SOCIAL SCIENCES HUMANITIES
 attempt to see human beings in the mass
Focus  subject for generalizations
 behavior being a fit subject for prediction
 scientific approach
Approach  application of an empirical, rational, and objective
methodology to present the "facts"
 to analyze, explain and possibly predict human
behavior (as groups and/or individuals)
Function
 to generate and produce new knowledge (factual
information)
Study  Anthropology, Archaeology, Economics, Linguistics,
Areas Political Science, Psychology, Sociology, Statistics
HUMANITIES VS THE ARTS
 We are delighted in the arts through our senses.
 With the knowledge of how the artistic process works, our
enjoyment can increase in two levels: understanding and
feeling.
 The humanities engage both the intellectual and intuitive,
emotional selves.
THE ARTISTIC PROCESS
 Interaction with an experience or subject
 Translation of "interaction" to a medium
 Creation using elements, principles, and materials
WE, AS THE AUDIENCES OF THE ART
 We interact with the work of art- experience it.
 Thus, we recreate what is presented to us.
WHAT IS ART?
 As human beings, we have the ability to create and
transform our environment.
 We are creators of culture and the author of our lives.
 In trying to understand Art and Philippine Art, it is important
to know that art is a form of language.
 It uses different media, processes, technique, and most
importantly, conveys messages about us and the world.
 We can appreciate how a work of art is made by the artist
in terms of how materials are used and the techniques that
Filipinos have developed in different times and places.
 Art is always produced in a context so that it becomes one
key in understanding our culture as a people and making
sense of our “realities” in different times and various places.
 Art cannot be easily defined because it resists a universal
definition.
 Every society in different periods of its history has defined
art from its own point of view.
 We must reflect on how our arts bear a value system that
pertains to:
 Aesthetics- how we feel the world
 Philosophy- way of thinking about ideas
 Social history- threading together stories about our people
 concerned with the individual
 unique creations of the individual imagination
 philosophical approach
 application of an interpretative methodology to render
something meaningful for others
 to better appreciate the meaning and purpose of the
human
 to reveal wisdom
 to better explore and address the "big questions" and
meet the challenges in the human condition
 Architecture, Art, Film, History, History of Art,
Language and literature, Music, Philosophy,
Religious Studies
 Nature of Art
 As Experience
 While viewing (perceiving) our surroundings, we are
able to judge the creative works of others, perceiving
their value and significance in the context of our own
experiences.
 Art connects us to each other in a profound manner –
that impels us to make value judgments on what is
beautiful and ugly, what is important or not, or what is
meaningful or not in our consciousness.
 Art as experienced by the artist and the perceiver is the
crossroad where we discuss who we are, what we are,
and why we persevere as human beings.
 As Expression
 Art is always produced in a context so that it becomes
one key in understanding our culture as a people and
making sense of our “realities” in different times and
various places.
 Art as an Expression happens on 2 levels: in relation
to the individual and in relation to the society.
 As Form
 Can be categorized either as product or as process
 There is the material or performance that we need to
understand and appreciate or even critique.
 Understanding art both as product and process clues
us into how and why the artists have made choices
regarding material and technique.
ART IS NOT NATURE
 Not real, but represents reality.
 Individual artists have their own very personal ways of
seeing.
 Personal perceptions and feelings come into play.
