand. Reading the Letter (Picasso). It is generally better to disambiguate by the artist's name than by medium, as in that location may exist other paintings or sculptures of the same proper noun by other artists. If the artist painted several works with the same, or very similar, titles, add together the location of the work if it is in a public collection. For example, Annunciation (van Eyck, Washington), as van Eyck painted several Annunciations. A title such as Madonna and Child (Raphael) is of lilliputian employ (see Category:Raphael Madonnas), and Battle of Orsha (unknown) is conspicuously unhelpful. The names of less well-known artists may not be suitable disambiguation terms.
• Avoid the construction "X'due south Y" (e.g. Botticelli's Birth of Venus). It only works in a small minority of cases, such every bit Dürer'southward Rhino, where the piece of work is very well known past that title and the alternative (The Rhinoceros (Dürer)) is considered too far from common usage.
• Where there are several variant titles, preference is usually given to the predominant one used by fine art historians writing in English, and if this is non clear, the English title used by the owning museum. Few old master paintings had specific titles when they were painted.
• Objects such as excavated artifacts or illuminated manuscripts usually known by a name combining a previous or electric current owner, location, or place of discovery, followed past the type of object, should commonly be treated as proper names for the object, and all words capitalized, merely not italicised, every bit these are names non titles. Examples: Rosetta Rock, Cloisters Cross, Berlin Gilt Hat. If in uncertainty, the name used past the owning museum is persuasive, although the proper name used well-nigh commonly in recent scholarly references is the ultimate criterion; at that place are odd variations – both Berlin Gold Lid and Mold aureate cape seem the best established capitalizations.
• Ready redirects for variant titles, such as the original-language title for modern works or variant translations. Often a redirect with or without an initial "The" is probable to be useful.
• The use of "the" is complicated. Works where "the" begins a specific and non-generic championship purely describing the subject do include this in the article title. However common subjects, especially religious ones, do not include "the" in the championship, fifty-fifty when the episode is frequently or unremarkably referred to preceded by "the", every bit in "the Crucifixion", the "Dormition of the Virgin", and so on. Works whose usual title includes the name of a one-time owner or a location exercise not include "the" in the article title. Examples: Dormition of the Virgin (El Greco), Agony in the Garden (Bellini), Benois Madonna (old owner), Ghent Altarpiece (location), just The Nascence of Venus (Botticelli), The Tempest (Giorgione), The Persistence of Memory.
• For portrait sculptures of individuals in public places the forms "Statue of Fred Foo", "Equestrian statue of Fred Foo" or "Bust of Fred Foo" are recommended, unless a form such as "Fred Foo Memorial" or "Monument to Fred Foo" is the WP:COMMONNAME. If further disambiguation is needed, because there is more than ane sculpture of the same person with an article, then disambiguation by location rather than the sculptor is unremarkably improve. This may exist washed as either "Statue of Fred Foo (Chicago)" (typically preferred for Northward America) or "Statue of Fred Foo, Glasgow" (typically preferred elsewhere). If the sculpture has a distinct common name, like the Bronze Horseman, that should be used. Examples: Statue of Mahatma Gandhi (Houston); Statue of Queen Victoria, Sydney; Jefferson Davis Monument; Equestrian statue of Christian V.
• For portraits in two-dimensional media, the styles "Portrait of Fred Foo" or "Fred Foo (Titian)" are both acceptable in article titles; disambiguation by the artist is usually best. Do not use the sitter's proper noun lonely, without disambiguation, as the article title for a portrait of that person. Titles such every bit "Portrait of a Man" are all right to use, just probably need disambiguation. The WP:COMMONNAME should be used for modern works where the title is given by the artist, and others such every bit the Arnolfini Portrait.
• Per MOS:SAINTS, sources should be followed as to whether to use "Saint", "St" or "St." in titles, allowing for a tendency in British English to use "St" and in American English language "St." in such cases. All are mutual. For plurals, "Saints", "Sts" or "Sts." are preferable to "SS" or "SS.".
• Many works accept names past which they were well-known, but which are at present falling out of use, every bit the museums who at present own most tend not to use the onetime name. The Rokeby Venus is still sufficiently well known by that proper noun to justify using it for the title, even though the National Gallery, London, uses the championship The Toilet of Venus ("Rokeby Venus"). But in the same museum, a work formerly known as the Burlington Firm Cartoon is now called The Virgin and Kid with Saint Anne and Saint John the Baptist. The establishment's preferred name for the work is now more familiar than the older one, and is therefore used as the article title. In cases such every bit this the older title should exist set upwards as a redirect and mentioned equally a variant, only not used for the commodity title.
• Foreign-language titles are generally only to be used if they are used by most art historians or critics writing in English – e.one thousand. Las Meninas or Les Demoiselles d'Avignon. In that case they should exist used in the form used by most art historians writing in English language, regardless of whether this is actually correct by the standards of the other language. It is not necessary to give the original-language version of titles of standard religious scenes or portraits, but for other titles this may be desirable, for instance:

