1. Is a creative and active process?

2. A modern but imprecise umbrella term for a broad category of art which includes a number
of artistic disciplines from various sub-categories.
3. When reading ______ ____, we draw on our general and specific knowledge, tastes, and
habits, our general and specific knowledge, tastes, and habits, our ________ _______ to
make what we see, and to make sense to it.
4. Understanding visual arts is ______-_______?
5. These includes activities such as, drawing, painting, printmaking and sculpture, along with
associated activities like graphic art, manuscript illumination, calligraphy and architecture?
6. Visual arts such as, assemblage, collage, mixed-media, conceptual art, installation,
happenings and performance art, along with film-based disciplines such as photography,
video art and animation or any combination thereof?
7. The general category of visual arts encompasses a number of decorative art disciplines and
crafts including ceramics and studio pottery, mosaic art, mobiles, tapestry, glass art including
stainless glass and others?
8. The expression of ideas and emotions with creation of certain aesthetic qualities, in a two
dimensional visual language?
9. A person engaged in an activity related to creating art, practicing the arts, or demonstrating
an art.
10. Part of the joy of painting in the 21 st century is the wide range of available forms of
________.
11. The common usage in both everyday speech and academic discourse is a practitioner in the
visual arts only
12. This list outlines eight major styles of art (sometimes referred to as “_______ or _______).
13. Any art that illustrates anything, but not in the truest of forms, can be classified as ______
____.
14. was one of the most influential visual art styles of the early twentieth century.
15. This is a real product of radical thought
16. It was created by Pablo Picasso and Georges Braque in Paris between 1907 and 1914. 
17. In ____ ______, you will never find a man, animal or even any real life object.
18. The cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting
the traditional techniques of perspective, foreshortening, modelling, chiaroscuro, and
refuting time-honoured theories that art should imitate nature.
19. Every object on the canvas is represented as either color and or shapes. A simple _____ can
do many wonders.
20. _____ painters were not bound to copying form, texture, colour, and space; instead, they
presented a new reality in painting that depicted radically fragmented objects.
21. The colors on the canvas represent emotions and shapes symbolize objects?
22. Is another style of abstract art painting
23. Abstract style of art takes many forms
24. _____ was a strong presence in the art world even before abstract painting became
prevalent.
25. This style of painting is closely related to the emotions and feelings of human heart.
26. People like Picasso, Braque , Gris etc followed ______ and made it famous.
27. This emotional overflow of human heart is illustrated from subject’s perspective.
28. Was one of the biggest names in expressionist art painting
29. The ________ paintings either represents emotional state of the artist or its intended to
induce some kind of an emotional echo within the viewer.
30. In most of his famous creations, he hardly touched the canvas with a brush. Pouring paint
onto the canvas was his style of painting. This way he could capture the natural movement
of paint too.
31. The style of painting that flourished in France around the turn of the 20 th century.
32. Another famous expressionist artist is ____ ___ ____?
33. ______ artist used pure, brilliant color aggressively applied straight from the paint tubes to
create a sense of an explosion on the canvas.
34. Is an avant-garde intellectual movement that started around world war 1.
35. ________ emerged in ________ in the 1850’s. on the heels of the 1848 ______.
36. Although not at first an art movement, it did influence art greatly for a time.
37. An event that established the “right to work” in the country- the movement introduced the
idea of average, working class people, contemporary settings, and day-to-day scenes as
worthy artistic subjects
38. A genre defined by heightened sense of emotion.
39. The art of the movement spanned visual literary and sound media, including collage, sound
poetry, cut-up writing, and sculpture?
40. Artist working in the ____ style rejected the standards of romanticism.
41. _________ paintings feature either mythological figures or sublime sences.
42. Is the young art form of creating illusions by enhancing reality.
43. Is an art movement originated in Paris in late 19 th century.
44. Artist of this genre take their works beyond purely photographic quality by placing added
focus on visual, social, and cultural details of everyday life.
45. Caught the eyes of many critics, but mostly for the wrong reasons?
46. The play with colour intensity, lighting, contrast, and sharpness to shape a more vivid
depiction of what we can see with the naked eyes.
47. The thin brush strokes, common and ordinary subjects, unusual angles etc are some features
of this style of art painting.
48. Were even considered as an alternative to photography, which then lacked the luxury of
colors.
49. _________ artist typically choose from drawing, painting and sculpture in their efforts to
bring added dimension of reality to life.
50. Outdoor sceneries of landscapes and even streets became settings for ______ painters.
51. They may also use digital illustration techniques or alteration of images transferred onto
canvases or molds in their work.
52. If you look closely at impressionist paintings, you will find that _____ is a color that is rarely
used. For dark tones, complementary colors were mixed and used.
53. ______ Have always been recognized for its symbolic power and an appreciation of this
reaches back to ancient times. However, the understanding and interpretation of ____
symbolism has changed over time and varies from culture to _____.
54. Through its association with fire and blood is used to represent dangers, anger and violence.
55. Symbolises creativity, change, energy and endurance.
56. For the reason it is also associated with affairs of the heart, love and passion.
57. It is the color that represents autumn
58. Is the color of the sun- the life support for our planet.
59. As a secondary color it combines elements of the colors used to mix it; the creative passion
of red with the energy and joy of yellow.