SCOPE OF ARTS ACCORDING TO PURPOSE
 Practical arts/Useful arts- directed to produce artifacts and
utensils for the satisfaction of human needs
 Liberal arts- directed toward intellectual growth
 Fine arts- focused towards creative activity for the
contemplation of the mind and uplift of the spirit
 Major arts- painting, architecture, sculpture, literature,
music and dance (involves actual and potential
expressiveness)
 Minor arts- decorative arts, popular arts, graphic arts,
plastic arts, industrial arts
SCOPE OF ARTS ACCORDING TO MEDIA & FORMS  Purpose
 Plastic arts- developed through space and perceived by the  To draw attention away from humans and nature
sense of sight  To contemplate the Divine
 Kinetic arts- shows element rhythm  To compel the believer to engage in mental
 Phonetic arts- sounds and words as media of expression concentration
 Pure arts- take only medium of expression like sound in  Islamic forms are inclined to project, grow, or have an
music and color in painting upward orientation to symbolize regard for heaven and to
 Mixed arts- take more than one medium such as the opera, veer from material earth
which combines music, poetry and drama
SPANISH CONQUEST
HISTORY OF PHILIPPINE ART  2 types of art produced during this time: Religious and
 Philippine art has different contexts as it moves from one Secular (non-religious)
historical period to another.  Art forms during the Spanish Colonial Period are used as a
 Pre-colonization tool to:
 There is art but not as an expression of an individual.  Propagate the Catholic faith through beautiful images
 Everyday expressions were all integrated within rituals that  Explain concepts behind Catholicism
marked significant moments in a community’s life.  To tell stories of Christ’s life and passion
 Literature- when they told stories about their hunt, this form  Visual Art- during the early 16th century, the paintings were
of oral storytelling marked the be used to decorate churches and to propagate Christianity
 Theatre or Acting  The late 19th Century saw the rise of Europe-educated
 Ritual as Theater. Indigenous theater forms consist of painters, Juan Luna, Felix Resurrecion Hidalgo, etc.
rituals, mimetic dances, as well as mimetic customs, which  Architecture- churches, commonly in Baroque style; Bahay-
are still being performed at present. na-Bato
 When they imitated animal movements that they hunted,  Literature- Doctrina Christiana is first printed book in the
this marked the early beginnings of theatre Philippines compiling song lyrics, commandments,
 Sculpture: Bul-ul sacraments, and other catechetical material
 Carved anito figures  Theatre
 Represents ancestral spirits and granary gods  Pasyon- Biblical narration of Christ’s passion chanted in
 "Guardians of the harvest" improvised melody
 Crafts  Sarswela (Zarzuela)- operatta which features singing and
 Pottery and Gold dancing with a prose dialogue
 Wood Carvings  Senakulo- dramatic presentation depicting the Passion of
 Body Tattoos: Silup Christ
 Architecture  Komedya- colorful theatrical tradition that describes the
 Lean-to conflicts between the Muslims and the Christians
 Yakan/Tausug House  Dance
 Torogan  Pandango sa Ilaw
 Ifugao house "Bale"  Bird dances such as sinalampati, pabo, itik
 Dance- Caňao or Kanyaw, the ritual-dance performed  Waltz, polka, mazurka
during native feasts or celebrations in the highlands of the  Maglalatik
Cordilleras–in the Luzon area of the Philippines.  Palo-palo
 Music  Subli
 Hudhud- popular epic among Ifugao in the Northern  Turumba
Philippines. It tells about battles and touches on romantic
themes. AMERICAN OCCUPATION AND POSTWAR REPUBLIC
 Songs for Mawlid- in the Islamic tradition, significant  Visual Art
religious traditions require Muslims to sing songs.  Inclination toward still life, portrait and genre still persisted
 Musical Instruments  1909 UP school of Fine Arts was opened
 Folk Arts  Fabian De la Rosa
 Bulul  Fernando Amorsolo
 Hagabi  Architecture- Neoclassic Architecture is characterized by
 Okir grandeur of scale, simplicity of geometric forms, Greek-
 Boxer Codex- circa 1590 especially Doric (see order)- or Roman detail, dramatic use
of columns, and a preference for blank walls
ISLAMIC INFLUENCES  Sculpture
 Tawhid  Guillermo Tolentino
 Unity with God/ Allah  Amorsolo’s counterpart in sculpture
 Doctrine or belief that emphasizes the impermanence of  Oblation
nature and the greatness of diving being  Bonifacio monument
 Negates materiality  Performance Art
 Interior Mosques  Bodabil (Vaudeville from France)
 Elaborate, abstract patterns of relief  Became popular in 1920s until Japanese regime
 The motley collection of slapstick, song, dances,
acrobatics, comedy skits, chorus girl, and standup comic
acts
 Died away soon, replaced by film
CONTEMPORARY TIMES
 Philippine Art in the Modern Era
 Has evolved into a wide variety of expressions and medium
turning the country into a situation of creative upheavals
 Modern Filipino Artists have more freedom to explore on his
own.
 They show their love for country and evolving culture.
 Their style is from cross-cultural exposures in the Eastern
and Western world yet they have not forgotten their Filipino
roots.
