ART- Creative and expressive human by Juan Luna, and Pag-ibig sa Tinubuang freedom to explore, learn, and express
eedom to explore, learn, and express -Creative form for self-expression.
activities;
- Recorded experiences into synthetic
realities;
- Etymologically from the French
word “art” –skills; Latin word “ars” –skill
method or technique;
- Expressed mastery of skill or
technique near to perfection
(humanities).
- social, psychological, political
- e.g. The approximate 175 pounds of candy that
make up the work resembles the 175-pound body of Ross
Laycock, the artists’ boyfriend who died of AIDS in 1991.
As each person takes a piece of candy, they in turn act as
the AIDS virus depleting Ross’ body, piece by piece taking
it away until there is nothing left. Felix Gonzalez-Torres,
who dedicated his artwork to the one he love and lost,
died in 1996 of AIDS.
ASSUMPTIONS OF ART
ART IS UNIVERSAL- Art through literature
pieces, artistic forms through songs,
dances, and other means are timeless.
-Examples are Greek
epics Iliad and the Odyssey, Sanskrit
pieces Mahabharata and Ramayana,
Florante at Laura, Ibong Adarna,
kundiman songs, and folk dances.
- Art is crafted by all
people regardless of origin, time, and
place
ART IS NOT NATURE- Art is man’s
expression of his/her reception of nature.
Art is an interpretative and subjective
experience.
-Examples are Well and
Grinding Wheel in the Forest of the
Chateau Noir by Paul Cezanne, Spoliarium
Lupa by Andres Bonifacio.
ART INVOLVES EXPERIENCE- Experiencing
art is highly personal, individual and
subjective. It is a value judgement. It
depends on his perception, tastes, biases.
Art is a sensible, immersive, emotional,
and value-judgment experience.
ART EXPRESSION, IMAGINATION,
CREATIVITY
“It is only with the heart that one can see
rightly; what is essential is invisible to the
eye.”-- Antoine de Saint-Exupery
CREATIVITY- “Thinking beyond the box.”
- What makes art different
from the other.
- Motivates the artists to
embrace originality; put own flavor.
- Eliminates mere imitation or
plagiarization of other ideas.
IMAGINATION- Starts in the human mind.
- Stimulates change and
explores endless possibilities.
- Art can start as an
imaginary thing.
- Imagination inspires art
and art inspires imagination.
EXPRESSION- Release of emotions –
conscious effort to understand the depth
of emotions
- Artists don’t induce
emotions but express it.
- Expression of emotions is
different from descriptions of emotions.
- Gives premium on one’s
their emotions; it individualizes.
FORMS OF EXPRESSION
VISUAL ARTS- Derived from the artist’s
desires to reproduce things from the way
they perceived a subject.
- Mediums of visual art
include paintings, drawings, letterings,
sculpture, digital printing and more.
FILM- Art of putting together succession
of images to create an illusion of
movement.
- Gives focus on the aesthetic,
cultural, and social values of matters
discussed in films.
- Created through techniques such
as motion pictures, animation, and
computer-generated imagery (CGI).
PERFORMANCE ART- The artists use their
body as the main medium and employ
other kinds of art such as visual, art, or
sound. Must contain four main elements:
time, performer’s body, relationship with
the audience, and the performer/s.
POETRY PERFORMANCE- Expression
through words that incite the clarity and
beauty of words.
-Artists intend to narrate,
emphasize, argue, and convince through
the tone, volume, and intensity of
delivery.
ARCHITECTURE- Demands a blend of
plan, construction, and design.
-Aesthetics and functionality.
DANCE- Series of movements that follows
the rhythm of music accompaniment
LITERARY ART- Expression and
communication with the audience.
- Goes beyond the usual
professional, academic, journalistic, and
other forms of technical writing.
- Fiction or creative non-
fiction.
THEATER- Live performers act based on
present accounts and imaginary events.
- Leave a lingering impression to
the audience.
- Considers elements such as
acting, gesture, lighting, sound effects,
musical score, scenery, and props. Can be
drama, musical, tragedy, comedy, and
improvisation.
