WPPRIMARY REFERENCES:
Introduction to the Humanities: A Holistic Approach, Books Atbp., 2009, - Jesus Menoy
Introduction to Art Appreciation, C & E Publishing, 2008, – Mariano Ariola
KEY TOPICS FOR EACH TERM EXAM:
PRELIM: FOUNDATIONS AND INTRODUCTION TO ART, PAINTINGS & ARTISTS, MUSIC
MIDTERM: SCULPTURE, ARCHITECTURE, PHOTOGRAPHY
ENDTERM: PERFORMING ARTS, DANCE, FILM
TOPICS FOR PRELIM:
I.
Objectives of Humanities:
a.
Orientation to:
i. visual arts (painting, architecture, sculpture)
1. Two-dimensional arts
a.
Painting, drawing, printmaking, photography
2. Three-dimensional arts
a.
Sculpture, architecture, landscape, community planning, industrial designs, crafts like – ceramics, and furniture
ii. Auditory arts: (music, literature)
iii. Performing arts/ theatre arts (drama, dance)
b. Analysis of the historical period and cultural framework in which such art was produced
c.
Enrich cultural heritage by integrating the past and the present
II.
CHAPTER I: THE MEANING AND IMPORTANCE OF ARTS
a.
Humanities:
i. Refers to the arts – the visual arts such as architecture, painting, sculpture, music, dance, theatre or drama, and literature.
ii. These kinds of learning are concerned with human thoughts, feelings, and relations.
b. Art
i. Italian word – ‘artis’
1. Means craftsmanship, skill, mastery of form, inventiveness and the association that exists between form and ideas and
between material and techniques.
2. The faculty of what is devised.
ii. Aryan root – ‘ar’
1. Means to join or put together
iii. Greek words
1.
‘artizein’: to prepare
2. ‘arkiskein’: to put together
iv. Art, like love, is concerned with the communication of certain ideas and feelings by means of sensuous medium – color, sound, bronze,
marble, film, and literature.
v. An artist uses his genius in transforming God-made things into man-made things that satisfy his needs.
1. E.g. conversion of wood into a religious image, plants into cloths
vi. Purposes in engaging art activities:
1. To express one’s emotions and thoughts.
2. To produce things of beauty (architectural – Great Pyramid of Egypt, Eiffel Tower)
3. Self- actualization of passion
4. To immortalize something
5. To inform and persuade
6. To entertain
c.
THE NATURE, MEANING, IMPORTANCE OF ART AND ART APPRECIATION
i. THE NATURE OF ART
1. Art: means of expression
2. In every age or country, there is always art
3. True art is not imitation but creativity.
4. Art is the skillful arrangement of composition of some common but significant qualities of nature such as colors, sounds, lines,
movements, words, stones, wood, etc., to express human feelings, emotions, or thoughts in a perfect meaningful and
enjoyable way.
5.
4 COMMON ESSENTIALS OF ART:
a.
Art must be man-made
b. Art must be creative not imitative
c.
Art must benefit and satisfy man in practical life
d. Art is expressed through a certain medium or material by which the artist communicates himself to his fellows.
6.
Through the artist’s work, we get a glimpse of the thoughts, feelings and beliefs of the people in their time and the faces in
their environment that influenced their artwork.
We may be influenced to change our ways and behavior out of the aesthetic experiences we derive from the arts.
a.
They may transform us into highly-cultured, dignified, and respectable human beings.
b. The arts may beautify our humanity.
c.
This explains why the arts are called humanities.
i. They bring out the good and the noble in us.
ii. Through the arts, we come to know the changing image of man as he journeys across time, searches for
the reality, and strive to achieve the ideals that create meaning for life.
ART APPRECIATION:
a.
Ability to interpret or understand man-made arts and enjoy them either through actual and work-experience with
art tools and materials or possession of these works of art for one’s admiration and satisfaction.
7.
8.
1
ii.
THE SUBJECT OF ART
1. The subject of art is the foundation of the creation of the work of art or anything that is represented in the artwork.
2. Representational or objective arts
a.
Artworks that depict something easily recognized by most people
b. Painting, sculpture, graphic arts, literature, and theatre arts are generally classified as representational.
3. Non-representational or non-objective arts (SUBJECTIVE)
a.
Artworks that have no resemblance to any real subject
b. They do not represent anything and they are what they are.
c.
They rather appeal directly to the senses primarily because of the satisfying organization of their sensuous and
expressive elements.
iii.
THE FUNCTIONS OF ART
1. To find meaning in art, it must serve a utilitarian purpose and be capable of serving the purpose for which it was designed.
2. Architecture is functional because buildings and structures are always built for some special purpose.
3. Music and Dance:
a.
Used for ritual and worship
b. Social and folk entertainment
4. Painting and sculpture
a.
To narrate events
b. Personal expression of nature and its beauty
5. MAIN FUNCTIONS OF ART:
a.
AESTHETIC FUNCTION (BEAUTY)
i. Through art, man becomes conscious of the beauty of nature.
ii. He benefits from his own work and from those done by his fellowmen.
iii. He learns to use, love, decorate, and preserve them for his enjoyment and appreciation.
iv. PLATO
1. IDEAS (MIND) VS. BODY (SENSES)
a.
Materiality (tangible) vs. immateriality
b. Temporary vs. eternal
c.
Memories = alive
2. To be beautiful is to be something eternal
v.
b.
c.
d.
e.
f.
g.
h.
i.
iv.
ARISTOTLE
1. To be beautiful is to be something proportional (order)
2. Law of nature = the world has a system – everything is directed towards an end (teleological)
a.
Everything has a purpose and a function
UTILITARIAN FUNCTION
i. With the creation of the various forms of art, man now lives in comfort and happiness.
ii. Through art, man is provided with shelter, clothing, food, light, medicine, beautiful surroundings,
personal ornamentals, entertainment, language, transportation, and other necessities and conveniences
of life.
iii. Art improves nature through landscape gardening, creation of superhighways, and through propagation
and conservation of natural resources.
CULTURAL FUNCTION
i. Through the printed matter, art transmits and preserves skills and knowledge from one generation to
another.
ii. It burdens one’s cultural background and makes man more civilized and his life more enduring and
satisfying.
SOCIAL FUNCTION
i. Through civic and graphic arts, man learns to love and help each other.
ii. International understanding and cooperation are fostered and nations become more unified, friendly,
cooperative, helpful, and sympathetic.
ECONOMIC FUNCTION
i. Art can be a lucrative job. (it can pay well/ profitable)
ii. E.g. Steven Spielberg’s movies. J. K. Rowling’s novels
POLITICAL FUNCTION
i. Murals can inculcate virtues of self-discipline, industry, unity, and cooperation.
