LESSON 1: WHAT IS ART: INTRODUCTION AND ASSUMPTIONS.
Nature of Art
 Art can be found in the primitive societies.
 True work of art is made by man himself, not imitatively but creatively.
 TRUE ARTIST does not imitate nature but interpret it in his own way
(selecting the essential features of the subject and rejecting the minor
one).
DEFINITION OF ART BY VARIOUS AUTHORS
 From latin word ars meaning ability or skill- J.V. Estolas
 From artis meaning craftsmanship, skill, mastery of form, inventiveness,
and the associations that exist between form and ideas, between material
and technique- A. Tan
 Art is a product of man’s need to express himself- F. Zulueta
 Art is that which brings life in harmony with the beauty of the world- Plato
 Art is the skillful arrangement or 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.
4 COMMON ESSENTIALS OF ART
 Art must be man-made
 Art must be creative, not imitative
 Art must benefit and satisfy man.
 Art is expressed through a certain medium or material by which the artist
communicates himself.
IMPORTANCE OF ART IN OUR LIVES
 For communication
 To highlight and heighten the importance of events and keep them in memory.
 Monuments remind us of the heroic deeds of great men
ART AS VALUABLE SOURCE OF INSPIRATION
 Delighted by the books we read
 Moved by the music we hear
 Paintings, sculptures and plays capture our attention and stimulate critical thinking.
 Modern architectural designs inspire us to plan and construct our houses beautifully.
WHY ART IS CALLED HUMANITIES
 We get a glimpse of the thoughts, feelings, and the beliefs of the people who
lied in the period.
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We value and appreciate beautiful things as a consequence of our encounter with the arts.
Our aesthetic experiences can change our ways and behavior.
They can transform us into highly-cultures, dignified and respectable human beings.
Arts can beautify our humanity.
Brings out the good and noble in us.
We come to know the changing image of man as he:
o Journeys across time
o Searches for reality
o Strives to achieve the ideals that create the meaning of life.
ART APPRECIATION
 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 work of art for one’s admiration and satisfaction.
Assumptions of Art
1. Art is universal.
2. Art is not nature.
3. Art involves experience.
THE SUBJECT OF ART
 In any art form- there is always a subject that serves as the foundation of the
creation of work of art.
 Subject is varied.
REPRESENTATIONAL/OBJECTIVE ARTS
 Artworks that depict something easily recognized by most people.
o Painting, sculpture, graphic arts, literature, theatre
o Some paintings and sculpture are without subjects.
o Music and dance may or may not have subjects.
NON-REPRESENTATIONAL/NON-OBJECTIVE ARTS
 Artworks that have no resemblance to any real subjects, they are what they are.
o They rather appeal directly to the senses primarily because of
the satisfying organization of elements.
MODERN PAINTINGS
 Work of art as object itself
 Exciting combination of shapes and colors that fulfill the aesthetic needs
without having to represent images or tell a story.
 Purely visual appeal, literal-oriented spectators cannot appreciate them.
TRADITIONAL SCULPTURE/PAINTINGS
 Have subjects, one expects to recognize the subjects.
FUNCTIONS OF ART
 Every art form has a function since it satisfies a particular need.
 To LAYMAN- art may have little function.
 Some find meaning in its ability to serve the purpose for which it was designed.
o Architecture as functional
o Music and dance in ancient rituals, social entertainment, military.
o Narrate events/portray events
o To instruct (Christian Religion)
o To commemorate individuals or historic events.
o Vehicle for personal expression
FOUR MAIN FUNCTIONS OF ART
1. Aesthetic function- man becomes conscious of beauty of nature. He learns
to use, love, preserve them for his enjoyment and appreciation.
2. Utilitarian function- art not only enriches man’s life but also improves
nature through landscape gardening, infrastructure, propagation and
conservation of natural resources.
3. Cultural function- through printed matter, art transmits and
preserves skills and knowledge from one generation to another.
4. Social function- through civic and graphic arts, man learns to love and help each other.
THE SCOPE OF ART
 Various authors classify arts in different ways.
 According to MANAOIS, there are two general dimensions of art
o Fine arts/independent arts- primarily for aesthetic enjoyment, auditory and visual.
o Practical arts/utilitarian arts- for practical us, development of raw
materials for utilitarian purposes.
 Fine arts- music, painting, sculpture, architecture, literature, dance and drama.
 Practical arts- industrial arts, applied or household art, commercial arts,
graphic art, agricultural art.
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CUSTODIOSA SANCHEZ (2002)
o Art consist of visual arts, literature, drama and theatre, music and dance.
o Those we perceive with our own eyes are called visual arts:
 Graphic arts- painting, drawing, photography, graphic process
(printing), commercial art (books, advertisements, signs ,
posters, and other displays)
 Plastic arts- includes all fields of visual arts for which
materials are organized into three-dimensional forms such
as structural architecture (gardens, parks, playgrounds, golf
course beautification), city planning and interior design,
dress and costume design and theatre design.
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JOSEFINA ESTOLAS (1995)
o Grouped arts into MAJOR and MINOR arts.
 MAJOR Arts- painting, sculpture, architecture, literature,
music and dance.
 MINOR Arts- decorative arts, popular arts, graphic arts,
plastic arts and industrial arts.
o She also grouped arts into:
 Visual arts- graphic arts and plastic arts
 Performing arts- theatre, play, dance, music
 Literary arts- short story, novel, poetry, drama
 Popular arts- film newspaper, magazine, radio, television
 Gustatory art of the cuisine- food preparation and beverage preparation
 Decorative/applied arts- beautification of houses, offices,
cars, and other structures
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PANIZO and RUSTIA (1995)
o Classified art into two major divisions
 According to purpose
 According to media and forms
ARTS ACCORDING TO PURPOSE
1. PRACTICAL ARTS- directed to produce artifacts and utensils,
handicrafts (basket weaving and mat weaving), embroidery, ceramics,
iron and metal crafts, tin can.
2. LIBERAL ARTS- directed toward intellectual growth, such as in the study of
philosophy, psychology, literature, math, sciences.
3. FINE ARTS- creative activity for the contemplation of the mind and the
upliftmen of the spirit. Painting, sculpture and architecture.
4. MAJOR ARTS- actual and potential expressiveness such as music, poetry and sculpture.
5. MINOR ARTS- concerned with practical uses and purposes such as
interior decoration and porcelain art.