 Modern Art
 Victorio Edades
 Modern art movement profoundly influenced him from his
art studies in U.S.
 Chabet- Albano Axis at CCP
 Roberto Chabet
 Widely acknowledged as the father of Philippine conceptual
art (a movement that prizes ideas over the formal or visual
components of art works)
 His "scandalous" art work displayed in CCP helped art
works not only to be confined in museum
 Initiated projects termed "developmental art"
 Use of sand, junk, iron, non-art materials such as rocks,
lumber, etc.
 "Exhibitions should be alive, not church-like, quite high in
festive ambience"
 Social Realism
 Emerged during the intense political ferment of the 70s and
80s
 Protest art that exposed the sociopolitical issues and
struggles of the times
 Conscious with its regard for the oppressed and
underrepresented masses
THE NATURE OF CONTEMPORARY PHILIPPINE ARTS
 Contemporary Art
 A statement that an artist makes about life, thoughts, ideas,
and beliefs and many other things that define human life
 What is essential to it is the process of artmaking. It is the
experience of creating the work. It is not how much money
is made.
 Seeks to experiment on various materials and techniques,
even to the point of creating an art style or technique of their
own
 Not confined in a museum show; it is anywhere
 The Tradition of Philippine Art
 Concept of Mimesis- copying reality
 But at the turn of the century, Victorio Edades changed the
playing field.
 Characteristics of Contemporary Philippine Art
 Was born after World War II
 The scope is broad, as there are over 100 art styles and
movements under its category.
 Artists experiments with various medium, techniques and
forms.
 Practices include collaborations and interactivity.
 Some are sold, some are not.
 Since the 1950’s artists have tried various processes and
techniques of making art- expressing their emotions,
perceptions, ideas, ideology, etc.
 Before, art works can only be bought from artists or
auctions.
 Now, some artists sell their works on the internet.
 Many contemporary artists did not study in a formal art
school or fine art colleges in a university. Some are self-
taught.
 Some employ fabricators, engineers, carpenters,
electricians to do their art works.
 Originality is also not an issue. An artist can get another
artist’s work, and add to it, redesign or interpret it
(appropriation).
SUBJECT MATTER, STYLE, AND MATERIALS
 Subject Matter
 Traditional artists- mimic reality as "picturesque"
 Contemporary artists- expressions of freedom,
experimentation and exploration of patterns, figures,
objects, and a combination of many things that are
important to them
 Not confined to representations of human figures and
landscapes
 Not easily recognized in some works
 Sometimes, it is the technique itself.
 Style
 Abstract Expressionism
 Painting style in which the artist applies paint in a
manner that expresses emotions and feelings in a
spontaneous way
 The figures may be heavy in lines and color without
solid mass.
 Impressionism- characteristics include relatively small, thin,
yet visible brush strokes, with emphasis on accurate
depiction of light in its changing qualities
 Video art
 Consists of images that are recorded through a video
and viewed through television, computer, or projection
screen
 Considered different from filmmaking on the basis of
the way it is exhibited
 Op art- uses lines or images repeatedly to create an optical
illusion
 Kinetic Art- a sculpture that moves with the wind or is
powered by a machine or electricity
 Performance art
 Combines variety of media and the human body to
execute an artistic theatrical expression before a live
audience
 Considered different from performing art on the basis
of its more conceptual and experimental themes
 Environment art- involves artistic creation or manipulation
of space such as landscape or architectural design that may
enclose its audience
 Feminist art- tackle issues of identity, sexuality, gender
roles, equality, and the ways in which the female is treated
in the society
 Minimalism- had a stripped down, pre-fabricated look, free
of details and often with flat surface but expresses a specific
content or statement
 Graffiti art- a drawing, inscription or sketch done hastily on
the wall or other surface made to be seen by the public
 Postmodern art- Carries modern styles to extreme
practices, often expressing an idea through a mix of
materials such as found objects welded together
 Body art- an art form that uses the body as the medium or
main material
 Digital art- done with the aid of computer to create image or
design
 3 commonly used styles
 Abstract Expressionism- less focus on figures and
more on techniques and emotions
 Social Realism- tackles real life issues and nuances
 Mixed Media- combination of various materials and
media
 Recently, environmental and community art are gaining
popularity. Likewise with interactive art. Other forms are
evolved styles as well.