HISTORICAL
i. Art forms can record historical figures and events
ii. E.g. sculptures of Philippine Heroes, tombs of rulers (Pyramids of Egypt & Taj Majal of India)
RELIGIOUS FUNCTION
i. Art evolved from religion
ii. Worship of gods in the form of dances and songs
iii. E.g. Greek gods, mausoleum of Rome (cemetery)
PHYSICAL FUNCTION
i. Houses and other buildings are constructed to protect their occupants
ii. Dance as the best form of exercise
GENRES OF ART
1. VISUAL ARTS – those forms perceived by the eyes. They are called spatial arts because artworks produced under this genre
occupy space.
a.
GRAPHIC ARTS
b. PLASTIC ARTS
2. AUDIO-VISUAL ARTS
a.
Those forms perceived by both ears (audio) and eyes (video)
2
3.
b. They are called performing arts inasmuch as the artists render a performance in front of an audience
LITERARY ARTS
a.
Those presented in the written mode and intended to be read
b. These include:
i. Prose
1. Short stories, novels, essays, and plays
2. Are in paragraph form – composed of sentences
ii. Poetry
1. Narrative poems, lyric poems, dramatic poems
2. Are in stanza (composed of lines)
v.
DIVISIONS OF ART STUDY
1. AESTHETICS OR ART APPRECIATION
a.
The science of beauty – student learns to admire the artists, value highly different works of art and appreciate the
role of art in the society.
2. ART HISTORY
a.
Student acquires knowledge of the artists, their backgrounds, their masterpieces, and their significant contributions
in various fields of art.
3. ART PRODUCTION
a.
Student learns to use his creativity and apply his artistic knowledge and skills in producing his own works of art.
4. ART CRITICISM
a.
Student learns to use his judgment in evaluating different artworks based on criteria set.
vi.
THE SCOPE OF ART
1. 2 GENERAL DIMENSIONS OF ART:
a.
FINE ARTS OR INDEPENDENT ARTS
i. Made primarily for aesthetic enjoyment through the senses, especially visual and auditory.
ii. Music, painting, sculpture, architecture, literature, dancing and drama.
b. PRACTICAL ARTS OR UTILITARIAN ARTS
i. Intended for practical use or utility – it is the development of raw materials for utilitarian purposes.
ii. Industrial art, applied or household art, civic art, commercial art, graphic art, agricultural art, business
art, distributive art, and fishery art.
2.
2 CLASSIFICATIONS OF VISUAL ARTS:
a.
GRAPHIC ARTS
i. Those visual arts that have length and width (2 dimensions)
1. They are described as flat arts because they are seen on flat surfaces
ii. Include painting, drawing, photography, graphic process (printing), commercial art (designing of books,
advertisements, signs, posters and other displays), mechanical processes, in which portrayals of forms
and symbols are recorded on a two-dimensional surface.
b. PLASTIC ARTS
i. Those visual arts that have length, width, and volume (3 dimensions)
ii. Include all fields of visual arts for which materials are organized into three-dimensional forms such as
structural architecture, landscape architecture, (gardens, parks, playgrounds, golf course, beautification),
city physical planning and interior arranging (design of wallpaper, furniture), sculpture, crafts, industrial
design, dress and costume design, and theatre design
3.
CLASSIFICATION OF ARTS ACCORDING TO 2 MAJOR DIVISIONS:
a.
ACCORDING TO PURPOSE
i. PRACTICAL ARTS OR USEFUL ARTS
1. Directed to produce artifacts and utensils for the satisfaction of human needs
2. E.g. handicrafts, embroidery
ii. LIBERAL ARTS
1. Directed toward intellectual growth, such as in the study of philosophy, psychology,
literature, mathematics, and sciences.
iii.
iv.
v.
b.
FINE ARTS
1. Focused towards creative activity for the contemplation of the mind, and the uplift of the
spirit
2. E.g. painting, sculpture, architecture
MAJOR ARTS
1. Characterized by actual and potential expressiveness such as music, poetry, sculpture
MINOR ARTS
1. Concerned on practical uses and purposes
2. E.g. interior decoration and porcelain art
ACCORDING TO MEDIA AND FORMS
i. PLASTIC ARTS
1. Developed through space and perceived by the sense of sight
2. E.g. sculpture and decorative materials
ii. PHONETIC ARTS
1. Directed towards sounds and words as media of expression.
2. E.g. drama, music, literature
iii. KINETIC ARTS
1. Involve the element of rhythm
3
iv.
v.
III.
2. E.g. dance
PURE ARTS
1. Take only one medium of expression like sound in music and color in painting
MIXED ARTS
1. Take more than one medium such as the opera which combines music, poetry and drama
vii.
THE ORIGIN OF ART
1. Art is viewed as a reflection of creative and ingenuity and inventiveness within a culture
2. Art started during the primitive time when the superstition and beliefs (worship) in the spirits are still very common in every
culture – it is symbolic.
viii.
ART STYLE (how an artist present his work) AND FACTORS AFFECTING STYLE
1. GEOGRAPHICAL FACTORS
a.
The place where the artist stays influences his works
2. HISTORICAL FACTORS
a.
E.g. Rizal’s Novels, Victor Hugo’s Les Miserables depicts the French Revolution, Juan Luna’s “Spoliarium” depicts
Filipino Oppression by the Spaniards
3. SOCIAL FACTORS
a.
Situations in the society dictate the type of art form
b. E.g. My Husband’s Lover & Pagdadalaga ni Maximo Oliveros show present-day realities in the society
4. IDEATIONAL FACTORS
a.
Ideologies coming from great thinkers
b. E.g. Sigmund Freud, proposed ideas that have influenced surrealist painters
c.
The idea that the human body is the most beautiful figure to present as an art subject gave rise to the school of
thought called nudism.
5. PSYCHOLOGICAL FACTORS
a.
Works produced by the artists are affected by their psychological make-up or frame of mind.
b. E.g. Edward Munch’s “The Sick Child” – an effect of his unfortunate childhood experience of contracting a long
illness after losing his loved at an early age.
c.
E.g. Vincent Van Gogh’s painting “The Starry Night” was believed to be completed during his stay in an asylum
6. TECHNICAL FACTORS
a.
Different techniques are applied to make one’s work unique and different from others.
7. POLITICAL FACTORS
a.
Satires (critique) attacking the situation of the government.
b. E.g. Rizal’s Novels
8. ECONOMIC FACTORS
a.