APPLIED ARTS- Application of elements of
style and design in various aspects of
living.
- Consider needs, choice of
materials and techniques, a combine
functionality and style.
- Can manifest in industrial
design, interior design, fashion design,
and graphic design.
FUNCTIONS AND PHILOSOPHICAL
PERSPECTIVES ON ART
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, is intricately linked
with function
- for a thing to reach its
purpose, it also has to fulfill its function
FUNCTIONS OF ART
ARCHITECTURE AND APPLIED ARTS
- the value of the art in question lies in
the practical benefits one gains from it.
- obviously made for a specific purpose
PAINTING AND LITERATURE
- one can look at the value of the product
of art in and for itself
PERSONAL FUNCTIONS OF ART
- varied and highly subjective
- functions depends on the artist who
created the art
- an art 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 work to carry
- political art is very common example of
an art with a social function
- art can also depict social conditions such
as photography (pictures of poverty)
- performance art is like plays or satires
can also rouse emotions and rally people
toward a particular end
PHYSICAL FUNCTION 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
PHILOSOPHICAL PERSPECTIVES OF 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 advisers against the inclusion of art
as a subject in the curriculum and the
banning of artists in the Republic
- plato was deeply suspicious od arts and
artists for 2 reasons:
-they appeal to the emotion rather to
the rational faculty of men
-they imitate rather than lead one to
reality
- in plato’s metaphysics or view of reality
the things in this world are only copies of
the original, the ternal, and the true
entities that can only be found in the
World of forms
- example: the chair that one sits on is not
a real chair. It is an imperfect copy of the
perfect “chair” in the World of Forms
- he was convinced that artists merely
reinforce the belief in copies and
discourage men to reach for the real
entities in the world of forms
- poetry rouses emotions and feelings and
thus, clouds rationality of people
- art is just an imitation. A painting is just
an imitation of nature, which is also just
an imitation of reality in the world of
forms
- 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
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 taught 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 2
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 JUDGEMENT
- 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 the judgment of beauty
is subjective
- however, even subjective judgments are
based on some universal criterion for the
said judgment
- 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
- 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.
SUBJECT & CONTENT
2 TYPES OF SUBJECTS:
REPRESENTATIONAL - Subjects that refer
to objects or events occurring in the real
world.
- Also termed as figurative art,
because the figures depicted are easy to
make out an decipher.
- Ex: White Ox at Siena, c, 1910 by
John Singer Sargent
NON-REPRESENTATIONAL- Subjects does
not make a reference to the real world.
- It is stripped down to visual
elements such as shapes, lines, and colors
that are employed to translate an
emotion, feeling, and even a concept.
- Ex: Metaphor: Break the Ice and
Free the Sun by Elenita Dumlao
NON-REPRESENTATIONAL ART AND
ABSTRACT ART
- Representational art and non-
representational art is not a clear-cut
divide; rather, they exist in spectrum.
- An artwork, depending on the degree of
distortion or abstraction, may be judged
as leaning more toward one over the
other.
- Abstract art is a departure from reality,
but the extent of that departure
determines whether it has reached the
end of the spectrum, which is non-
representationally- a complete severance
from the world.
SOURCES AND KINDS OF SUBJECTS
- Sources and subjects are often
inextricably related.
- Often, even a singular source of
inspiration can yield to multiple
translations; like nature.
- There is nothing more rudimentary than
human interaction with the physical
world around the artist.
- Artists throughout history have explores
diverse ways of representing nature.
- Greek and Roman mythology were also
ripe with references.
- Another integral aspect of human life is
the distinct relationship with a higher
controlling power that has immense
influence especially in art.
- Historically significant events,
particularly in the affairs of humanity, are
abundant references of art production.
- History as a resource for artists in search
of subjects, brings into considerations
events that are familiar and sometimes
even common or shared in world context.
- It is important to remember that the
source and kind of subjects were not
merely a product of the artist’s inclination
and choice.
CONTENT IN ART- Contents of art have
various levels of meaning.