 Although the trend in contemporary art is one of the
explorative use of new materials aided by technology, its
content does not leave out human elements, concerns,
issues, and things of high value to human beings.
 Materials
 Like style, contemporary artists are free to use any
materials available. Artists are no longer limited to oil on
canvas or acrylic for painting, or wood and stone for
sculpture.
 With contemporary art, found objects like plastic bottles,
used belongings, scrap metals, and abaca can be used to
make a work.
 Some use indigenous materials such as textiles and other
items to mix with a painted surface.
 In outdoor sculpture, brass is used, while indoors, wood and
glass are utilized.
 Paintings are no longer hung in the walls. They can be
painted on ceilings, walls, and outside the buildings.
 In architecture, some buildings have commissioned
contemporary art works.
 In performance art, theatre is no longer limited to a stage.
With various props, and some use their own body.
 Technology has also helped (lighting, computer software,
etc.).
 The availability and variety of materials and the possibilities
offered by technology expand the choice of artists. This is
essential in the development of art.
 Skills, Techniques and Productions
 Collage- made by adhering flat elements such as
newspaper or magazine cut-outs, printed text, illustrations,
photographs, cloth, string, etc. to a flat surface to create a
thick layer that is almost like a relief structure
 Decalcomania- the process of applying gouache to paper
or glass then transferring a reversal of that image onto
canvas or other flat materials
 Frottage
 The technique of rubbing with crayon on a piece of
paper which has been placed over an object or an
image.
 The impression on the image can be created using
leaves, wood, wire screen, or metal with embossed
image or word
 Montage- used for photography or film where the pictorial
image is juxtaposed or placed overlapping to make another
picture or design
 Trapunto- the technique used by Pacita Abad where her
canvases are padded, sewn, and often filled with sequins,
beads, shells, buttons, tiny mirrors, bits of glass, rickrack,
swatches of precious textiles and other things that she picks
up from her travels and journeys
2D EXPRESSION PAINTING
 Painting is the most popular of all the fine arts.
 Language of Art
 Medium
 Painting media generally consist of two basic
components: pigment and binder.
 Materials- paper, stretched canvass, wood
 Techniques
 Encaustic (beeswax)
 Fresco (on walls)
 Tempera, Gouache, Watercolor (water-based)
 Oil and Acrylic Paint
 Sprayed Paint
11 ELEMENTS IN 2D
 Refer to the physical building blocks that make up an
artwork.
 Line
 The basic building block around which an art form is
constructed and, by itself, has the capacity to evoke thought
and emotion
 In Mathematics, a line is a moving point, with length but no
width. In Art, a line has both length and width.
 Can be actual or implied
 Have directions that can describe spatial relationships in
the world
 Horizontal- may imply sleep, inactivity
 Vertical- yearning, aspiration, defying gravity
 Diagonal- suggests movement
 Curved- suggests flowing movement
 Line quality can express a range of emotions
 One single line is essentially 2D in nature, but certain kinds
of lines can indicate volume of 3D objects.
 Functions
 To create outline and shape
 To create depth and texture
 To suggest movement and direction
 Shape and Volume
 "Take Shape"- pulling things together within defined
boundaries to distinguish them from what surrounds them
 In works of art, shapes are areas within a composition that
have boundaries that separate them from what surrounds
them.
 Shapes make these areas distinct.
 Shapes are formed when intersecting or connecting lines
enclose a space
 Shape- clearly communicated by lines that enclose a
specific space, or patches of colors and textures, or when
viewed against its environment
 Types of Shapes
 Geometric- square, circle, triangle, etc.
 Organic/Biomorphic- human body, etc.
 Amorphic- not geometric, not organic
 Volume
 Refers to the amount of mass a 3D shape contains
 Mass or physical bulk
 Mass can be actual or implied
 Light and Value
 The basis for vision
 The very core of Visual Art
 Light radiates, illuminates, dazzles, glows, etc.
 Most art cannot emit or manipulate light. Thus, it reflects
ambient light.
 In 2D art, artists use value to represent the various levels of
light that reflects off of objects.
 Value- one-step gradation of light and dark
 Shading and Modeling- careful manipulation of gradation in
values to create the appearance of natural light on objects
 In sculpture and architecture, there may be a value
difference depending on the angles at which light hits and
reflects off their surfaces.