The availability of financial and other resources plays an important role in the life of an artist
b. E.g. a filmmaker who is not financially well-off may produce a low-budgeted independent film with not-so-known
actors in the cast and with the use of outmoded equipment
c.
E.g. an abstract painter may shift to realism if his paintings do not sell.
CHAPTER II: ARTIST’S MEDIA
a.
MEDIUM AND TECHNIQUE
i. THE ARTIST AND HIS MEDIUM
1. Medium:
a.
denotes the means by which an artist communicates his ideas
b. these are the materials which are used by an artist to interpret his feelings or thoughts
c.
When an artist chooses his medium, he believes that this can best express the idea he wants to convey.
d. E.g. wood can be carved in great detail according to the talent of the sculptor.
ii.
b.
THE ARTIST AND HIS TECHNIQUE
1. technique:
a.
the manner in which the artist controls/ manipulates his medium to achieve the desired effect
b. It is the ability with which he fulfills the technical requirements of his particular work of art.
MEDIA OF THE VISUAL ARTS
i. PAINTING – art of creating meaningful effects on a flat surface by the use of pigments
1. WATERCOLOR
a.
Color is less luminous
b. Technique: gouache
i. An opaque watercolor painting the major effects of which are caused by the whitepaper itself
ii. This technique is done by mixing zinc white with the regular watercolor paints to tone them down giving
the appearance of sobriety suitable for dramatic purposes.
2. FRESCO
a.
This is painting on a moist plaster surface with colors ground in water or a limewater mixture.
b. The colors dry into plaster, and the picture becomes a part of the wall.
c.
This must be done quickly because it is an exacting medium - the moment the paint is applied to the surface, it
becomes an integral part of the wall.
d. The image becomes permanently fixed and almost impossible to remove.
e. E.g. Michelangelo’s “The Creation of Adam” in the Sistine Chapel ceiling.
3.
TEMPERA
a.
b.
c.
d.
e.
Its paints are mineral pigments mixed with egg yolk or egg white and ore.
They are often used as binder due to its film forming properties and rapid drying rate
Corrections are difficult to make: medium dries quickly
Does not possess the flexibility of oil.
It is usually done in wooden panel that has been made very smooth with plaster called “gesso” (chalk and gum)
4
f.
4.
PASTEL
a.
b.
c.
One distinguishing advantage of tempera is its luminous tone – the colors being clear and beautiful.
This is a stick of dried paste made of pigment round with chalk and compounded with gum water.
Its colors are luminous
It is difficult to preserve the finished product in its original freshness – when the chalk rubs, the picture loses some
of its brilliance.
5.
ENCAUSTIC
a.
One of the early media used by the Egyptians for the painted portrait on mummy cases.
b. This is done by painting with wax colors fixed with heat.
c.
Painting with wax produces luster and radiance in the subject making them appear at their best in portraits.
6.
OIL
a.
b.
c.
d.
e.
7.
ACRYLIC
a.
b.
c.
8.
9.
MOSAIC
a.
Expensive and the heaviest of painting media
Pigments are mixed with linseed oil and applied to the canvas
It is flexible: artist may use a brush, palette knife, or even his bare hands when applying paint in the canvas
The painting dries slowly; it can be changed and worked over a long period of time.
Painting done in oil is glossy and lasts long.
Is used popularly by contemporary painters because of the transparency and quick-drying characteristics of
watercolor and the flexibility of oil combined.
This synthetic paint is mixed with acrylic emulsion as binder for coating the surface of the artwork.
Acrylic paints do not tend to break easily, unlike oil paints which turn yellowish or darker over a period of time.
This is a picture or decoration made of small pieces of inlaid colored stones or glass called “tesserae,” which most
often are cut into squares glued on a surface with plaster or cement.
STAINED GLASS
a.
Common in Gothic cathedrals and churches.
b. This is made by combining many small pieces of colored glass which are held together by bands of lead (patchwork)
c.
In large windows, the lead is reinforced by heavy iron bars that make heavy black lines in the picture.
10. TAPESTRY
a.
This is a fabric consisting of a warp upon which colored threads are woven by hand to produce a design, often
pictorials, wall hangings and furniture covering.
11. DRAWING
a.
b.
c.
d.
e.
f.
12. BISTRE
a.
Is usually done on paper using pencil, pen and ink, or charcoal
It is the most fundamental of all skills necessary in arts
Considered as a very good training for artists because it makes one concentrate on the use of line.
Shading can also be used to make drawing more life-like and realistic.
i. For linework, hard pencil lead is applied
ii. On a granular surface, soft pencils are used because they invite effects of mass and a texture of gray.
India ink, which comes in liquid form, is the favorite medium of comic strip illustrators and cartoonists.
Chinese ink, comes in solid sticks that are dissolved in water before they are used.
A brown pigment extracted from the soot of wood, and often used in pen and wash drawings.
13. CRAYONS
a.
Are pigments bound by wax and compressed into painted sticks used for drawing especially among children in the
elementary grades
14. CHARCOAL
a.
These are carbonaceous materials obtained by heating wood or other organic substances in the absence of oxygen.
b. It is used in representing broad masses of light and shadow.
c.
Soft charcoal produces the darkest value
d. Dark charcoal produces the lightest tone
15. SILVERPOINT
a.
The artist has a technique of drawing with silver stylus on specially prepared paper to produce a thin grayish line
b. Popular during the renaissance period
16. PRINTMAKING
a.
Anything printed on the surface that is a direct result from duplicating process
b. Graphic image is done in black ink on white paper and becomes the artist’s plate.
c.
One of the advantages of printmaking is the process of making many copies of the original drawing.
d. 5 major types of prints:
i. Woodcut
1. The remaining surface of the wood is being cut away
ii. Engraving
1. This is the art of forming designs by cutting, corrosion by acids
5
2.
3.
4.
iii.
iv.
v.
Relief
1.
2.
Intaglio
1.
The lines of the design are cut into a metal plate with ink and transferred from the plate to
the paper.
The lines of an engraving are cut by hand with an instrument called burin, a steel tool with an
oblique point and rounded handle for carving stone and engraving metal.
Etching
a.
A copper or zinc plate is covered with a “ground” a smooth coating of wax mixed
with pitch and amber.
b. The artist scratches the picture into the ground and puts the plate in acid, which
“eats” the picture into the plate
c.
The ground is scraped off and the plate is then used to print the picture
Involves cutting away from a block of wood or linoleum the parts of the design that the artist
wants to be seen, leaving the portion of the third dimension
Color prints are made by preparing a separate block for each color to be used.