ARTS ACCORDING TO MEDIA AND FORMS
1. PLASTIC ARTS- which exists in physical space and perceived by the
sense of sight Sculpture and decorative materials
2. KINETIC ARTS- involve the elements of rhythm. Dance is a popular type of kinetic arts.
3. PHONETIC ARTS- utilize sounds and words as medium of expression.
Examples are music, drama and literature.
4. PURE ARTS- take only one medium of expression like sound in music
and color in painting.
THE ORIGIN OF ARTS
 History of art began with that of humanity.
 Indigenous form of art accompanied ancient rituals and ceremonies.
 Perform dances to entertain, to worship their gods and goddesses, to invoke
success and blessings.
 Their music and poetry chronicles the life and works of their
ancestors as well as legendary origins of heroes, heroines and gods.
 Tribalist cultures often wore body paintings during ceremonies.
 Cave paintings and drawings are believed to reflect ancient religious beliefs and visions.
 Most sculptures were associated with religion, with gods and goddesses.
LESSON 2: ART APPRECIATION CREATIVITY, IMAGINATION, AND EXPRESSION
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It takes an artist to make art. One may perceive beauty on a daily basis.
However, not every beautiful thing that can be seen or experienced may truly be called a work
of art.
Art is a product of man’s creativity, imagination, and expression.
Not everyone can be considered an artist, but all are spectators of art.
We are able to distinguish what is fine and beautiful from what is not and what is good quality
and from poor.
This gives us a role in the field of art appreciation.
ART APPRECIATION AS A WAY OF LIFE
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“The role of art as a creative work is to depict the world in a completely different light and
perspective” – Jean-Paul Sartre
Each artwork beholds beauty in its own kind, the kind that the artist sees and wants the viewers
to perceive.
More often than not, people are blind to this beauty and only those who have developed a fine
sense of appreciation can experience and see the art the way the artist did.
Hence, refining one’s ability to appreciate arts allows him to deeply understand the purpose of
an artwork and recognize the beauty it possesses.
In cultivating an appreciation of art, one should also exercise and develop his taste for things
that are fine and beautiful.
This allows individuals to make intelligent choices and decisions in acquiring necessities and
luxuries, knowing what gives better value for time or money while taking into consideration
the aesthetic and practical value.
Learning to appreciate art no matter what vocation or profession you have, will lead to a fuller
and more meaningful life.
THE ROLE OF CREATIVITY IN ART MAKING
 Creativity requires thinking outside the box.
 In art, creativity is what sets apart one artwork from another.
When can we say that something is creative?
 When we have not seen anything like it
 When it is out of the ordinary
 When it is not just a copy or imitation of someone’s work
 THERE IS ORIGINALITY!
 Nowadays, being creative can be quite challenging.
ART AS A PRODUCT OF IMAGINATION, IMAGINATION AS A PRODUCT OF ART
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“Imagination is more important than knowledge. For knowledge is limited to all we now know
and understand, while imagination embraces the entire world, and all there ever will be to
know and understand.” – Albert Einstein
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Imagination is not constrained by the walls of the norm, but goes beyond that.
Through imagination, one is able to craft something bold, something new, and something
better in the hopes of creating something that will stimulate change.
In artist’s mind sits a vast gallery of artworks
An artwork does not need to be a real thing, but can be something that is imaginary.
However, something imaginary does not necessarily mean it cannot be called art. Artists use
their imagination that gives birth to reality through creation.
In the same way that imagination produces art, art also inspires imagination.
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ART AS EXPRESSION
 “What an artist does to an emotion is not to induce it, but express it. Through expression, he is
able to explore his own emotions and at the same time, create something beautiful out of
them.” -- Robin George Collingwood
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Expressing emotions is different from describing emotions.
This makes people’s art not a reflection of what is outside or external to them, but a reflection
of their inner selves.
VISUAL ARTS
 Creations that fall under this category are those that appeals to the sense of sight and are
mainly visual in nature.
 Artists produce visual arts driven by their desire to reproduce things that they have seen in the
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way that they perceived them.
There are also other artistic disciplines that also involve a visual aspect, such as performance
arts, theater, and applied arts.
Some mediums of visual arts include paintings, drawings, letterings, printing, sculpture, digital
imaging.
FILM
 Film refers to the art of putting together successions of still images in order to create an illusion
of movement.
 Filmmaking focuses on its aesthetic, cultural, and social value and is considered both an art and
an industry.
 Techniques in film-making process:
 Motion-picture camera (also known as movie camera)
 Animation techniques
 Computer-generated imagery (CGI)
 Filmmaking simulates experiences or creates one that is beyond the scope of our imagination
as it aims to deliver ideas, feelings, or beauty to its viewers.
PERFORMANCE ART
 Performance art is a live art and the artist’s medium is mainly the human body which he or she
uses to perform, but also employs other kind of art such as visual art, props, or sound.
Elements of Performance Arts:
 Time
 Where the performance took place
 The performer’s body
 Relationship between the audience and the performer(s)
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The fact that performance art is live makes it intangible, which means it cannot be bought or
traded as a commodity.
POETRY PERFORMANCE
 Poetry is an art form where the artist expresses his emotions not by using paint, charcoal, or
camera, but expresses them through words.
 These words are carefully selected to exhibit clarity and beauty and to stimulate strong
emotions of joy, anger, love, and sorrow among others.
 It uses a word’s emotional, musical, and spatial values that go beyond its literal meaning to
narrate emphasize, argue, or convince.
 These words combined with movements, tone, volume, and intensity of the delivery add to the
artistic, value of the poem
ARCHITECTURE
 Art is the pursuit and creation of beautiful things while architecture is the making of beautiful
buildings.
 However, not all building are beautiful because some only embody the functionality they need,
but the structure, lines, forms, and colors are not beautifully expressed.
Important elements:
 Plan
 Construction
 Design
 Buildings should embody these three important elements if they wish to merit the title
architecture.
DANCE
 Dance is series of movements that follows the rhythm of the music accompaniment.
 Dancing is a creative art form that allows people to freely express themselves.
 Choreography may seem not to allow this, but in art expression, dancers are not confined to set
steps and rules but are free to create and invent their own movements as longs as they deem
them graceful and beautiful.
LITERARY ART
 Artists who practice literary arts use words to express themselves and communicate emotions
to the readers.
 Simply becoming a writer does not make one a literary artist.
 Literary art goes beyond the usual professional, academic, journalistic and other technical
forms of writing.
 It focuses on writing using a unique style, not following a specific format or norm.
 It may include both fiction and non-fiction such as novels, biographies, and poems.