 Color
 A central element in the language of art that connects color
with emotions
 Refracted light- when a prism breaks a light beam into a
spectrum of color
 Reflected light- when objects around us absorb some of the
colors of spectrum and bounces back the rest
 Properties  Emphasis
 Hue- visible color (i.e. red, blue, green)  Use emphasis to focus viewer’s attention on one or more
 Value- lightness or darkness parts of a composition
 Intensity/Saturation- brightness or dullness  Can be effected when several of a work’s components
 Colors can be symbolic and thus associate with emotions, direct the viewer’s gaze toward a focal point
thoughts and ideas.  Rhythm- regular repetition of sensory impressions
 We link all mood with color.  Scale
 Culture-specific  Size of something in relation to what we assume to be
 Texture normal
 A surface characteristic that is tactile or visual  Hierarchical scaling- use of relative size to indicate the
 Tactile relative importance of the objects or people being depicted
 Consists of physical surface variations that can be  Distortion of Scale- some artists distort or even subvert the
perceived by the sense of touch. realistic scale of objects to challenge the viewer to look at
 Mosaic- a method of creating a picture out of small, the familiar in a new way
colored pieces (glass, stone, etc.), which are affixed to  Proportion- the size of one part in relation to the whole
a surface
 Visual CONTEMPORARY ART PRODUCTION
 Illusionary  Every art-making process is dictated by the artist’s style.
 Can be simulated, abstracted, or invented  Style has many meanings (particular historical period, of a
 Uses nation/region, technical approach).
 Adds significant dimension in appreciation  The significance of style lies on the fact that it allows the
 Enhances conveyance of emotions viewer to discern the meaning behind the subject matter
 Pattern and purpose of the painting.
 Configuration of repeated visual form/s  4 Stylistic Tendencies
 Natural- can be found all around us and may resemble each  Manifested in the works of the artists
other but not be exactly alike.  Creative interventions attributed to artists working in certain
 Geometric- have regular elements spaced at regular times and in specific places.
intervals  Style of Objective Accuracy
 Uses  Many contemporary artists face the problem of creating
 Decoration an impression of reality through selective use of visual
 Creates visual interest facts.
 Symbolic value (sometimes)\  Either by being a detached observer or by employing a
 Space- in 3D art such as architecture and sculpture selective eye.
 Planar space- in 2D art, it’s the height and width  Can be achieved through: correct drawing, handling of
 Perspective- illusion of depth illumination/light, focus, color and perspective.
 In Architecture and Performance Art, space is significant.  Style of Formal Order- associated with stability and
 Time- is the period that viewers study and absorb the permanence
message and formal qualities of an artwork  Style of Emotion- when personal feelings are disclosed by
 Motion- can be implied (in 2D), or integral in video/film, the artists
digital art, etc.  Style of Fantasy- when artists discover possibilities (or new
worlds)
7 PRINCIPLES IN 2D
 Artists use principles of design to combine elements of art ART APPRECIATION
into compositions that have a certain style, form, and  How to appreciate/analyze a Painting
content.  Description
 Design/Composition is the act of organizing the visual  Subject Matter: What is the main figure in the artwork?
elements to effect a desired aesthetic in a work of art. How do the other figures relate to the main figure?
 Unity  Materials: What are the materials used? Does this
 Oneness or wholeness bring out the intended effect of the artist?
 A work of art achieves unity when its parts seem necessary  Elements and Principles
to the composition as a whole.  Analysis
 Variety- refers to differences  Determine the subject matter by naming events or
 Balance issues associated with the painting
 Distribution of actual or apparent weight of elements in a  Discuss how the qualities of the artwork contribute to
composition its appearance, image or function
 Pictorial balance- refers to visual weight of elements in two-  Describe the effort of the materials/medium used
dimensional art  Give your reaction to the painting
 Symmetry- refers to similarity of form or arrangement on  Interpretation
either side of a dividing line or plane, or to correspondence  Main idea and the overall message of the painting
of parts in size, shape, and position  “Can I express what I think the painting is about in one
sentence?”