Printing process in which the design or the text is engraved into the surface of the place and
the ink is transferred to paper from the goover.
2. The design is engraved or etched into a metal plate.
3. The incised line is then filled with ink and under considerable pressure, leaves a sharp
impression on paper surface.
Stencil process
1. Involves cutting of the design on special paper cardboard or metal sheet in such a way that
when ink is rubbed over it, the design is reproduced on the surface.
2. The printing is done through a silkscreen which is made of a fine silk or nylon stretched tightly
over a wooden frame.
ii.
SUBJECTS IN PAINTING:
1. PORTRAITURE
a.
Pictures of men and women collectively
b. Early use of capturing a moment before the camera came
2. ANIMALS AND PLANTS
a.
Hunting and food gathering in the ancient times
3. STILL LIFE
a.
A painting of inanimate object placed on a setting
4. COUNTRY LIFE
a.
Scenes happening daily in their community
b. E.g. Fernando Amorsolo’s “Farmer,” “Barrio Fiesta”
5. LANDSCAPE
a.
Any land forms
6. SEASCAPE
a.
Water forms
7. CITYSCAPE
a.
View of a city
8. EVENT
a.
E.g. Juan Luna’s “Spoliarium”
9. RELIGIOUS ITEMS
a.
Raphael Sanzio’s “Madonna of the Rocks”
iii.
THE VOCAL MUSIC
1. Our voice is produced by the vibrations of the vocal chords in our voice box.
2. Since the sound produced by these vibrations is not loud enough to be heard, resonators (lungs, esophagus, head and mouth
cavities) are needed to increase the volume of the voice.
iv.
MUSIC
1.
Music is the art of combining sounds of varying pitch to produce a coherent composition that is melodious, harmonious,
intelligible, and expressive of ideas and emotions.
v.
VOICE CLASSIFICATION
1. Voice differs considerably according to timbre (quality) and range.
2. As to timbre, they are classified into: women’s voices and men’s voices.
a.
Women’s voices:
i. Soprano: tone is lighter in character, less somber and frequently more flexible. It is classified into:
1. Coloratura soprano: highest and lightest of all voices.
2. Mezzo-soprano: it is a medium high in tonal quality
3. Lyric soprano: is less high and flute-like. It is suited to sweet songs like melodies
ii. Alto or contralto – the tone is richer and fuller
b. Men’s voices:
i. Tenor: the highest type in men’s voices
ii. Baritone: the voice is between tenor and bass
iii. Bass: the lowest and deepest voice quality
vi.
INSTRUMENTAL MUSIC
1. SONATA
a.
A long composition for solo (one) instrument, consisting of large sections called movements.
b. These movements are the allegro, andante, and rondo.
c.
E.g. Sonata in C Major by Wolfgang Mozart
6
2.
3.
4.
5.
6.
7.
SUITE
a.
A series of musical pieces that tells a story.
b. A music that tells a story is called program music
c.
A music that does not tell a story is absolute music
d. E.g. Nutcracker Suite by Peter Tchaikowsky
SYMPHONY
a.
A sonata for the orchestra
i. Includes all the principal instrumental types.
ii. Instruments’ ranges: alto, tenor, and bass
b. Ludwig Van Beethoven was the great musician remembered for his immortal symphonies
CONCERTO
a.
A sonata for solo and orchestra designed to show-off the virtuosity of the soloist
b. One solo instrument, a piano or a violin, is given prominence
c.
Some of the greatest concerto musicians were B.S. Bach and Vivaldi
CHAMBER MUSIC
a.
Written for two solo instruments (violins and flutes) and basso continuo (low string and keyboard) and usually in
several movements.
b. This is music is classified into sonata da camara (chamber sonata) and sonata de chiesa (church sonata).
c.
Some composers of chamber music were Vitali, J.S. Bach, Torelli, and Purcelli.
BAND
a.
Consisting mainly or exclusively of wind and percussion instruments
RONDALLA
a.
A band usually composed of stringed instruments
vii.
DIFFERENT MUSICAL INSTRUMENTS
1. 3 main types:
a.
Instruments which are bowed/ plucked
i. Strings
1. Violin, viola, violoncello, string bass
b. Instruments which are blown
i. Brasses
1. Piccolo, flute, clarinet, oboe, English horn, bass clarinet, bassoon, contrabassoon
ii. Woodwinds
1. Trumpet, French horn, trombone, tuba
c.
Instruments which are struck
i. Percussion
1. Snare drum, bass drum, cymbals, triangle
viii.
PROPERTIES/ ELEMENTS OF MUSICAL SOUND
1. Pitch
a.
We mean the highness or lowness of a tone in the musical scale. All sounds are caused by vibration.
b. The shorter a string or column of air, the more rapidly it vibrates and the higher the pitch.
c.
The longer a string or column of air, the fewer the vibrations per second and the lower the pitch.
d. The width, thickness, density, and tension of the vibrating body also affect the outcome.
2. Duration
a.
This property of sound depends on the length of time over which vibration is maintained.
b. Tones are not only high or low but also short and long.
3. Volume or Intensity
a. The term refers to force or percussive effects as a result of which the tone strikes us as being loud or soft.
b. Forte means loud; piano means soft.
i. Very soft: pianissimo
ii. Very loud: fortissimo
4. Tempo or rate
a.
Speed of a composition
i. Allegro (fast)
ii. Vivace (lively)
iii. Moderato (moderate speed)
iv. Andante (moderately slow)
v. Adagio (slower than andante)
vi. Lento (slow)
vii. Largo (very slow)
5. Timbre or tone color
a.
Quality of sound that makes it distinct from other sounds
b. This is the individual quality of the sound produced by other instruments.
c.
This depends on how the instrument accentuates the overtones within the sound wave.
d. It is influenced by a number of factors such as the size, shape, and the proportion of the instrument, the material of
which it is made, and the manner in which the vibration is set up.
6. Rhythm
a.
The consistent pattern or succession of identical or similar sounds
b. This is illustrated by the succession of similar sounds in a song: introduction, stanza one, chorus, refrain, stanza two,
chorus, refrain, coda, conclusion
c.
It is the variation of length and accentuation of a series of sounds.
d. Its most fundamental component is beat, i.e., the recurrent pulse
i. The beat is that to which we clap our hands or tap our feet.
e. The beat and the rhythm are not the same:
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i.
f.
7.
Melody
a.
b.
c.
d.
e.
The beat is the simple pulse found in almost all music familiar to us while the rhythm is a larger concept,
including the beat and everything that happens to sounds in relation to time.