The Third of May 1808 (in Castilian El tres de mayo de 1808 en Madrid; Los fusilamientos de la montaña del Príncipe Pío ^[1] or Los fusilamientos del tres de mayo) is a painting completed in 1814 past the Spanish master Francisco Goya.

1. ^ Prado, p. 141: "The third of May 1808 in Madrid; the shootings on Prince Pio loma".

Manuscripts [edit]

These are covered at Wikipedia:Naming conventions (manuscripts)

Exhibitions [edit]

Long lists of exhibitions should be avoided. It will rarely be useful to mention more than five exhibitions. For contemporary and modern artists the venue of exhibitions tin can be important show of notability, but simply the most important should be given.

For historic artists, or types of art, that are non extremely famous (then not Rembrandt), it may be worth listing dedicated exhibitions in major museums going back every bit much as say 40 years, as these tin can be crucial to the reputation of the artist or topic, and scholarship on them. In such cases, when a major exhibition is really running, it can be appropriate to add a judgement saying so to the finish of the atomic number 82; just it should exist moved down to about the end of the article when the exhibition closes.

Describing works [edit]

Museums and collections [edit]

Information technology tin can be helpful to add the owner of works to texts or captions of works referred to, but is not necessary, except for manufactures near the specific work. If the owner is not included in the information in the picture file, and is known, information technology should be added there.

For works belonging to permanent public collections, avoid "... currently resides in", "is currently in the Louvre", "is on display at", "is located in", "is in the collection of", and similar phrases. Just give the name of the drove, "Metropolitan Museum", or say "is in the Louvre", "is owned by", "now in" or "belongs to". Locating in a "private collection" is fine but whatsoever specific private ownership needs a contempo reference (in particular practise non trust old sources like the 1911 Encyclopædia Britannica, sometimes referred to every bit "1911 EB"). Once acquired past museums, most works remain there, but are not necessarily on display at any particular moment. "Currently" is fine if the work is known to be likely to move for some reason, such equally belonging to another establishment, although we practise not demand to reverberate loans to exhibitions etc. Use "in the Royal Collection" rather than "at Windsor Castle" or another location, as that is the appropriate link and works in the Purple Drove are ofttimes moved around. For example, many works that were at Hampton Court Palace for decades were moved to Windsor a few years ago, while their side by side home was being decided on. The French and Castilian national collections also often move works around, to locations other than the main Louvre or Prado.

Annotation on Berlin collections: The Staatliche Museen zu Berlin (Berlin Land Museums), ofttimes merely "Staatliche Museen" or "SMB" on their logo, is not a location but the legal and administrative organ that administers at to the lowest degree seventeen museums in Berlin, listed at that article. During the partitioning of the city the Western body was known as the "Prussian Cultural Heritage Foundation" (German: Stiftung Preußischer Kulturbesitz), which withal sits to a higher place the Staatliche Museen every bit a parent body. These names are often credited equally the owner or copyright holder for objects or pictures in fine art books. Now that the post-unification rearrangement of the Berlin museums is effectively complete, where a specific museum for an object is known, that should be used. So former master paintings are normally in the Gemäldegalerie, Berlin, the Nefertiti Bust is in the Neues Museum, and so on. Simply where a location is not known, the object should be described as owned by or held by the Staatliche Museen. Western antiquities can also be described as belonging to the Antikensammlung Berlin ("Berlin Antiquities Collection"), a traditional umbrella term for this collection, now divided between several institutions.