 Romeo and Juliet – William Shakespeare
 The Little Prince – Antoine de Saint-Exupery
THEATER
 Theater uses live performers to
present accounts or imaginary events before a live
audience.
 Theater art performance usually follows follow a script, though they should not be confused
with literary arts.
 Like in filmmaking, theater also considers several elements such as acting, gesture, lighting,
sound effects, musical score, scenery and props.
 Like performance art, theater also is a live performance.
 Genres: drama, musical, tragedy, comedy and improvisation
APPLIED ARTS
 O Applied arts is incorporating elements of style and design to everyday items with the aim of
increasing their aesthetic
value.
 Artists in this field bring beauty, charm, and comfort into many things that were useful in
everyday life.
 O Industrial design, interior design, fashion design, graphic design.
LESSON 3: FUNCTIONS AND PHILOSOPHICAL PERSPECTIVES ON ART
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Aristotle claimed that every particular substance in the world has an end, or telos in Greek,
which translates into “purpose.”
Every substance, defined as formed matter, moves according to a fixed path towards its aim.
This telos, according to Aristotle, is intricately linked with function.
For a thing to reach its purpose, it also has to fulfill its function.
FUNCTIONS OF ART
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Example: What is the Rizal monument for?
o When it comes to function, different art forms come with distinctive functions.
o Some art forms are more functional than others.
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The value of the art in question lies in the practical benefits one gains from it
Obviously made for a specific purpose
One can look at the value of the product of art in and for itself
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Dr. Jose Rizal’s Noli Me Tangere and El Filibustirismo
o The novels accrued value and as a consequence, function.
o They are functional in so far as they are designed to accomplish some definite end.
PERSONAL FUNCTIONS OF ART
 The personal functions of art are varied and highly subjective.
 Functions depends on the artist who created the art.
 An artist may create an art out of self- expression, entertainment, or therapeutic purpose.
SOCIAL FUNCTIONS OF ART
 Art is considered to have a social function if and when it addresses a particular collective
interest as opposed to a personal interest.
 Art may convey message of protest, contestation, or whatever message the artist intends his
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work to carry.
Political art is a very common example of an art with a social function.
Art can also depict social conditions such as photography (pictures of poverty)
Performance art like plays or satires can also rouse emotions and rally people toward a
particular end.
PHYSICAL FUNCTIONS OF ART
 The physical functions of art can be found in artworks that are crafted in order to serve some
physical purpose.
 Architecture, jewelry-making, interior design all serves physical functions.
OTHERS FUNCTIONS OF ART
 Music was principally used for dance and religion.
 The ancient world saw music as an instrument to facilitate worship and invocation to gods.
 Music was essential for synchronicity of dancers.
 Music guarantees that warriors were simultaneous.
 Today, music has expanded its functions and coverage.
 There is a lot of music that has no connection to dance or religion.
 Example: Serenade – People compose hymns to express feelings and emotions.
 Music is also used as accompaniment to stage plays and motion pictures
 Sculptures have been made by man most particularly for religion.
 In the Roman Catholic world, the employment of sculptures for religious purposes has
remained vital, relevant, and symbolic
 Rizal and Bonifacio’s monument and commemorative coins (Pope Francis)
 Architecture may be the most prominent functional art.
 Unlike other forms of art, buildings take so much time to erect and destroy.
 One cannot dismiss taking into consideration the function of a building before construction.
 It is also in architecture where one can find the intimate connection of function and form.
DOES ART ALWAYS HAVE TO BE FUNCTIONAL?
 While it has been shown that most arts are functional, still there are some which are not. The
value of a work of art does not depend on function but on the work itself.
PHILOSOPHICAL PERSPECTIVES ON ART
ART AS AN IMITATION
 In Plato’s The Republic, paints a picture of artists as imitators and art as mere imitation.
 In his description of the ideal republic, Plato advises against the inclusion of art as a subject in
the curriculum and the banning of artists in the Republic.
 In Plato’s metaphysics or view of reality, the things in this world are only copies of the
original, the eternal, and the true entities that can only be found in the World of Forms.
 For example, the chair that one sits on is not a real chair. It is an imperfect copy of the perfect
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“chair” in the World of Forms.
Plato was convinced that artists merely reinforce the belief in copies and discourage men to
reach for the real entities in the World of Forms.
Plato was deeply suspicious of arts and artists for two reasons:
1.
They appeal to the emotion rather to the rational faculty of men
2.
They imitate rather than lead one to reality
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Poetry rouses emotions and feelings and thus, clouds rationality of people.
Art is just an imitation of imitation. A painting is just an imitation of nature, which is also just
an imitation of reality in the World of Forms.
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Art then is to be banished, alongside the practitioners, so that the attitudes and actions of the
members of the Republic will not be corrupted by the influence of the arts.
For Plato, art is dangerous because it provides a petty replacement for the real entities than
can only be attained through reason.
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ART AS A REPRESENTATION
 Aristotle, agreed with Plato that art is a form of imitation.
 However, Aristotle considered art as an aid to philosophy in revealing the truth.
 The kind of imitation that art does is not antithetical to the reaching of fundamental truths in
the world.
 Unlike Plato who thought that art is an imitation of another imitation, Aristotle conceived of
art as representing possible versions of reality.
 For Aristotle, all kinds of art do not aim to represent reality as it is, it endeavors to provide a
version of what might be or the myriad possibilities of reality.
In Aristotelian worldview, art serves two particular purposes:
 Art allows for the experience of pleasure (horrible experience can be made an object of
humor)
 Art also has an ability to be instructive and teach its audience things about life (cognitive)
ART AS A DISINTERESTED JUDGMENT
 Immanuel Kant, in his Critique of Judgment considered the judgment of beauty, the
cornerstone of art, as something that can be universal despite its subjectivity.
 Kant recognized that judgment of beauty is subjective.
 However, even subjective judgments are based on some universal criterion for the said
judgment.
How and in what sense can a judgment of beauty, which ordinarily is considered to be a
subjective feeling, be considered objective or universal?
“I like this painting.”
“This painting is beautiful.”
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The first is clearly a judgment of taste (subjective), while the second is an aesthetic judgment
(objective).
Making an aesthetic judgment requires us to be disinterested. In other words, we should try to
go beyond our individual tastes and preferences so that we can appreciate art from a universal
standpoint.