One way of measuring rhythm is by means of meter.
i. Meter is the arrangement of rhythm in fixed, regular pattern with a uniform number of beats in uniform
measures.
ii. It is also the way beats are grouped and measured so that some beats receive accent while others do
not.
It is the series of consecutive tones that vary in pitch and duration but form a line of individual significance and
expressive value
It is the one remembered by a listener when he does not know the lyrics
It refers to pitches or tones sounded one after another in a logical meaningful series.
It is also defined as succession of tones arranged in such a way as to give a musical sense.
Melody is an organized group of pitches strung out sequentially to form a satisfying musical entity.
8.
Harmony
a.
The simultaneous sounding of 2 or more tones
b. When 3 or more tones are sounded simultaneously, there exists
i. Concord: if the combination or chord seems to produce an impression of agreeableness or resolution to
the listener
ii. Discord or dissonance: if there is no combination
9. Texture
a.
It is the number of tones expected to be apprehended simultaneously
b. It is either monophonic (sounding of a single melodic line without an accompaniment)
c.
Polyphonic (simultaneous sounding of two or more melodic lines of relatively equal interest)
d. Homophonic (sounding of one main melody supported by a subordinate one, as in the performance of a folk singer
with guitar accompaniment)
10. Form
a.
It is the overall organization of the composition
b. All the musical elements are put together to come up with the cohesive whole called form.
c.
E.g. Jose Palma’s lyrics of the Philippine National Anthem entitled “Lupang Hinirang” were arranged into a march by
Julian Felipe
i. All the notes and all the other components of the song constitute its form
ix.
METHODS OF ART PRODUCTION AND PRESENTATION OF SUBJECTS
1. REALISM
a.
In painting, this is the attempt to portray the subject as it is
b. To be objective as possible means to describe as accurately and honestly as possible what is observed through the
senses.
c.
If an apple is the subject, it is shown as is with either red or green color.
d. The 3 renaissance greats, Michelangelo, Buonarroti, Leonardo da Vinci, and Raphael Sanzio, are realist painters.
e. Filipinos: Fernando Amorsolo, (Father of Philippine Realism) – painted rural scenes.
i. In the process of selecting and presenting his material, he cannot help being influenced by what he feels
or thinks.
f.
To stress the daily life of the common man, often concentrating on the sordid and disagreeable.
g.
E.g. Edgardo Reyes’ Sa Mga Kuko ng Liwanag and Efren Abueg’s Dilim sa Umaga
2.
ABSTRACTION
a.
This is used when the artist becomes so interested in one phase of a scene or a situation that he does not show the
subject at all as an objective reality, but only his idea, or his feelings about it.
b. Abstract means “to move away or to separate” – drawing away from realism
i. Abstract art moves away from showing things as they really are.
ii. The painter or artist paints the picture not as it really looked.
iii. The picture is not just realistic.
iv. E.g. Constantin Brancusi’s “Bird in Space”
c.
Abstract subjects can also be presented in many ways like:
i. Distortion:
1. subject is in misshapen condition, or the regular shape is twisted out
2. e.g. apple is shown as a square
ii. Elongation:
1.
Refers to that which is lengthened, protraction or extension.
2. E.g. El Greco’s “The Resurrection of Christ”
iii. Mangling:
1. Showing subjects which are cut, lacerated, mutilated, or hacked with repeated blows.
iv. Cubism:
1.
Stresses abstract form through the use of a cone, cylinder, or sphere at the expense of other
pictorial elements.
2. The cubists want to show forms in their geometrical shapes.
3. E.g. Paul Cezanne, George Braque, Pablo Picasso
4. Tam Austria’s “Fisherman’s Family”, Vicente Manansala’s “Balut Vendors”, “Prayer before
Meals”
v. Abstract expression
1. Characterized by great verve, the use of large canvasses, and a deliberate lack of refinement
in the application of the paint.
2. Strong color, heavy impasto, uneven brush strokes, and rough textures are other typical
characteristics.
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3.
4.
IV.
It departs completely from subject matter, from studied precision, and from any kind of
preconceived design.
E.g. Jackson Pollock, Jose Joya
3.
SYMBOLISM
a.
Is a visible sign of something invisible such as an idea or a quality.
i. The artist shows his subject as it appears in real life, but he intends to let it represent something.
b. It can be simply an emblem or sign like: % to represent percent.
c.
E.g. Juan Luna’ “Spolarium”
i. As a Roman Term, “Spolarium”, referred to the spoils of war, spoils of tyrants and the king.
d. Guillermo Tolentino’s “Oblation” – symbol of academic freedom
4.
FAUVISM
a.
The fauves did not attempt to express ethical, philosophical, or psychological themes.
b. Most of these artists tried to paint pictures of comfort, joy, and pleasure.
c.
They used extremely bright colors.
i. It is optimistic realism – it is presenting the real-life subject with the use of bright colors suggesting
comfort, joy, and pleasure.
d. To a fauve, for example, a tree trunk need not be brown. It could be bright, red, purple, or any other color.
e. Important fauves: Andre Derain, Raoul Dufy, George Rouault, Henry Matisse (“The Red Room”)
5.
DADAISM (shocking realism – exposition of the evils in society)
a.
The Dadaists reacted to what they believed were outworn traditions in art, and the evils they saw in society.
b. They tried to shock and provoke the public with outrageous pieces of writing, poetry recitals, and art exhibitions.
i. Revolutionizing outworn traditions
c.
Much dadaic art was playful and highly experimental.
d. The name “dada” (French: “hobby horse”) was deliberately chosen because it was nonsensical.
e. E.g. Marcel Duchamp
6.
FUTURISM
a.
Works that capture the speed and force of modern industrial society.
b. Their paintings glorified the mechanical energy of modern life.
c.
Subjects included automobiles, motorcycles, and railroad trains – subjects that express the explosive vitality of a
modern city.
7.
SURREALISM (super realism)
a.
Founded by Andre Breton
b. Uses art as weapon against the evil and restrictions that surrealists see in society.
i. Unlike Dadaism, it tries to reveal a new and higher reality than that of daily life.
c.
This movement was influenced by the Freudian psychology which emphasizes the activities of the subconscious
state of the mind.
d. Subjects of this kind attempt to show what is inside man’s mind as well as the appearance of his outside world.
i. The surrealists claim to create forms and images not primarily by reason, but by unthinking impulse and
blind feeling or even by accident.
ii. Using these methods, the surrealists declare that a magical world – more beautiful than the real one –
can be created in art and literature.
iii. Much of the beauty sought by surrealism is violent and cruel.
iv. The surrealists try to shock the viewer or reader and show what they consider the deeper and truer part
of human nature.
e. E.g. Benjamin Mendoza
8.