See Netherlandish for the stardom between this and "Dutch" or "Flemish" in art.

Dates [edit]

Avoid "an 1876 painting", use a "painting of 1876" or "his nude Jimbo Wales (1876)" etc.; "from 1876" is best avoided, except in a discussion of a chronological development of style or similar passage. This partly a matter of US/United kingdom way: "an 1876 painting" is more acceptable in American English language, just volition rarely be plant in American academic writing. For a painting that was completed over more than one year, either the range of years, or the year of completion should normally exist given, or "completed in 1512", "commissioned in 1623", "begun in 1845" etc.

Measurements [edit]

Measurements should always be given for a piece of work that is the article subject, but are not usually needed in captions (see that section), unless there is a particular point being fabricated, or the size of the object might be idea to exist radically different from the real size. E'er give measurements in the club: acme, width, & depth/bore etc. if appropriate. Centimetres (very rarely millimetres) are now standard in bookish art history, even in the US (though non always in museum captions), only ideally convert by template, every bit the MOS requires. Measurements are normally at the maximal place, but sometimes an caption of where the measurement was taken is given in the source, which may demand to be repeated in the article. Very full measurements of a painting may give the "visible expanse" of the framed work, the "painted area", oft not exactly rectangular, and the measurements to the edge of the stretcher frame underneath a canvas.

Medium [edit]

Avert "an oil-on-sail painting" – it is "an oil painting on sheet" (unless information technology is really a panel painting, etc.)

Right and left [edit]

Come across proper right for ways of unambiguously describing correct and left in images.

Prints [edit]

Avoid "copper engraving" etc. (often plant in pre-1900 material, or that half-translated from German and other languages where the term remains current)  – merely utilize engraving. Older sources (such as the 1911 EB) may utilize "wood-engraving" every bit a term for woodcuts (rather than true wood engravings, only invented in the late 18th century), which is not acceptable at present. Original prints, or reproductive ones of before about 1800 could exist linked to one-time primary impress or pop impress (the latter non date-limited), if the technique, such every bit engraving, etching, linocut etc. is non known. Descriptions of print techniques on Commons descriptions should be treated with great caution; many if not nigh are inaccurate. "Engraving" is often treated every bit a generic term for all prints, which is to be avoided. Encounter printmaking for a summary of the techniques, but only use "print" if the bodily technique is unknown.

Using images of fine art [edit]

If an paradigm shows only part of a work, especially a painting or other 2D work, the explanation should specify it is a "detail". Reversed images should very rarely exist used, for example to brand a particular point, and they should be very conspicuously captioned every bit reversed.

Images of buildings illuminated at dark are oftentimes pretty, but about always very poor at showing the edifice. They should exist used very sparingly, and never equally the lead movie where there is an alternative.

Basic formatting and size [edit]

The basic formatting code for an image is:

[[File:Name of image.jpg|thumb|Name of artist. Name of artwork.]]

"Thumb" has four effects:

1. It allows the caption to display
2. Default position is on the right of the folio (specifying "right" is therefore redundant)
3. Default size is 220 pixels wide
4. If registered users have changed the pollex size in their preference settings (anything upwards to 400 pixels wide) then the epitome will appear for them at their selected size.

Virtually images will be left at this default size and not take a "forced" paradigm size. Specifying "225px", for example, ways all users are forced to see the epitome at that size, as it over-rides their preference setting. Some other reason for not forcing big image sizes, is that the result can exist ugly on some, particularly depression res, screen settings. It is therefore a audio practise to wait at a page on different screen settings.

There are exceptions to this, when an image size is specified. This might exist because there is a lot of detail, or because it is the lead image on the page. In such cases, 300px is a good size to consider, as anything less will accept the reverse consequence to enlargement for users who accept their preference setting at the maximum 400 px.