ART AS A COMMUNICATION OF EMOTION
 Art plays a huge rule in communication to its audience’s emotions that the artist previously
experienced
 According to Leo Tolstoy, art plays a huge role in communication to its audience’s emotions
that the artist previously experienced.
 In the same that language communicates information to other people, art communicates
emotions.
 As a purveyor of man’s innermost feelings and thoughts, art is given a unique opportunity to
serve as a mechanism for social unity.
 Art is central to man’s existence because it makes accessible feelings and emotions of people
from the past and present.
LESSON 4: SUBJECT AND CONTENT
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In viewing art, there are clues that mediate between the artwork and the viewer, allowing the
viewer to more easily comprehend what he is seeing.
 These clues are the three basic components of a work of art:
Subject – the visual focus or the image that may be extracted from examining the artwork; the
“what”
Content – the meaning that is communicated by the artist or the artwork; the “why”
Form – the development and configuration of the art work – how the elements and the medium
or material are put together; the “how”
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In the sciences, experimentation is the key to proving a hypothesis or a larger theory.
In the arts, there are observable qualities that the artwork holds that will point to its subject,
and sometimes even to its content.
REPRESENTATIONAL ART
 These types of art have subjects that refer to objects that refer to objects or events occurring in
the real world.
 Also termed figurative art because the figures depicted are easy to make out and decipher.
Example: Mona Lisa Leonardo da Vinci (1503)
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Despite not knowing who Mona Lisa is, it is clear that the painting is of a woman that is
realistically-proportioned;
Only the upper torso is shown;
A beguiling and mysterious smile is flashed;
The background is a landscape
NON-REPRESENTATIONAL ART
 Art forms that do not make a reference to the real world, whether it is a person, place, thing, or
even a particular event.
 It is stripped down to visual elements, such as shapes, lines, and colors that are employed to
translate a particular feeling, emotion, and even concept.
Example: Number 1A Jackson Pollock (1948)
Head of a Woman, Mougins Pablo Picasso (1962)
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Is non-representational art the same with abstract art?
There is no clear-cut divide, rather, they exist in a spectrum.
Looking at the combination of lines, shapes, and colors of the sculpture will point to a head of
a woman
Even with the abstraction of the image, this work is arguably representational art.
For non-representational art, a higher, level of perceptiveness and insight might be required to
fully grasped the feeling, emotion, or concept behind the work.
For representational art, it is easier to infer the subject matter because from the figures depicted
in the artwork, there is already a suggestion as to its implication.
Sources of Subject
 Nature
 History
 Greek and Roman mythology
 Judeo-Christian tradition
 Sacred oriental texts
 Other works of art
Kinds of Subject
 History
 Still life
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Animals
Figures
Nature
Landscape
Seascape
Cityscape
Mythology
Myth
Dreams
Fantasies
The meaning or message that is expressed or communicated by the artwork.
In understanding the content of art, it is important to note that there are various levels of meaning:
Factual meaning
 The most rudimentary level of meaning for it may be extracted from the identifiable or
recognizable forms in the artwork and understanding how these elements relate to one another.
Conventional meaning
 Pertains to the acknowledged interpretation of the artwork using motifs, signs, and symbols
and other cyphers as bases of its meaning.
 These conventions are established through time, strengthened by recurrent use and wide
acceptance by its viewers or audience and scholars who study them.
Subjective meaning
 When subjectivities are consulted, a variety of meanings may arise when a particular work of
art is read.
 These meanings stem from the viewer’s or audience’s circumstances that come into play when
engaging with art (what we know, what we learned, what we experienced; what values we
stand for)
 Meaning may not be singular, rather, multiple and varied.
Creation of Adam (from the ceiling of the Sistine Chapel) Michelangelo (1814)
Analysis
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Subject: biblical art
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Factual meaning: Creation Story (creation of man).
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Conventional meaning: man was created in the image and likeness of God.
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Subjective meaning: endowment of intellect to man from God.
LESSON 5: ARTISTS AND ARTISANS
The arts is one of the most significant ways in which we try to grapple with how the present unfolds.
In Robert Henri's The Art Spirit (1923), he stated that "Art when really understood is the province of
every human being. It is simply a question of doing things, anything, well. It is not an outside, extra
thing. When the artist is alive in any person, whatever his kind of work may be, he becomes an
inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He
disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not
artists are trying to close the book he opens it, shows there are more pages possible."
There is a gap when one continues to persist with the idea that art is something that is detached from
the every day. In what has been reduced to a blur, it became more integral that man pursues a better
understanding of the world where he lives. One of the avenues that makes this both possible and
exciting is the engagement with art and culture.
In Peter Drucker's seminal book Post-Capitalist Society (1993), he stated that "the real controlling
resource and the absolutely decisive factor of production is neither capital not land nor labor. It is
knowledge. Instead of capitalists and proletarians, the classes of the post capitalist society are the
knowledge workers and the service workers.
The Artisan and the Guilds
Consider the Gothic cathedrals and other mega structures that were built all over Europe during the
middle Ages. Craftsmen and builders in the past did not have sophisticated terminologies and
principles that architects and engineers abide by today. Yet, they fulfilled overlapping roles such as the
draftsman, architect, engineer, and even as the builder. What they had was a sense on how materials
behaved how the environment, light, and weather patterns affected structures, and other more intuitive
principles of creation. Experimentation and luck must not also be forgotten.
Gothic cathedrals along with other structures inspired by its architectural tenets have survived through
time, not only by their sheer durability, but more so through the articulation of the processes that they
followed. An example of this would be the Cologne Cathedral. In Germany, it is but one of the many
examples of early Gothic architecture. The account was that master mason Gerhard Ryle started the
project in 1248 but was only completed roughly 600 years later, claiming the record as one of the
longest construction projects to date.
The Artist in his Studio
Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the artist in the
arts started during the middle Ages up to the Renaissance period. Most pivotal developments included
the transformation of the craftsman to an artist or an independent artist; the widespread patronization
of secular art (alongside the continuous production of works with religious subjects); and the assertion
of cognition, the will, and individuality. Before the Renaissance Period artworks were left unsigned.
Artists claiming authorship for their works by affixing their mark onto the surfaces of their paintings
were a big milestone in the history of the artist. Combined, these resulted in a wider variety of
artworks, not just in form but more so in style and technique. The site that saw this shift was a very
personal space for the artist himself, which is the studio.
Other Players in the World of Art
The terrain in which the artist traverses is becoming increasingly complex. In the last century, some of
the roles that have been existent since the beginning of art history have been properly dealt withascribed with a name-and legitimized into a sophisticated network of relationships and exchanges.