EXPRESSIONISM (emotional realism)
a.
Believed in the necessity of a spiritual rebirth for man in an age that was fast becoming influenced by materialism
i. The emotional expressions in expressionistic paintings could be described as involving pathos, morbidity,
violence or chaos, and tragedy.
ii. It sometimes portrays defeat
b. Proponents:
i. Amelia Lapeña-Bonifacio – “Sepang Loca”
ii. Paul Dumol’s – “Paglilitis ni Mang Serapio”
iii. Reuel Aguila’s – “Mapait sa Bao”
9.
IMPRESSIONISM
a.
Presenting the real-life subject with emphasis on the impression left in the artist’s mind, particularly the effect of
light on the object used as subject.
b. E.g. an apple on a table is presented not as entirely red, but with white areas showing the spots where the light rays
fall upon.
c.
Painters: Claude Monet, Edouard Manet, Edgar Degas, August Renoir, Camille Pissarro, Vincent Van Gogh
CHAPTER 3: ELEMENTS OF VISUAL AND PERFORMING ARTS
a.
ELEMENTS OF VISUAL ARTS – the medium is the physical means through which we can come into contact with a work of art, and the elements are its
quantities or properties.
i. LINE – it is a series of connected dots.
1. Definition:
a.
It is a springboard of an art product.
b. All works classified under the graphic arts and plastic arts start with lines.
c.
E.g. a cloth before it becomes a dress or another garment must first be ruled and then cut and later sewn.
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2.
3.
4.
5.
ii.
d. Lines are classified according to position, direction, and shape; they carry meanings by themselves.
Represents figures and forms
a.
It has a direction and is always moving
Man has learned that certain emotional states always find expression through definite positions.
a.
He associates the emotions with the lines that define their accompanying positions.
Straight lines
a.
is the basic framework of many forms, but it lacks softness and flexibility. It signifies stiffness and inactivity.
b. It suggests efficiency, simplicity, and strength.
c.
Moves in one direction only: it can be
i. Horizontal
1. Lines of repose and serenity
2. They express ideas if calmness and quiescence.
3. They are found in landscapes, calm bodies of water and in the distant meeting of the earth
and sky
ii. Vertical
1. These are lines poised for action. It shows height.
2. They suggest balance, force, aspiration, exaltation and dynamism
3. They are seen in a man standing straight, a tall tree, and statues of saint and heroes
4. It implies an impression of dignity and an arousal of emotional exaltation
iii. Diagonal
1. Suggests action, life, and movement.
2. They give animation to any composition in which they appear.
3. E.g. running person
Curved lines
a. Suggest grace, movement, and instability.
b. They are never harsh or stern since they are formed by a gradual change in direction.
c.
E.g. mural artist Carlos Francisco – “Si Malakas at si Maganda”
6.
Crooked or jagged lines
a. Expresses energy, violence, conflict, and struggle.
7.
Repeating Lines
a.
These are succession of vertical (llllll), horizontal (======), diagonal (////// or \\\\\) or curved (CCCCC) lines.
b. These are used to show rhythm.
8.
Contrasting lines
a.
These are combination of vertical and horizontal lines (LLLLLL) or a combination of diagonal lines (XXXXX) or <<<< or
>>>> in opposite directions.
9.
Modified lines
a.
These are combination of straight and curved lines [{}] or a combination of lines of varying shapes ({>O<})
COLOR:
1.
2.
Definition
a.
It has the most aesthetic appeal. It is a property of light. When light goes out, color goes with it.
b. The light of the sun contains all the colors of the spectrum: violet, indigo, blue, green, yellow, orange, and red.
i. When a beam of light passes through a prism, the different rays of color are separated so that we are
able to see and identify them.
ii. When light strikes a surface, some of the color rays are absorbed while others are reflected
c.
White, gray, and black have no color quality.
THREE DIMENSIONS OF COLOR
a.
HUE
i. It is the dimension of color that gives color its name.
ii. MONOCHROMATIC: when an object has only one hue
iii. POLYCHROMATIC: when an object has 2 or more hues.
iv. Colors are classified into primary, secondary, and intermediate.
1. When we say that flower is yellow, we are naming its hue.
2. Primary hues: blue, red, and yellow. (BRY)
a.
If these primary hues are mixed in equal parts, the secondary hues are produced.
i. They are described as primary colors because they are the first to be
produced and the rest of the colors are produced as a result of their
combination.
b. Red: the color of fire and blood. It is the warmest and most exciting of all colors. It
stands for passion and energy.
c.
Yellow: the color of light. It is the most brilliant and cheerful color.
d. Blue: coolest and the most tranquil of the colors. It is the color of the sky and of
deep and still water. It arouses the feelings of peace and quietness.
3.
Secondary hues:
a. Green, orange, and violet (GOV) – they are produced by combining two primary
colors.
b. Orange = red + yellow
c.
Green = yellow + blue
i. It is the color for vegetation and symbolizes life and freshness.
d. Violet = blue + red
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i.
4.
c.
3.
Classification of color according to the color wheel:
1. Adjacent
a.
The adjacent colors are those colors situated next to each other in the color wheel.
b. E.g. red and red-orange, yellow and yellow-green, blue and blue-violet
2. Complementary
a.
Those colors situated opposite each other in the color wheel.
b. E.g. red and green, blue and orange, yellow and violet
vi.
Classification of color based on their effect on the visual sense:
1. Warm hues: red, orange, and yellow
a.
They are associated with objects like the sun, fire, and other sources of heat.
2. Cool hues: green, blue-green, blue, and blue-violet
a.
They suggest distance. They are calm, sober, and restful.
vii.
Classification of color according to value:
1. Light
a.
Those colors with values lower than the normal value.
b. E.g. pink or fuchsia is a tint of red/ azure (sky blue) is a tint of blue
2. Dark
a.
Colors with values higher than the normal value
b. E.g. maroon is a shade of red/ navy blue is a shade of blue
viii.
Rainbow or Prismatic Colors
1. Those colors that form a rainbow or a prism
2. These are red, orange, yellow, green, blue, indigo, and violet (ROYGBIV)
Neutral colors
1. White, gray, black
2. White is the absence of all colors/ black is the presence of all colors/ gray is produced by
combining black and white
VALUE
i. Sometimes called chiaroscuro, refers to the lightness or darkness of a color
ii. It is a quality which depends on the amount of light and dark in color
INTENSITY
i. It is the 3rd dimension of color.
ii. It refers to the brightness or darkness of color.
iii. It gives color strength
COLOR HARMONIES
a.
