For such a function, an aim is essential, and thus agency – the artist and this has been richly applied in the artwork as it will be seen in the subsequent discussions.
The formalist theory of art states that one is supposed to focus only on the formal properties of art--the "form" not the "content". Those formal properties may take account of, the visual arts, color, form, and line, and, for the musical arts, beat and synchronization. Artist who use this theory in their artwork do not deny that works of art might have content, representation, or narrative-rather, they refute that those things are appropriate in one’s ability to be thankful for or be aware of art (Frank, Patrick, and Preble, 5).
Finally, Preble’s discussed the historical theories of art which asserts that for something to be art, it must bear some relationship to existing works of art. The accurate extension of ‘art’ at time t (the present) take account of all the works at time t-1 and in addition any works produced in the gone time. In order for these extra works to be ‘art’ they must put up with a likeness or relation to those formerly recognized artworks. Such a description appear to beg the question of where this hereditary status came from, and that is why historical descriptions of art are obliged to also take account of a disjunctive for first art: Something is art if it contains a historical relation to earlier artworks or it is first art.
The Arnolfini Portrait is a painting made on oak panel using oil and its history is though to be in the year 1434 by the Early Netherlands painter Jan van Eyck. People have coined their own different words to identify and name the paining. It has been called The Arnolfini Wedding, or Marriage or the Portrait of Giovanni Arnolfini and his Wife, along with other titles. The size of the painting is approximated to be a little full-length double portrait. History has it