This network is what we call the art world.
Production Process
The process of creating an artwork does not necessarily follow a linear progression. One of the things
that one must accept is the fact that the arts have an anarchic dimension to it, allowing it to fully
harness its creative potential. The very reason why different art styles, periods, and movements were
made possible, is because there was a form of flexibility given to artists in terms of how to
conceptualize and execute their ideas into reality. But this does not mean there is no guiding principle
that governs the general process of art production.
The process is essentially tripartite: (1) preproduction, (2) production, and (3) postproduction. The
artist always begins with an idea that he wants to express or communicate with his audience. It may
not necessarily be fully formulated, and so some form of exposure, research, and other approaches
may be explored to get the idea long before actually making the artwork. This process is of course the
preproduction stage. The idea may take a while to form, or may come as swift as a bolt of lightning.
Medium and Technique
Medium the mode of expression in which the concept, idea, or message is conveyed. It may be
concrete or tangible, such as paintings, sculptures, monuments, and structures; or may be ephemeral or
something transient, such as a track (recording of sound), a film or a performance. The appreciation or
engagement with the artwork is also affected by the medium spatiotemporally. For concrete works, the
objects physically manifest themselves for a prolonged or lasting period. For ephemeral works, on the
other hand, it is durational.
Engagement with Art
The defining roles and nature of exhibitions have had an interesting evolution, changing alongside the
demands of the society that purports to partake in its display.
Awards and Citation
As with any organized endeavor, the arts and culture have entered into a phase in which another aspect
of its practice can be realized. After an artist has spent considerable time in honing his skills,
establishing the relevance of the body of his works, and even gaining respect from his colleagues in
the art world, he may be considered or nominated for awards and citations.
LESSON 6: ELEMENTS AND PRICIPLES OF ART
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.
d. Lines are classified according to position, direction, and shape;
they carry meanings by themselves.
2. Represents figures and forms
a. It has a direction and is always moving
3. 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.
4. 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
5. 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<})
II. COLOR:
1. 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.
2. 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
i. It represents shadows and
mysteries, death and despair.
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. 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 blueviolet
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)
ix. 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
b. 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
c. INTENSITY
i. It is the 3rd dimension of color.
ii. It refers to the brightness or darkness of color.
iii. It gives color strength
3. 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. 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.
4. 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
j. Green: color of nature, promotes the feeling of well-being/ life/
nature
i. It implies happy and restful association and natural
abundance
k. 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. Contributes to the final form of the artwork.
2. Circles and polygons (triangles, rectangles, squares) are put together to
make up the whole object.
3. E.g. Christmas lantern
V. 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.
Planes and Perspective
Some art forms work with actual spaces,such as sculptors, architects, and stage designers. However,
with pictorial art that is two-dimensional, notions of depth and hence perspective requires the
implementation of principles and techniques in creating an illusion that will fool the eye to threedimensionality when in reality there is none. Picture plane is the actual surface of the painting or
drawing, where no illusion of a third dimension exists. Here, the elements lay flat, as if one was
looking through a window into what lies on the other side of the glass.
 A viewpoint may also be construed as normal (view standing up), low (view from a lower
angle), or high (view looking down on a scene) depending on the position the viewer takes
 There are three types of perspective, grounded on the number of vanishing points used by the
artist
 One-point perspective often used in depicting roads, tracks, hallways or rows of trees; this
type of perspective shows parallel lines that seem t converge at a specific and lone vanishing
point, along the horizon line.
 Two-point perspective pertains to a painting or drawing that makes use of two vanishing
points, which can be placed anywhere along the horizon line
 It is often used in depicting structures such as houses or buildings in the landscape that are
viewed from a specific corner.
 Three-point perspective- in this type of perspective, the viewer is looking at a scene from
above or below.
VI. SPACE
1. Area or surface occupied by the artwork.
VII. FORM
1. It describes the shape or structure of an object.
2. Form directs the movements of the eyes.
3. Since form consists of size and volume, it signifies visual weight.
4. “form follows function” – this means that the inner content of purpose or
function governs the outer appearance.
5. E.g. sculpture
6. 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. 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.
d. LINEAR FORMS
i. They are arranged sequentially in a row or a series of
forms along a line.
e. RADIAL FORMS
i. They are compositions of linear form that extend outward
from central form in a radial manner.
f. 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.
VIII. 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.
Elements of Art: Auditory
Music as an art form is classified as auditory art.
Some of the common elements of music are the following: rhythm, dynamics, melody, harmony,
timbre, and texture.
1. Rhythm
 Often associated to the terms beat, meter, and tempo, rhythm is the element of music that
situates it in time.
 It is the pulse of the music.
 Beat is the basic unit of music while tempo refers to its speed (beats/second).
 Beats can be organized into a recognizable recurrent pattern, which is called the meter
 Classical terms are used to refer to the variations in tempo, some of which are
Largo -slowly and broadly
Andante -walking pace
Moderato -at moderate speed
Allegro -fast
Vivace -lively
Accelerando- gradually speeding up
Rallentado- gradually slowing down
Allargando-getting slower, broadening
Rubato- literally "robbed time," rhythm is played freely for expressive effect.
2. Dynamics
The element of music that refers to the loudness or quietness of music is dynamics. Classical terms are
used to refer to the different levels pertaining to this:
 Pianissimo [pp] - very quiet
 Piano [p] quiet
 Mezzo-piano [mp] - moderately quiet
 Mezzo-forte [mf] - moderately loud
 Forte [f] loud
 Fortissimo [ff] very loud
3. Melody
 Melody refers to the linear presentation (horizontal) of pitch. By horizontal, it means that in
musical notation, it is read in succession from left to right.
 Pitch is the highness or lowness of musical sound.
4. Harmony
 If melody is horizontal, harmony is vertical. It arises when pitches are combined to form
chords. When several notes are simultaneously played this refers to a chord
 Harmony can be described in terms of its "harshness": dissonance is the harsh-sounding
combination while consonance is the smooth-sounding combination
5. Timbre
 Timbre is often likened to the color of music, It is a quality that distinguishes a voice or an
instrument from another technique, the timbre may give a certain tone or characteristic to
music much like how a painter evokes different effects or impressions onto the canvas
6. Texture
 The number of melodies, the type of layers, and their relatedness in a composition is the
texture of music. It may be:
Monophonic-single melodic line
Polyphonic-two or more melodic lines
Homophonic-main melody accompanied by chords
PRINCIPLES OF ART
These principles are: balance, scale and proportion, emphasis and contrast, unity and variety,
harmony, movement, rhythm, and repetition and pattern.