There are some other options which can be put into the basic image coding:

[[File:Name of paradigm.jpg|thumb|upright|left|Name of artist. Proper noun of artwork.]]

"Left" positions the image on the left of the folio. The default sets the width at 220 pixels, which is fine for "mural" images which are wider than they are tall. Where the reverse is the case, "upright" may be used to compensate for this. Even so, some very narrow images demand a forced smaller size.

Image captions [edit]

The minimum information to be included is:

• Artist proper name – linked for at to the lowest degree their first caption, except where the article is a biography. The name should not be in bold text.
• Title of work in italics, – wikilinked if there is an article on the work. This may not apply to older works where in that location is no original championship, and the subject area is obvious, such as in a all the same-life. Include the championship of the work in English language whenever possible; adding the original language is unnecessary unless there is no English language translation available.

Optional additional information:

• Engagement of piece of work—unremarkably appointment completed if it took more than one year,
• Medium and support, particularly if not oil on sheet,
• Size—especially helpful for unusually large or small works. There is not ordinarily room to exercise this in both inches and centimetres, every bit the MoS prefers. Always put height before width.
• Collection or whereabouts (optional, as should be on image information), linked in almost cases.

Note: some editors prefer "Title, Artist" to the other way round. This should be consistent within an commodity. A short explanatory caption is often desirable, showing why the moving-picture show has been included, if necessary at the expense of some of the more technical information. Bear in heed image size preferences when writing long captions – a long explanation may await good at 300px, but not at 180px. If any of the above is known, merely is not included in the image file details, then information technology should be added there.

Placing [edit]

In general, portraits and other strongly directional works should face up into the page. Remember the issues described in the "size" department higher up when placing images; at some settings images may either create large white spaces or overlap at left and right, leaving a narrow strip of text in the centre.

It volition often be better to place a work past the artist at the top of a biography; this is peculiarly the case for imaginary portraits of early artists, or photographs of more recent ones.

Available templates [edit]

• {{Artwork}}
• {{Infobox Painting}}
• {{Sculpture}}
• {{Infobox Artist}}
• {{Image information art}} – for paradigm pages

As well many pictures, likewise little text? [edit]

Solutions:

a) Write some more text.

b) Use a gallery

c) Link to specific works, either by a piped link in the text, or from a footnote. This is especially useful equally the links can go to Commons or the spider web in general, although more often than not web links should be in the notes.

Endeavour to avoid but stringing images down the side opposite white space (although some white space may occasionally be necessary at the end of a short commodity, depending on screen size and file settings).

Galleries [edit]

Galleries are frequently necessary within the body of a VA article. These galleries should relate conspicuously to the text, be proportionate to information technology and provide adequate information in the captions. Galleries are important, non merely for decoration, only to reinforce and amplify the meaning of the article and to demonstrate meaning and nuance, which cannot exist made past words solitary.

A Wikipedia article gallery should not just replicate a Eatables gallery, but should use images with editorial sentence, as would exist given to text, with the validity of inclusion of each image considered. Meet WP:IG for the policy from the Wikipedia Manual of Style.

A item image may be better used as a stand-solitary i in the body of the text, if:

• It is an outstanding example of work
• It is specifically referred to in the text
• Information technology demonstrates an aspect (eg a particular catamenia or style feature) referred to in the text: make this clear in the epitome caption.

Pocket-size galleries can exist inserted in the body of the text: this is useful for general topics, such equally Western painting. In a single creative person biography, it may be more appropriate to include one gallery at the stop of the article, such as in Pierre-Auguste Renoir. Claude Monet has two galleries within the text, 1 for earlier and one for later works. Self-portrait has both department galleries and a general gallery at the end. Mostly a gallery will be arranged chronologically.

There are options in formatting galleries which brand them appear wider, or alter the number of images in a row, but these can cause visibility issues with dissimilar screen resolutions and should normally be avoided. See Help:Gallery tag.

In a Rfc on the use of "packed" format galleries in an art commodity (Paul Signac), the consensus was confronting their use.