RELATED COLOR HARMONIES
i. MONOCHROMATIC
1. Made up of several tones of one hue: orange, tan, brown, and other tones from the orange
family.
ii. ADJACENT OR NEIGHBORING HARMONY
1. 2 or 3 neighboring hues are used together
2. E.g. tones of green, yellow, and orange
3. They have something in common because there is yellow in green and in orange
b.
4.
Intermediate hues:
a.
These are produced by combining one primary color and one secondary color.
b. Red- violet (RV)
c.
Red- orange (RO)
d. Yellow-green (YG)
e. Blue-green (BG)
f.
Blue-violet (BV)
v.
ix.
b.
It represents shadows and mysteries, death and despair.
CONTRASTED COLOR HARMONIES
i. Colors which lie directly opposite each other
1. E.g. red and green, orange and blue, violet and yellow
2. They contrast with each other strongly; therefore, they are more difficult to use harmoniously
than the related color combinations.
PSYCHOLOGY OF COLORS – creates a right mood among the observers
a.
Black: associated with black and gloom/ death/ evil
b. White: purity and innocence
c.
Blue: heaven/ sky/ sea/ masculinity
d. Red: blood
i. Signifies anger and provokes fear
ii. Impels people to action: courage & fortitude
e. Orange: helps people to be assertive/ food
f.
Yellow: divinity/ deceit/ degradation
g.
Brown: earth
h. Gray: old age/ decay/ gloom
i.
Pink: love and feminity
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j.
k.
Green: color of nature, promotes the feeling of well-being/ life/ nature
i. It implies happy and restful association and natural abundance
LANGUAGE OF ROSES:
i. Red: I love you
ii. Pink: thank You
iii. White: you are heavenly
iv. Coral (orange): speaks of desire/ enthusiasm
v. Yellow: joy and freedom
iii.
TEXTURE
1. Texture is a color element that deals more directly with the sense of touch.
2. It has to do with the characteristics of surfaces which can be rough, or smooth, fine or coarse, shiny or dull, plain or irregular.
3. Texture is best appreciated when an object is felt with the hands.
iv.
SHAPE
1.
2.
3.
v.
vi.
vii.
Contributes to the final form of the artwork.
Circles and polygons (triangles, rectangles, squares) are put together to make up the whole object.
E.g. Christmas lantern
PERSPECTIVE
1. It deals with the effect of distance upon the appearance of objects, by means of which the eye judges spatial relationships.
2. It enables us to perceive distance and to see the position of objects in space.
3. Classifications:
a.
Linear perspective
i. It is the representation of an appearance of distance by means of converging lines.
1. The tracks of a railroad appear to the viewer as seeming to rise and meet in the distance.
2. Painters usually show the effect of space and distance by using converging lines and
diminishing size.
ii. Parallel lines below eye level seem to rise to a vanishing point in the horizon, while those above eye level
seemed to descend to the vanishing point.
1. Near objects are seen in full intensity of color.
2. Objects appear smaller as they recede in to the distance.
3. People or objects, at the background of a painting seem to be shorter than those in front.
b. Aerial perspective
i. It is the representation of relative distances of objects by gradiations of tone and color.
ii. Objects become fainter in the distance due to the effect to the atmosphere.
SPACE
1. Area or surface occupied by the artwork.
FORM
1.
2.
3.
4.
5.
6.
It describes the shape or structure of an object.
Form directs the movements of the eyes.
Since form consists of size and volume, it signifies visual weight.
“form follows function” – this means that the inner content of purpose or function governs the outer appearance.
E.g. sculpture
CLASSIFICATION OF FORMS:
a.
REGULAR FORMS
i. Are those whose parts are related to one another in a consistent orderly manner
ii. They are generally stable and symmetrical
iii. E.g. platonic solids: circle triangle square
b. IRREGULAR FORMS
i. These are those whose parts are dissimilar and unrelated to one another.
ii. They are asymmetrical and dynamic.
iii. These are regular forms from which irregular elements have been subtracted
c.
d.
e.
f.
viii.
CENTRALIZED FORMS
i. It consists of a number of secondary forms clustered to produce a dominant, central, and parent form.
ii. These forms share the self-centering properties of the point and circle.
iii. These forms are ideal as freestanding structures, isolated within their context, dominating a point in
space, or occupying the center of a defined field.
LINEAR FORMS
i. They are arranged sequentially in a row or a series of forms along a line.
RADIAL FORMS
i. They are compositions of linear form that extend outward from central form in a radial manner.
GRID FORMS
i. These are modular forms whose relationships are regulated by 3-dimensional grids.
ii. A grid is a 2 or more intersecting sets of regularly spaced parallel lines.
iii. The square grid generates a spatial network of reference points and lines and within this modular
framework any number of form and spaces can be visually organized.
VOLUME
1. It refers to the amount of space occupied in three dimensions. It refers to solidity or thickness.
2. We perceive volume in 2 ways: by contour lines or outlines or shapes of objects, and by surface lights and shadows.
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V.
CHAPTER 4: VISUAL STRUCTURE OF WORKS OF ART
a.
DESIGN:
i. Proper arrangement of the different art elements in order to produce something beautiful.
ii. It makes objects differ from one perception to another
VI.
CHAPTER 5: DEVELOPMENT OF THE VISUAL ARTS
a.
PRE-HISTORICAL PAINTING (40, 000 BC – 9000 BC)
i. Paintings were focused on animal spear and other rudimentary materials
ii. They were drawn on caves, stones and on earth-filled ground.
iii. The drawings or illustrations are primarily focused on hunting and stylistic treatment.
b.
GREEK ART – the subject matters of painting in Greece were on young wide males, draped female, wounded soldiers, and scenes from everyday life.
i. Formative or Pre-Greek period: motif was sea and nature
ii. First Greek Period: largely Egyptian influence
iii. Golden Age (480-400 BC)
iv. Hellenistic Period (4th century – 1st BC)
1. Heightened individualism, tragic mood, and contorted faces (lacaustic painting)
c.
ROMAN ART: the art served the cult of ancestors and defied emperors.
i. Etruscan Period (2000- 1000 BC)
1. Subject matters of painting were on ancestor worship; catacombs and sarcophage
ii.
d.
Roman Period (2000 BC – 400 AD)
1. The subject matters of painting were commemorative statues, sarcophagi, frescoes, designs with vine motifs.
MEDIEVAL PERIOD
i. EARLY CHRISTIAN ART
1. Subject matters of art were symbols: cross, fish, lamb, alpha and omega, triumphal wreaths, grapes, doves, and peacocks and
later-haloed Christ, saints, and the Virgin Mary, and martyrs.