1. Balance
 This principle refers to the distribution of the visual elements in view of their placement in
relation to each other.
There are three forms of balance:
Symmetrical- the elements used on one side are reflected to the other. This offers the most stable
visual sense to any artwork
Asymmetrical-the elements are not the same (or of the same weight) on each side, putting the
heaviness on one side
Radial-there is a central point in the composition, around which elements and objects are distributed.
2. Scale and Proportion
 Scale pertains to the size in relation to what is normal for the figure or object in question
 Proportion, on the other hand, is the size of the components, or of objects in relation to one
another when taken as a composition or a unit. This can also refer to values such as amounts or
number of elements or objects in the composition
 One of the most common cannons asserted relates to the proportion of the body.
Proportion can be:
a. Natural- relates to the realistic size of the visual elements in the artwork, especially for
figurative artworks. When it is the accuracy in relation to the real world that the artist is after,
this is now referred to the principle of scale.
b. Exaggerated-refers to the unusual size relations of visual element deliberately exaggerating the
immensity or minuteness of an object.
c. Idealized-most common to those that follow canons of perfection, the size-relations of
elements or objects, which achieve the most ideal size-relations.
3-4. Emphasis and Contrast
Emphasis allows the attention of the viewer to a focal point(s), accentuating or drawing attention to
these elements or objects. This can be done through the manipulation of the elements or through the
assistance of other principles, especially that of contrast.
Contrast is the disparity between the elements that figure into the composition. One object may be
made stronger compared to other objects (hence, emphasis). This can be done in many ways using the
elements of art. For instance, space, specifically the use of negative and positive space, is an example
of contrast. Another example is the use of complementary colors in a work of art.
5-6. Unity and Variety
Unless intended to be otherwise, compositions are intended to imbue a sense of accord or
completeness from the artwork. This is unity.
7. Harmony
Like what is hinted above, unity and variety is related to the principle of harmony, in which the
elements or objects achieve a sense of flow and interconnectedness
8. Movement
This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or
elements that are emphasized. These focal points can be lines, edges, shape, and color within the work
of art, among others
9. Rhythm
This is created when an element is repeated, creating implied movement.
Variety of repetition helps invigorate rhythm as depicted in the artwork
10-11. Repetition and Pattern
Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner. This is
called repetition. In addition, the image created out of repetition is called pattern. With repetition,
there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and
calmness.
Combined or Hybrid Art
These combined art forms are interesting specimens that can be studied to understand what art forms
and styles have been combined, and furthermore, what skills, techniques, or creative processes can be
put together to produce interesting and innovative compositions. In combined arts, improvisation is
often tapped in addition to practical and logical considerations of creating an artwork. From a specific
vista of an art form, there is a seeming road map to creation. However, in combined arts, the artist is
challenged to deconstruct an idea or stimulus, from which the content, narrative, technique, art forms,
and styles will take form. Often improvisation or inventiveness is necessary to create an artwork that is
to some extent unprecedented. As different art forms and styles are tapped, inspiration may come from
numerous sources, and documenting the process of fusing these influences may be part of the
production. A clear example of combined art is a theatrical performance that taps into many art forms
such as music, 2D and 3D art, literature, lighting and set design, among others.
Another movement that is reminiscent of the motivations of the Renaissance, and whose emergence is
hinged on the frontiers of science and technology, is called hybrid arts.
LESSON 7: ART IN EARLY CIVILIZATIONS
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Pre-history -all of human history that precedes the invention of writing systems
(~3100 BCE) and the keeping of written records.
Studying prehistoric art and artifacts helps us to understand the culture of prehistoric peoples.
o During the prehistoric period, the early humans had transitioned from a nomadic lifestyle to
that of a more permanent one, which led to early civilizations. Some of the works discovered
from this period would give modern society a glimpse of what was life like during that period.
One of the early civilizations where art flourished was the Egyptian civilization. Throughout
the three kingdoms all the way to the Amarna Revolution, art has been directly used
particularly in religious and spiritual activities. Through these unearthed and discovered
artworks, the modern world could have a better understanding of the past and how it can affect
the present.
LESSON 8: ART OF EMERGING EUROPE
A.
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PRE-HISTORICAL PAINTING (40, 000 BC – 9000 BC)
Paintings were focused on animal spear and other rudimentary materials
They were drawn on caves, stones and on earth-filled ground.
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.
Formative or Pre-Greek period: motif was sea and nature
First Greek Period: largely Egyptian influence
Golden Age (480-400 BC)
Hellenistic Period (4th century – 1st BC)
Heightened individualism, tragic mood, and contorted faces (lacaustic painting)
C. ROMAN ART:
The art served the cult of ancestors and defied emperors.
1.
Etruscan Period (2000- 1000 BC)
o Subject matters of painting were on ancestor worship; catacombs and sarcophage
2.
Roman Period (2000 BC – 400 AD)
o The subject matters of painting were commemorative statues, sarcophagi, frescoes,
designs with vine motifs.
D. MEDIEVAL PERIOD
1.
EARLY CHRISTIAN ART
 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.
 Spiritual expression took precedence over physical beauty and symbols were emphasized.
2.
BYZANTINE ART
 The subject matters of painting were Christ as the Creator, and Mary, as the Mother of
God.
3.
GOTHIC ART
 The subject matters of painting were Religious and grotesque (unattractive); more calmer
and plastic style.
 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
 Portable easel paintings and oil paintings were utilized.
 Illustrations consisting of alter pieces with general wings that open and close.
 Children’s faces were painted like small adults; spectator was even drawn into the picture.
 Landscape was placed within the pictures by the open window technique where faraway
landscape of towns, people and river were seen.
F. RENAISSANCE ART
1.
EARLY RENAISSANCE (14TH – 15TH CENTURY)
 The styles of painting are simplicity, beauty, gesture, and expression.
 Painting was on man and nature in fresco technique.
2.
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HIGH RENAISSANCE (16TH CENTURY)
Painting style consists of the deepening of pictorial space, making the sky more dramatic with
dark clouds and flashes of light.
E.g. Da Vinci introduced the chiaroscuro/ Michaelangelo dramatized the position of figures in
his famous contrapuesto-twists.
3.
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MANERRISM PERIOD
Subject matter is on human figure with the use of oil painting and color.
Colors were sumptuous, warm, and sensual.
