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How is art criticism different from art history?

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Painting by Gustave Courbet showing the artist at his easel in a crowded studio, surrounded by figures including a nude model, onlookers, and a child with a white dog. — Art criticism *The Painter's Studio*, oil on canvas by Gustave Courbet, 1854–55, in the Musée d'Orsay, Paris, France.

While art criticism and art history are related disciplines, they differ primarily in their focus, objectives, and methodologies.

Art History

Art history is the historical study of the visual arts, concerned with identifying, classifying, describing, and interpreting art products and their development over time. Its primary research goals include:
* Attribution and Authentication: Determining who created an object and verifying its origin.
* Contextualization: Gathering biographical data on artists and documenting the provenance (ownership history) of works.
* Stylistic Analysis: Analyzing the formal development of artistic traditions, movements, and schools within a broad historical perspective.
* Iconography: Interpreting the symbols, themes, and subject matter within works of art.

Art Criticism

Art criticism is the analysis and evaluation of works of art, often focusing on contemporary or unfamiliar pieces whose aesthetic and cultural value has not yet been established. Key distinctions include:
* Judgment: While art history is often viewed as an objective field, the step from connoisseur to critic implies a progression from knowledge to judgment. Critics often choose to defend or challenge prevailing norms.
* Theoretical Frameworks: Criticism is frequently tied to theory—whether aesthetic, social, political, or psychological—to interpret a work's significance.
* Subjectivity: Unlike the more detached approach of historical research, criticism is often partisan and passionate, reflecting the critic's subjective affinities and perceptions of social needs.
* Influence: Critics play a significant role in shaping the canon of art by naming movements and providing the "basic understanding" of unconventional or avant-garde artists.

In practice, the two fields often overlap; many scholars act as both art historians and critics, and art-historical narratives can sometimes function as a subtle form of art criticism.