 Asymmetrical- when your eyes are telling you that the
 The evidences inside or outside the painting that
elements of a composition are skewed but your brain is
supports your interpretation
registering overall balance
NATIONAL ARTISTS  Techniques
 Fernando Amorsolo  Representational- shows actual objects or subjects from
 Victorio Edades nature or reality
 Carlos "Botong" Francisco  Abstract art- takes subjects from reality or nature but the
 Vicente Manansala artist presents them in ways different from the way they are
 Cesar Legazpi seen in everyday life
 Arturo Luz  Non-objective art- artworks do not represent or depict a
 Abdulmari Imao person, place or thing in the natural world
 Guillermo Tolentino  Installation Art
 Napoleon Abueva  An art form consisting of 3D works that are often site-
specific and designed to transform interior or exterior
3D EXPRESSION spaces to achieve an effect
 Sculpture- art form that requires the artist's creative use of  They are designed only for the space for which they were
balance, skill in the use of materials, and physical strength created.
 The subject matter of installation art is often stimulated by
ART PRODUCTION an event or an issue to human and social condition
 Materials used for Sculptures  Often identified with sculpture because of its 3D forms and
 Stone- can only be carved, drilled, abraded and polished the techniques.
 Wood  Composed of several genre such as painting, sculpture,
 Appealing for its grain and color and mediums like ready-mades, found objects, drawing,
 Has the tendency to warp/crack when wet text, objects assembled together to interact with space or
 Metal- can be cast, cut, drilled, filled, extruded, bent, forged art objects formed creatively by the artist
and stamped  Labor-intensive, and artists usually work with fellow artists
 Terracotta and assistants
 Clay- more responsive than wood or stone  Does not consider sale or profit which means they are
 Possesses little strength in tension or compression temporary and, most of the time, cannot be stored
 In itself, not a permanent material  Types
 Resin- plastic material that is becoming popular in the  Technology-Aided- where light, video, or film is
Philippines projected
 4 Basic Sculptural Techniques  Performance-installation
 Can either be subtractive or additive  Conceptual- places emphasis on an idea or concept
 Modelling- created when a soft/ malleable material is built rather than in a tangible art object
and shaped to create a form  Interactive- allows viewers to touch, walk in or through,
 Carving- cutting or chipping away a shape from a mass of listen to or interact with the piece
material  Environmental installation- artist’s connection with the
beauty of nature, the natural world, and the
 Casting- producing a form from a mold
environment
 Assembling- gathering and putting together different
 Public Art
materials, including found objects to create a sculpture
 Traditionally, public art was dominated by monuments to
 Styles and Movements in Sculptures
heroes and religious landmarks.
 Monolithic
 In the contemporary world, artists have expanded their
 Carved from a slab of material
choice of materials and methods and become aware of
 The Sculptor only makes a form that is allowed by the
design that appeals to the global taste of public art patrons.
material’s shape and cannot exceed its size.
 “To engage audiences and create spaces, whether
 Constructivism
material, virtual, or imagined where people can identify
 Popular among contemporary artists
themselves by creating renewed reflection on community,
 Uses new materials for non-figurative sculpture
the uses of public space and our behavior within them.”
 Main traits- abstraction, transparency, overlapping
planes, and employment of lines  Types
 Community-based
 Sculptural Assemblage
 Municipal- typically in squares, plaza or in front of
 Abandons carving and modeling
government buildings
 The Sculptor is free to deal with problems of volume,
 Land art- artworks that interact with nature and the
movement, and balance.
environment
 Kinetic Sculpture- a sculpture with mechanical motion
 Architectural- decorates façade, orchard, or enclosed
 Niches, Boxes, Grottoes concrete structure
 Niche- recessed place in a wall where a sculpture is  Commemorative Monuments
found  Design-based- usually located in parks or commercial
 Boxes- packages buildings
 Grotto- more like a room  Campaign-inspired public art- promotes an ide
 Mixed Media Art
NEW MEDIA ART
 Artworks that are made from a combination of mediums or
 Going back, we have grouped painting, sculpture, and
materials
architecture under the fine arts, because they require formal
 Can be used to express political views, social statements or
studies and training in the execution of art and manipulation
a reaction to an issue
of medium.
 The artist experiments and reintroduces things in a new
 They are appreciated for their aesthetics and are subject to
context.
refined judgement.
 Techniques- collage and assemblage