4.
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PAINTERS OF THIS TIME:
Giotto, Leonardo Da Vinci, Raphael Sanzio, and Michaelangelo
G. BAROQUE ART
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Style is ornate and fantastic appealing to the emotion, sensual and highly decorative; with light
and shadow for dramatic effect.
The paintings showed figures in diagonal, twists, and zigzags.
Famous painters included: Paul Rubens, Rembrandt, El Greco, Diego Velasquez, and Murillo
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H. ROCOCO ART
Painting style emphasized voluptuousness, picturesque and intimate presentation of farm and
country.
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.
Famous painters were: Watteau, Fragonard, Hogarth, Reynolds, and Ingres.
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I. ROMANTIC ART
The emphasis of painting is on the painter’s reactions to past events, landscapes, and people.
Famous painter: Francisco Goya
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J. 19TH CENTURY PAINTING (MODERN ART)
Art was aimed to please the public
1. IMPRESSIONISTS
 Paul Cezanne was the greatest impressionist and the Father of Modern Art
2. EXPRESSIONISTS
 Vincent Van Gogh was the Father of Expressionism
 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.
3. SIMPLICITY IN ART
 Painter: Paul Gauguin
 He studied the technique of craftsmen and applied these to his canvas.
1. REALISM
 In painting, this is the attempt to portray the subject as it is
 To be objective as possible means to describe as accurately and honestly as possible
what is observed through the senses.
 If an apple is the subject, it is shown as is with either red or green color.
 The 3 renaissance greats, Michelangelo, Buonarroti, Leonardo da Vinci, and Raphael
Sanzio, are realist painters.
 Filipinos: Fernando Amorsolo, (Father of Philippine Realism) – painted rural scenes.
 In the process of selecting and presenting his material, he cannot help being influenced
by what he feels or thinks.
 To stress the daily life of the common man, often concentrating on the sordid and
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disagreeable.
E.g. Edgardo Reyes’ Sa Mga Kuko ng Liwanag and Efren Abueg’s Dilim sa Umaga
2. ABSTRACTION
o 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.
o Abstract means “to move away or to separate” – drawing away from realism
o Abstract art moves away from showing things as they really are.
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The painter or artist paints the picture not as it really looked.
The picture is not just realistic.
E.g. Constantin Brancusi’s “Bird in Space”
Abstract subjects can also be presented in many ways like:
a. Distortion:
i. subject is in misshapen condition, or the regular shape is twisted out
ii. e.g. apple is shown as a square
b. Elongation:
i. Refers to that which is lengthened, protraction or extension.
ii. E.g. El Greco’s “The Resurrection of Christ”
c. Mangling:
i. Showing subjects which are cut, lacerated, mutilated, or hacked with repeated
blows.
d. Cubism:
i. Stresses abstract form through the use of a cone, cylinder, or sphere at the
expense of other pictorial elements.
ii. The cubists want to show forms in their geometrical shapes.
iii. E.g. Paul Cezanne, George Braque, Pablo Picasso
iv. Tam Austria’s “Fisherman’s Family”, Vicente Manansala’s “Balut Vendors”,
“Prayer before Meals”
e. Abstract expression
i. Characterized by great verve, the use of large canvasses, and a deliberate lack of
refinement in the application of the paint.
ii. Strong color, heavy impasto, uneven brush strokes, and rough textures are other
typical characteristics.
iii. It departs completely from subject matter, from studied precision, and from any
kind of preconceived design.
iv. E.g. Jackson Pollock, Jose Joya
3. SYMBOLISM
 Is a visible sign of something invisible such as an idea or a quality.
 The artist shows his subject as it appears in real life, but he intends to let it represent
something.



It can be simply an emblem or sign like: % to represent percent.
E.g. Juan Luna’ “Spolarium”
o As a Roman Term, “Spolarium”, referred to the spoils of war, spoils of tyrants
and the king.
Guillermo Tolentino’s “Oblation” – symbol of academic freedom
4. FAUVISM
 The fauves did not attempt to express ethical, philosophical, or psychological themes.
 Most of these artists tried to paint pictures of comfort, joy, and pleasure.
 They used extremely bright colors.
 It is optimistic realism – it is presenting the real-life subject with the use of bright
colors suggesting comfort, joy, and pleasure.
 To a fauve, for example, a tree trunk need not be brown. It could be bright, red, purple,
or any other color.
 Important fauves: Andre Derain, Raoul Dufy, George Rouault, Henry Matisse (“The
Red Room”)
5. DADAISM
(Shocking realism – exposition of the evils in society)
o The Dadaists reacted to what they believed were outworn traditions in art, and the evils
they saw in society.
o They tried to shock and provoke the public with outrageous pieces of writing, poetry
recitals, and art exhibitions.
o Revolutionizing outworn traditions
o Much dadaic art was playful and highly experimental.
o The name “dada” (French: “hobby horse”) was deliberately chosen because it was
nonsensical.
o E.g. Marcel Duchamp
6. FUTURISM
 Works that capture the speed and force of modern industrial society.
 Their paintings glorified the mechanical energy of modern life.
 Subjects included automobiles, motorcycles, and railroad trains – subjects that express
the explosive vitality of a modern city.
7. SURREALISM (super realism)
o Founded by Andre Breton
o Uses art as weapon against the evil and restrictions that surrealists see in society.
o Unlike Dadaism, it tries to reveal a new and higher reality than that of daily life.
o This movement was influenced by the Freudian psychology which emphasizes the
activities of the subconscious state of the mind.
o Subjects of this kind attempt to show what is inside man’s mind as well as the
appearance of his outside world.
o The surrealists claim to create forms and images not primarily by reason, but by
unthinking impulse and blind feeling or even by accident.
o Using these methods, the surrealists declare that a magical world – more beautiful than
the real one – can be created in art and literature.
o Much of the beauty sought by surrealism is violent and cruel.
o The surrealists try to shock the viewer or reader and show what they consider the
deeper and truer part of human nature.
o 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
o 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.
o 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.
o Painters: Claude Monet, Edouard Manet, Edgar Degas, August Renoir, Camille
Pissarro, Vincent Van Gogh
LESSON 9: CAUGHT IN BETWEEN: MODERN AND CONTEMPORARY ART
Defining the Contemporary
The term "contemporary" seems simple and straightforward enough to define. There is this assumption
that it need not be asked; rather, that it must already be understood. But with an attempt to do so, one
finds it is a lot harder to grasp. The complexity of defining the term is attributed to the fact that people
have dissenting views on the interpretation of the "present," of "today," or what the "now" means these
are often ideas that follow the word contemporary. Even more so, is when it is hinged on the word
"art" and suddenly it becomes a bit fuzzy.
