Definition of Originality

Originality is the aspect of created or invented works by as being new or novel, and is not received from others nor one copied from or based upon the work of others. It is a work created with a unique style and substance.

David Hare stated that original in an artist’s work is never noticed by the public in the book “The myth of originality in contemporary art”. In its raw state the original either passes unnoticed or is considered to be a mistake. In the arts it is noticed and approved, precisely at that moment when it is on its way to becoming unoriginal. A work remains permanently original if the artist refrains from too much repetition. 

Baroque art and modern art are very different in a sense of originality. Originality seems did not exist in Baroque era, but in the contrary, repetition and imitation in art was popular by that period because Baroque art has implanted an idea of “perfection of human body”. Professor Maria H. Loh, from University College London, said that the idea that pre-existed in the mind of the baroque artist consisted in the choosing, taking, gathering and synthesis of parts that would produce a beautiful body. The image of the Hero served as a masculine in Baroque would be responsible for consolidating Renaissance theories of eclectic imitation into a new definition of the epic hero who possessed the best virtues drawn from all previous heroes. 

Modern art like Futurism by Marinetti, more appreciated the originality and innovation in art. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. Exalting violence and conflict, he called for the sweeping repudiation of traditional values and the destruction of cultural institutions such as museums and libraries. The manifesto's rhetoric was passionately bombastic; its aggressive tone was purposely intended to inspire public anger and arouse controversy. Marinetti's manifesto inspired a group of young painters in Milan to apply Futurist ideas to the visual arts. Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality and expressed their disdain for inherited artistic traditions.

Bibliography

Golding, J. (1969). A New Study of Futurism. The Burlington Magazine. p.386.

Hare, D. (1964). The Myth of Originality in Contemporary Art. Art Journal. 24(2), p.139.

Maria H. Loh  (2010). ‘New and Improved: Repetition as Originality in Italian Baroque Practice and Theory.’Ucl.ac.uk. pp.485. [online] Available at: https://www.ucl.ac.uk/art-history/about_us/academic_staff/dr_maria_loh/loh [Accessed 26 December 2014].

 Rocheleau, J. (2014). Case Study: Futurism & New Age Digital Artwork. [online] Hongkiat.com. Available at: http://www.hongkiat.com/blog/new-age-digital-artwork/ [Accessed 26 Dec. 2014].