每当考虑到经典艺术家的定义，就可以肯定，如果没有他们的工作，历史是不可读的。在这种情况下，与国家经典艺术相关的阅读仍然是一个问题。考虑到英国艺术界的情况，可以观察到这种斗争。长期以来，经典艺术对社会来说是非常重要的。一些规范的艺术家包括Dan Flavin和Alighiero e Boetti等艺术家。一些规范的艺术形式源自文艺复兴时代（Bal，1999）。这被定义为有不同艺术形式的艺术更新和复兴的时代。如果把艺术形式放在文艺复兴之前，信息就更加不成熟和不切实际。文艺复兴时期以后的艺术作品与现代艺术作品关系密切。文艺复兴时期实际上持续了300多年，一些技术已经确定。这导致了一些革命性技术的基础，如艺术中的第一次视角，新发现的色彩，把艺术带到了一个全新的境界。目前所发展的艺术不能借鉴典范的艺术形式来使用。这四个典型的艺术模型包括sfumato，unione，cangiante和chiaroscuro。这些技术一直很重要，仍被当代艺术家所引用（Beardsley，1998）。
Whenever one considers the definition of the canonical artists, it is certain that history can’t be read without their work. Under such condition, it is completely inevitable that the reading associated with the national canonical art is still be in question. This kind of struggle can be observed by considering the case of the British art world. For a long time, it is certain that the canonical art is very important for the society. Some of the canonical artists include the artists such as Dan Flavin and Alighiero e Boetti. Some of the canonical art forms have been derived from the era of renaissance (Bal, 1999). This is defined as an era when there is the refreshment of the art and the time of rejuvenation which is there in the different art forms. If the art form is looked before renaissance, the information is much more immature and unrealistic. The art works which is there from the renaissance and the era after the same is much more relevant to the modern era of art-works. The period of renaissance actually lasted for a period of more than 300 years and a number of techniques have been identified. This led to the foundation of some of the revolutionary techniques such as the first time perspectives which are there in art, the newly found colors which took the art to the completely new level. In the present times, the art which are developed can’t be used by referencing to the canonical forms of art. These four canonical models of art include the sfumato, unione, cangiante and chiaroscuro. These techniques have been important and are still referred by the contemporary artists (Beardsley, 1998).