Social Context: In Between Modern and Contemporary Art
Contemporary art was heavily driven by ideas and theories, and the even the blurring of notions of
what is and can be considered as "art," with the involvement of television, photography, cinema,
digital technology, performance, and even objects of the everyday. It was the idea that was more
important than its visual articulation.
Other Contemporary Art Movements
Neo-Pop Art
In the 1980s, there was a renewed interest in pop art specifically to Andy Warhol's works and his
contemporaries. What made it different from pop art was that it appropriated some of the first ideas of
Dada in which ready-made materials were used for the artwork. Dada was a movement that was very
much against the values of the bourgeois, the colonial and even the national.
Photorealism
The resurgence of figurative art, where realistic depictions is a choice, is a proof how varied and
fragmented postmodernism is. In photorealism, a painstaking attention to detail is aimed, without
asserting an artist's personal style.
Conceptualism
Other movements were informed and shaped by pop art, such as conceptualism
As opposed to celebrating commodities as references to real life, conceptual is fought against the idea
that art is a commodity.
Performance Art
Performance art may be planned or spontaneous and done live or recorded. Since it is also durational
in nature, it is also considered as ephemeral works of art. An interesting proposition is that
performance is not about the medium or the format; rather, it is how a specific context is made in
which through engagement or interaction.
Installation Art
Installation art is a kind of an immersive work where the environment or the space in which the viewer
steps into or interacts with (going around installative art) is transformed or altered.
Earth Art
Sometimes considered as a kind or a spin-off of installation art, earth art (or land art) is when the
natural environment or a specific site or space is transformed by artists. It is a kind of human
intervention into a specific landscape or terrain. Earth art is different from environmental art in a sense
that it does not focus on the subject (environmental issues or concerns) but rather on landscape
manipulation and the materials used, taken directly from the ground or vegetation (rocks or twigs).
Street Art
This art movement is related to graffiti art as it is a by-product of the rise of graffiti in the 1980s.
Artworks created are not traditional in format but are informed by the illustrative, painterly and print
techniques and even a variety of media (even video projections).
LESSON 10: SOULMAKING, APPROPRIATION AND IMPROVISATION
Soulmaking: Making and Deriving Meaning from Art
 In order for humans to make sense of language and derive meanings from words, semantics
and grammatical rules are important elements to be considered. Aside from this, context and
symbolisms are also considered to interpret and analyze either verbal or written works, when
it comes to art, in order for people to make sense of the work, it would require understanding
the visual elements where art was grounded on, especially the principles of design.
 Style refers to the distinctive handling of elements and media associated with the work of an
individual artist, a school, a movement, or a specific culture or time period.
Improvisation
 Improvisation can be defined as doing something without prior preparation. There is a
decision to act upon something that may not necessarily be planned. Within the present
context, improvisation has become an integral part of the arts. Some would say that it is a
reaction against the stiffness in the arts during the twentieth century.
Appropriation
 Appropriation of art has been a common practice throughout history. In the past, if apprentice
painter needs to hone his skills in his craft, he would be allowed to use his master's work to
copy. It is as if the apprentice is trying to explore his personal application of techniques to
something he is more familiar with. However, there are some people who go to the extreme
by believing that copying the exact artwork of an artist and attributing it to his own.
LESSON 11: ART IN ASIA


Asian art, particularly Chinese and Japanese arts, has helped in the establishment of their
identities as a people. A common thread between the two cultures is the emphasis on religion
and how man is an integral part of society. China may have influenced Japan during the early
part but later on, Japan eventually welcomed Western ideas. There is a difference in terms of
allowing Western influences to be integrated in their works: China remained conventional
whereas Japan chose to let
Western ideals be embodied in their artworks. The Philippines, on the other hand, has
undergone some changes when it comes to the art scene. From the time of the early Filipinos
to the contemporary times, art has been used in a myriad of ways.
PAINTING DURING THE SPANISH PERIOD
o Painting in churches started in Manila area with the priests as painter-decorators
 Augustinian Friars offered drawing lessons to the Filipinos.
 Painters: Jose Dans, Damiano Domingo, Justiniano
Asuncion, Alfonso Ongpin
19TH CENTURY MASTERS
o Juan Luna and Felix Resurreccion Hidalgo
 Received high honors abroad
 Juan Luna – Spolarium, La Muerte de Cleopatra, El Pueblo y Los Reyes,
Blood Compact, Portrait of Legaspi
 Felix Hidalgo – studied in the Academia
o Paintings: Vigenes Cristianas Expuestas, Al Populacho, Barca de
Aqueronte, Oedipos and Antigone
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.
 Famous painters: Miguel Zaragoza, Rafael Enriquez, Fabian dela
Rosa, Teodoro Buenaventura, Jorge Pineda, Ramon Peralta,
Isidro Ancheta
 Rafael Enriquez organized the Association International de
Artistas
o It sponsored an Exhibition on the Escolta and Vicente
Rivera y Mir won two first prizes with his oil entry El
Sueno Dorado
o Ramon Peralta with his Cabeza de Estudio won 2nd prize
o Jorge Pineda for his landscape painting of the site of the
Cry of Balintawak won 2nd prize
o Fernando Amorsolo for his entry Leyendo Periodico won
2nd Prize
 Fabian dela Rosa
o A realist and a landscape painter
o Marikina Road, Quiet Street, Planting Rice
 Jorge Pineda
o Landscape Artist and mastered the art of lithography
o Works: Playing Chongka, Lantern Makers, Alayan
 Scenic Painters: Juan Abelardo, Ramon Peralta, Toribio
Antillon, and Emilio Alvero
 Figure Painter: Isidro Ancheta
PAINTING IN THE MODERN PERIOD
 In 1951: a gallery for the modern painting was established on a
side street of Calle Mabini in Ermita.
 This Gallery is called the Philippine Art Gallery
 Heads of Igorots, Ifugaos, Mindanao Moslems, Bagobos, and
Mangyans were the favorite subjects in their galleries.
 Painters: Romeo Enriquez (Sonata), Fernando Zobel Jr., Victor
Oteyza, Manuel Rodriguez, Hugo Yonzon, Manansala, Luz,
Bernardo Ocampo, Legazpi, Estella, and Tabuena.