-Factual meaning- 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
the acknowledged interpretation of the
artwork using motifs, signs, symbols and
other cyphers as bases of its meaning.
-Subjective meaning-derived from the 13th to 15th century, where town had
the viewer’s circumstances that come formulized groups of artisans or
into play when engaging with art (what craftsman who took on a particular
we know, experienced, and values stood specialization or trade, shoemakers,
for). textile and glass workers, carpenters,
carvers, masons, armorers and weapon-
ARTISTS AND ARTISAN makers among others
THE ARTISAN AND THE GUILDS - the practice of artists was not grounded
- The artistic and creative production such on the idea of individual capacities or
as artifacts and structures have their success rather in the commitment to
aesthetic characteristics that render them work together as a collective
unique and seeing the remarkable façade,
interior and even the minutest of details
up close.
- the difference was the materials,
medium, and the principles behind the
process of their creation
- another contributing factor is the
emergence of technology and knowledge
in managing and conserving all these
objects and structures, enabling the
retention of the integrity of the artwork
and the intention of the artist in terms of
the design and overall aesthetic.
- craftsman and builders in the past did
not have sophisticated terminologies and
principles that architects and engineers COLOGNE CATHEDRAL
abide by today. - located in Germany
- what they have was sense of how - one of the examples of early Gothic
materials behaved, how the environment, Architecture
light, and weather patterns affected - master mason Gerhard Ryle started the
structures and other more intuitive project in 1248
principles of creation - completed 600 yrs later
- skills qualification was needed for an - longest construction project to date
apprentice to register under a particular
craft guild. These guilds were prevalent
during the Middle Ages particularly during
- a master artisan or craftsman would
then be open to hiring apprentices who
would be under his tutelage and
instruction
-in these guilds, artistry and technology
flourished under one roof
- in the context of the cathedral
construction site, the master mason
oversaw the work by numerous men of
varying artistic proclivities and skills, from
the smiths (metal work), carpenters,
carriers and glaziers (stained glass artist)
among others
- VISUAL ARTS: ALBRECHT DURER
-born in 1471
-his father was a goldsmith
-his life was ripe with travels,
fame and fortune
- published books and treatises
THE ARTIST AND HIS STUDIO
- artist’s studio is an extension of the
artist himself
-work stations were segmented into
studiolo and bottega
- the latter is where the work happened
- artists claiming authorship for their work
by affixing their mark onto the surfaces of
their paintings were a big milestone in the
history of the artists. Combined, these
resulted to 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.
(ROLE OF THE ARTIST)
(MIDDLE AGE)- craftsman
- artworks were left
unsigned
(RENAISSANCE PERIOD)- artist or an
independent artist
- widespread
patronization of secular art
- assertion of
cognition the will and individuality
OTHER PLAYERS IN THE WORLD OF ART
CURATOR- interpretation and
development of the artworks or the
collections though establishing the
significance, relationship and relevance of
these materials- in isolation and/ as part
of a wider narrative
- ability to research and write as
an arbiter of design and layout and
deciding for the display and hanging of
materials for exhibition
Institutional Curator- affiliated with
museums and galleries
Independent or Freelance Curators- can
move around various projects, platforms,
and art spaces in a multiplicity of terms
PRODUCTION PROCESS
PREPRODUCTION- the artist always begin
with an idea that he wants to express or
communicate with his audience. It may
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
PRODUCTION- the execution of the art ay
tae a variety of forms such as painting,
sculpture, tapestry, photograph, film, a
routine (dance) or a track or consumption
(music)
POSTPRODUCTION- Once an artwork is
finished, it will then be decided on how it
will it circulated not only in the art world
but the many publics
- it is also allowing the artwork to
set, tweaking the artwork, preparing the
artwork for transport and display and
even promotion and inclusion of the
artwork in publication or discussion
MEDIUM AND TECHNIQUE
MEDIUM- correlates with it composition
