Art appeals to our emotions

• From the 11th century until the end of the 17th century, the definition of art was anything that was done with expertise, with the result of knowledge and practice.
• The Romantic period of the 18th century, beauty became the main criteria for defining good art. Nature, spirituality and free expression were sought after and well received.
• The 19th Century started the Avant-garde art movement, with art becoming real, modern, futuristic and surreal. Whatever the definitions, the originality of art stands out as a time-tested measure, with new genres and manifestations like performance art, digital art, and electronic art.

• Art as Representation or Mimesis. Representation of art as an imitation or copying became the mainstream meaning of art in Greece. Plato first developed the idea of art as “mimesis,” which, in Greek, means copying or imitation. How immaculately it replicated the original subject became the measure of its value.
• Art as Expression of Emotional content. Dramatic, sublime and heartfelt art becomes a way to express oneself during the Romantic movement , with audience response becoming key to the valuation of the content. The emotions that were felt when the art was witnessed became its barometer for success.
• Art as Form. Formal qualities of art became influential in the 18th century, with the principles of art and design, like balance, rhythm, harmony and unity became as important as the content of the work of art.

The bodily symptoms of this strange appearance point to three dimensions:

• Sensory: The marvelous things take hold of our senses - we stare and widen our eyes.
• Cognitive: We are perplexed because we don't have a past experience to understand them. It leads to a suspension of breath, similar to when we are startled.
• Spiritual: We look upwards in veneration, which makes our heart swell.

At the mild end of this emotion, we talk about things being marvelous. More intense emotions might be described as astonishing. The extreme of this experiences is met with expressions of awe.

When we're bored, two key things are happening in our minds: One is a 'desire bind' where someone wants to do something but not anything that's on offer. The other is when your mind is itching to be engaged.

Our first instinct when we experience some boredom is to fill it with Netflix lists, Instagram feeds, and TikTok videos. Riding out this boredom is vital though.

Boredom is not in itself creative. It's what it leads to that is significant. In the gap of boredom, you're motivated to look for something else, and there's a real chance you'll discover something new.

Mandalas are sacred circles, that have long been used to facilitate meditation in the Indian and Tibetan religions of Hinduism and Buddhism. 

The main circle shape of a mandala is filled with a variety of geometric shapes and symbols. These are often repeated in symmetrical patterns using bold color schemes.

People who color mandalas may feel a deep sense of calm and well-being. It's a simple tool that doesn't require any expertise, but it can be remarkably soothing.

Mandalas not only focus your attention but also allow you to express your creative side, which many of us neglect in our daily lives.

“Loneliness, longing, does not mean one has failed but simply that one is alive.”

One way people have always dealt with loneliness is through creativity. By metamorphosing their reality into art, lonely people throughout history have managed to interchange the sense of community relationships could foster with their creative outputs.

The artist Edward Hopper (1882–1967) is known for his paintings of American cityscapes inhabited by closed-off figures who seem to embody a vision of modern loneliness.

It occurs when we are presented with something that we don't immediately recognize. It creates a degree of cognitive dissonance that may be frustrating or even unpleasant.

For example, seeing a vague shape in the corner of a room that might be a cat or a bag. A second look is needed to satisfy our curiosity.

Complementary colors lie opposite one another on the spectrum. For example, red complements blue, yellow complements violet.

When complementary colors are placed in close proximity, it is apt to cause conflict and disturb the eyes. Used subtly, it can make our eyes dance to a discordant tune.

Late bloomers don't realize they're good at something until they're about fifty. It's not that they start late; It's that they simply aren't much good until late in their careers.

Young Cézanne had rare endowments, but he couldn't draw. Cézanne required decades of practicing before he could master his ability.

Prodigies like Picasso, who created a masterpiece at age twenty, tend to be "conceptual" in the sense that they start with a clear idea of where they want to go, and then accomplish it. Picasso once said that he could hardly understand the importance given to the word 'research.'

But late bloomers tend to work the other way around. Their goals are imprecise and their procedure experimental. They build their skills gradually throughout their careers, improving slowly over long periods.