Image rationales [edit]

Rationales should be added to the file for all Fair Employ images used, detailing the reasons why the image is needed for each commodity in which information technology appears.

Uploading [edit]

Where possible upload to Commons, and recollect to categorise as thoroughly as possible (not always easy in that location – look at comparable images and see what categories they are in). Images available for Fair Employ only cannot exist uploaded in that location however, which affects many 20th century images, and those of three-dimensional objects.

• Before you upload an image of art, know the following:
  • The source of the image. Usually the URL from which you downloaded it.
  • Who is the artist(south)?
  • The name of the slice?
  • When was the piece completed?
  • What are its dimensions?
  • What is the medium (oil and canvas/marble/mixed media ...)?
  • Where is it displayed?
  • Copyright status – Is it copyrighted? Past whom? If it is copyrighted and not by yourself, prepare a fair utilise statement.
• Upload the image.
  • Include all of the above information when uploading or add together it to the image page after yous've uploaded the file.
  • Using the {{Image data fine art}} template for the above information formats the information easily.
• Add the image to an article.
  • Apply regular wiki markup. Run into Visual file markup for syntax rules. Employ the thumbnail parameter and write a caption that includes data about the work.
  • Guidelines on what to include and how to format it, just one external case, http://www.collegeart.org/caa/publications/AB/ABStyleGuide.html.
• Add {{commonscat}}, or {{commons}} in the External links section to provide a link to the eatables gallery or article.

Epitome resource [edit]

• Commons – very large, rather cluttered, and with very many washed-out former scans (from out-of-copyright books). Everything on Commons can be used without further worries.
• Google Images – can exist very good, especially for portraits etc.

Sources [edit]

References are essential [edit]

Many articles, particularly on gimmicky artists, groups and "movements", are deleted for failing to demonstrate notability by providing viable references from secondary sources, independent of the subject—i.e. non merely the subject area'due south ain website or postings on other web sites. At that place is a guide to Wikipedia format at Referencing for beginners.

Useful external resources [edit]

Unfortunately, 19th century books available online are likely to be out of date and often contain serious errors, and thus should by and large exist avoided.

• There are over one,500 books published by the Metropolitan Museum of Fine art in New York City, which are fully bachelor every bit PDFs online (though the copyrights are however reserved). They can be establish at this folio
• United Kingdom residents can get online access to Oxford Fine art Online (The Grove Dictionary of Art) through their local library. Contact here if there are difficulties. Many US libraries besides have online admission for library card holders.
• The Bridgeman Art Library Prototype Search – useful for finding the current location of art works and details near them (museum, size, engagement created, etc.), though Google images gives wider coverage
• The Getty artist lookup – assistance to standardizing preferred artist name and notability. Useful for checking names, dates of birth and decease, and family relationships to other artists.
• Getty "The Art & Compages Thesaurus (AAT) is a structured vocabulary of around 34,000 concepts, including 131,000 terms, descriptions, bibliographic citations, and other information relating to fine art, architecture, decorative arts, ..."
• Cameo database from the Museum of Fine Arts, Boston – highly-specialized database on pigments and materials
• artcyclopedia.org – search to locate resources about an artist
• ArtLex fine art dictionary – definitions of terms
• Art UK – project by Art UK to put all oil paintings in the Great britain public collections online (formerly displayed as "Your Paintings" on the BBC website; organisation previously known as the Public Catalogue Foundation)

External resources for writing nearly art [edit]

• http://www.skidmore.edu/academics/arthistory/paperpg/index.html
• http://www.collegeart.org/caa/publications/AB/ABStyleGuide.html
• Association of Art Editors site hosts a freely accessible art writing way guide

Problems to discuss [edit]

Notes [edit]

Example epitome and caption [edit]

Enter:

[[File:La familia de Carlos Iv, Francisco de Goya.jpg|thumb|[[Francisco Goya]],  ''Charles IV of Spain and His Family''. 1800–1801.  280 × 336 cm. Oil on canvas. [[Museo del Prado]], [[Madrid]].]]

Event:

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Source: https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Visual_arts

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