2. Spiritual expression took precedence over physical beauty and symbols were emphasized.
ii.
BYZANTINE ART
1. The subject matters of painting were Christ as the Creator, and Mary, as the Mother of God.
iii.
GOTHIC ART
1. The subject matters of painting were Religious and grotesque (unattractive); more calmer and plastic style.
2. E.g. the picture of the Madonna and Child gazing into each other’s eyes in playful mood is an example of this style.
e.
FRANCO-FLEMISH PAINTING
i. Portable easel paintings and oil paintings were utilized.
ii. Illustrations consisting of alter pieces with general wings that open and close.
iii. Children’s faces were painted like small adults; spectator was even drawn into the picture.
iv. Landscape was placed within the pictures by the open window technique where faraway landscape of towns, people and river were seen.
f.
RENAISSANCE ART
i. EARLY RENAISSANCE (14TH – 15TH CENTURY)
1. The styles of painting are simplicity, beauty, gesture, and expression.
2. Painting was on man and nature in fresco technique.
ii.
HIGH RENAISSANCE (16TH CENTURY)
1. Painting style consists of the deepening of pictorial space, making the sky more dramatic with dark clouds and flashes of light.
2. E.g. Da Vinci introduced the chiaroscuro/ Michaelangelo dramatized the position of figures in his famous contrapuesto-twists.
iii.
MANERRISM PERIOD
1. Subject matter is on human figure with the use of oil painting and color.
2. Colors were sumptuous, warm, and sensual.
iv.
PAINTERS OF THIS TIME:
1. Giotto, Leonardo Da Vinci, Raphael Sanzio, and Michaelangelo
g.
BAROQUE ART
i. Style is ornate and fantastic appealing to the emotion, sensual and highly decorative; with light and shadow for dramatic effect.
ii. The paintings showed figures in diagonal, twists, and zigzags.
iii. Famous painters included: Paul Rubens, Rembrandt, El Greco, Diego Velasquez, and Murillo
h.
ROCOCO ART
i. Painting style emphasized voluptuousness, picturesque and intimate presentation of farm and country.
ii. The art technique made use of soft pastel colors rendering the landscape smoking and hazy with the subject always in the center of the
canvas.
iii. Famous painters were: Watteau, Fragonard, Hogarth, Reynolds, and Ingres.
i.
ROMANTIC ART
i. The emphasis of painting is on the painter’s reactions to past events, landscapes, and people.
ii. Famous painter: Francisco Goya
j.
19TH CENTURY PAINTING (MODERN ART) – art was aimed to please the public
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i.
ii.
iii.
IMPRESSIONISTS
1. Paul Cezanne was the greatest impressionist and the Father of Modern Art
EXPRESSIONISTS
1. Vincent Van Gogh was the Father of Expressionism
2. He used bright, pure colors mixed on the palette but applied to the canvas in small dots or strokes replying on the beholder’s
eyes to see them together.
SIMPLICITY IN ART
1. Painter: Paul Gauguin
2. He studied the technique of craftsmen and applied these to his canvas.
VII. CHAPTER 7: DEVELOPMENT OF VISUAL ARTS IN THE PHILIPPINES
a.
PAINTING DURING THE SPANISH PERIOD
i. Painting in churches started in Manila area with the priests as painter-decorators
1. Augustinian Friars offered drawing lessons to the Filipinos.
2. Painters: Jose Dans, Damiano Domingo, Justiniano Asuncion, Alfonso Ongpin
ii.
THE ACADEMIA
1. Simon Flores y dela Rosa, was one of those who studied at the Academia
a.
His subjects: religious paintings – Saint John the Baptist, Madonna and Child, Feeding Chickens
2. Lorenzo Guerrero, also studied in the Academia
a.
Master of non-religious and creative paintings – “From the Market”
3. Felipe Roxas
a.
Landscape painter – “Church of Antipolo”
4. Other painters: Felix Martinez, Ramon Martinez, Jose Martinez, Manuel Flores, Anselmo Espiritu, Manuel Espiritu, and Pepe
Lazano
5. Rafael Enriquez: “La Muerte de Simon de Anda”
b.
19TH CENTURY MASTERS
i. Juan Luna and Felix Resurreccion Hidalgo
1. Received high honors abroad
2. Juan Luna – Spolarium, La Muerte de Cleopatra, El Pueblo y Los Reyes, Blood Compact, Portrait of Legaspi
3. Felix Hidalgo – studied in the Academia
a.
Paintings: Vigenes Cristianas Expuestas, Al Populacho, Barca de Aqueronte, Oedipos and Antigone
c.
PAINTING DURING THE AMERICAN PERIOD
i. Painting was a standstill because commerce was generally restricted during the period between the Spanish rule and the Assumption of
the American government that naturally disabled the artist financially.
ii. Famous painters: Miguel Zaragoza, Rafael Enriquez, Fabian dela Rosa, Teodoro Buenaventura, Jorge Pineda, Ramon Peralta, Isidro
Ancheta
iii. Rafael Enriquez organized the Association International de Artistas
1. It sponsored an Exhibition on the Escolta and Vicente Rivera y Mir won two first prizes with his oil entry El Sueno Dorado
2. Ramon Peralta with his Cabeza de Estudio won 2nd prize
3. Jorge Pineda for his landscape painting of the site of the Cry of Balintawak won 2nd prize
4. Fernando Amorsolo for his entry Leyendo Periodico won 2nd Prize
iv. Fabian dela Rosa
1. A realist and a landscape painter
2. Marikina Road, Quiet Street, Planting Rice
v. Jorge Pineda
1. Landscape Artist and mastered the art of lithography
2. Works: Playing Chongka, Lantern Makers, Alayan
vi. Scenic Painters: Juan Abelardo, Ramon Peralta, Toribio Antillon, and Emilio Alvero
vii. Figure Painter: Isidro Ancheta
d.
PAINTING IN THE MODERN PERIOD
i. In 1951: a gallery for the modern painting was established on a side street of Calle Mabini in Ermita.
ii. This Gallery is called the Philippine Art Gallery
1. Heads of Igorots, Ifugaos, Mindanao Moslems, Bagobos, and Mangyans were the favorite subjects in their galleries.
2. Painters: Romeo Enriquez (Sonata), Fernando Zobel Jr., Victor Oteyza, Manuel Rodriguez, Hugo Yonzon, Manansala, Luz,
Bernardo Ocampo, Legazpi, Estella, and Tabuena.
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