and presumed finality of the artwork
- 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 it may be ephemeral or
something transient such as track
(recording of sound), a film or a
performance
TECHNIQUE- level of familiarity with the
medium being manipulated
-it alludes to the necessity of
additional tools or implements (hammer
and chisel may come in handy for
sculptors) or consideration of time
(behavior of different kinds of paint
especially in drying time requirements)
and the specificity of the site of creation
(indoor or outdoor production
requirements)
ENGAGEMENT WITH ART
- through exhibitions at museums or
galleries
- aside from exhibits, other opportunities
for art engagement transpire in the
classroom (instruction), studio visits,
lectures. Workshops and other events
that augment the exhibitions (programs),
auction sales, art fairs, biennials, and
triennials
- art personalities
- publications
AWARDS AND CITATIONS
- Highest national recognition given the
filipino individuals who have made
significant contributions to the
development of Philippine arts, namely:
music, dance, theater, visual arts,
literature, film, broadcast arts and
architecture and allied arts
- FERNANDO AMORSOLO:
- very 1st recipient of this award
- touted as the “Grand Old Man of
Philippine Art”
- sole awardee in the year 1972, a
National Artist for Visual Arts
- GAWAD SA MANLILIKHA NG BAYAN
(GAMABA) National Living Treasures
Award
- Ginaw Bilog
 - Masino Intaray
- Samaon Sulaiman
ELEMENTS AND PRINCIPLES OF ART
ELEMENTS OF ART- building blocks or
ingredients of art
Example: Sculpture
Sculptures automatically have the
following elements with or without the
decision of the artist to include them:
Shape, form, and space.
1. LINE- A mark with length and direction.
- A continuous mark made on a
surface by a moving point.
o Horizontal and Vertical Lines
-these lines communicate stability and
firmness.
o Diagonal and Crooked Lines
- convey movement and instability
o Curved Lines
- allude to softness, grace and flexibility.
2. SHAPE- Shape refers to two
dimensions; height and width
GEOMETRIC SHAPE- These shapes find
origin in mathematical propositions.
ORGANIC SHAPE- These shapes are those
readily occurring in nature, often irregular
and asymmetrical.
3. FORM- Forms refers to three
dimensions; height, width and depth.
SHAPE AND FORM- These two are related
to each other in the sense that they
define the space occupied by the object
of art.
4. SPACE- The distance or area between,
around, above, below, or within things.
- Real space is three-dimensional
5. COLOR- Color is perhaps one of the
elements that enhances the appeal of an
artwork
- Consists of Hue (another word
for color), Intensity (brightness; This is
the color’s brightness or dullness (e.g.
bright or warm, Dull or cool) and Value
(lightness or darkness).
-This element is a property of
light, as it is reflected off the object.
- Hue- This dimension of color
gives its name.
Primary Colors- red, yellow and blue
Secondary colors- green, orange and
violet
Tertiary- six in total, these colors are
achieved when primary and secondary
are mixed.
- : The Color Wheel corresponds
to the first property of Color, hue
6. TEXTURE- Like Space, texture can be
either real or implied. This element in an
artwork is experienced through the sense
of touch (and sight).
PRINCIPLES OF ART- what we use to
organize the Elements of Art, or tools to
make art
1. BALANCE- This principle refers to the
distribution of the visual elements in view
of their placement in relation to each
other
- The way the elements are
arranged to create a feeling of stability in
a work.
SYMMETRICAL BALANCE- The parts of an appear in an artwork in a recurring
image are organized so that one side manner.
mirrors the other.
12. VARIETY- The use of differences and
ASYMMETRICAL BALANCE- When one side
change to increase the visual interest of
of a composition does not reflect the
the work
design of the other.
2. SCALE AND PROPORTION- The
comparative relationship of one part to
another with respect to size, quantity, or
degree; SCALE.
3. EMPHASIS- The focal point of an
image, or when one area or thing stand
out the most.
4. CONTRAST- disparity between the
elements that figure into the
composition.
5-6. UNITY AND VARIETY- When all the
elements and principles work together to
create a pleasing image.
7. HARMONY- Unity and Variety is related
to the principles 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.
9. RHYTHM- A regular repetition of
elements to produce the look and feel of
movement.
10-11. PATTERN AND REPETITION- Lines,
Shapes, colors and other elements may