60. As such it is has come to represent life, energy, happiness, hope and wisdom.
61. As the color of plants, is the color of nature and all that is associated with health and growth.
62. Is the coolest and most calming of all the colors.
63. It is also used to represent more negative traits such as envy and inexperience.
64. As the color of the sky, it has been used since ancient times to represent heaven/
65. Is the color of royalty, wealth and power.
66. In classical mythology, blue was the color associated with the gods. _____ and _____
67. In times past, ____ dyes were rare and expensive.
68. In Christianity, it becomes the symbol of the virgin mary as queen of heaven.
69. Only the rich and powerful could afford to wear clothes of this luxurious color.
70. As the color of the ocean, it is also suggests freshness, purity and hygene.
71. Is the color of earth, wood and stone.
72. Association with darkness is used to represent death, evil, witchcraft, fear and mourning.
73. It envokes craftsmanship and the great outdoors.
74. Is the natural color of some metals and stone, but it is also has some negative associations
with the weather, boredom, decay and old age.
75. It is also used to represent humility; a down to earth virtue
76. Is a mixture of black (death) and white (peace) and is the color of the ashes and dust. As
such it is also associated with death and mourning.
77. A ______ ______ addresses an artwork’s formal elements— visual attributes such as color,
line, texture, and size.
78. _______ _______ is the discussion or evaluation of visual art.
79. A _______ _________ may also include historical context or interpretations of meaning.
80. ____ _______ usually criticize art in the context of aesthetics or the theory of beauty.
81. A way of dealing with something
82. _________ is the study of sign process, which is any form of activity, conduct, or any process
that involves signs, including the production of meaning.
83. _______ refers to those objects or entities which surround a focal even.
84. is an artifact that depicts visual perception, such as a photograph or other two-dimensional
picture, that resembles a subject— usually a physical object—and thus provides a depiction
of it.
85. _____ is anything that communicates a meaning, that is not the sign itself, to the interpreter
of the sign.
86. In the context of signal processing, an ______ is a distributed amplitude of color.
87. A branch of philosophy that deals with the nature of beauty and taste, as well as the
philosophy of art.
88. refers to the main idea that is represented in the artwork.
89. It examines subjective and sensoriemotional values, or sometimes called judgments of
sentiment and taste.
90. The subject in art is basically the essence of the piece.
91. is the study of "signs"--here the work of art is the iconic or pictorial sign.
92. A sign consists of a "_______" or its material/physical aspect and its "_______” or
nonmaterial aspect as concept and value.
93. The _____ ______ _____ covers the elements and the general technical and physical
aspects of the work with their semantic (meaning-conveying potential). It includes:
 The ____ elements and how they are used: line value, color, texture, shape,
composition in space, movement. Each ____ has a meaning-conveying
potential which is realized, confirmed, and verified in relation to the other
elements which form the text of the work. While the elements usually
reinforce one another, there can also exist contrasting or contradictory
relationships which may be part of the meaning of a work. The elements and
all material features are thus to be viewed in a highly relational ______ and
not isolated or compartmentalized.
 The choice of medium and technique. In contemporary art, ____ enters
more and more into the meaning of the work. While the European
academies or salons of the nineteenth century decreed the choice of
medium, today the artist exercises free choice in this respect, a choice
determined less by its availability as by its semantic potential. For instance,
handmade paper with its organic allure, irregularities of texture, and uneven
edges is favored by a number of artists because it bears significations
conveying the uniquely personal, human, and intimate, in contrast to mass-
produced standard paper. ______ of course, goes hand in hand with the
nature of the medium. Likewise, there are _______ which valorize the
values of spontaneity and play of chance and accident, while there are those
whch emphasize order and control.
 The ______ of the work. The very format of the work participates in its
meaning. Again, in contemporary art, _____ is no longer purely conventional
but becomes laden with meaning. For instance, the choice of a square
canvas is no longer arbitrary but enters into the meaning of the work as a
symbolic element, the square signifying mathematical order and precision.
 Other physical properties and ____ of the work. Notations, traces, textural
features, marks, whether random or intentional, are part of the
significations of the work.
94. This is still part of the semiotic approach since it is still based on the signifiersignified
relationship.
95. Here one proceeds from the basic semiotic and iconic planes and the knowledge and insights
one has gained from these into the social and historical context of the work of art
96. But here it is not that material elements of the work that are dealt with as in the basic
semiotic plane, but this has to do with the particular features, aspects, and qualities of the
image which are the signifiers.
97. Here one proceeds from the basic semiotic and iconic planes and the knowledge and insights
one has gained from these into the social and historical context of the work of art
98. Resituating the work in its context will bring out the full meaning of the work in terms of its
human and social implications. The viewer draws out the dialogic relationship of art and
society. Art sources its energy and vitality from its social context and returns to it as a
cognitive force and catalyst for change. If one does not view the work in relation to its
 context, but chooses to confine analysis to the internal structure of the work, one truncates
its meaning by refusing to follow the trajectories of the work into the larger reality that
surrounds it. One prevents the work from reverberating in the real world.
99. The image is regarded as an "____ ____" which means, beyond its narrow associations with
religious images in the Byzantine style, that it is a unique sign with a unique, particular and
highly nuanced meaning, as different from a conventional sign such as a traffic or street sign
which has a single literal meaning.
100. As has been said earlier, the meaning of a work is a complex that involves concepts,
values, emotions, attitudes, atmospheres, sensory experiences that arise from the three
planes. The experience of a work cannot be reduced or paraphrased to a statement, such as
a moral lesson or message, but is a total experience involving the faculties of the whole
person--not just his eyes or his senses, but his mind and emotions as well. The work of art
has its horizon of meaning which is narrower or larger depending on the degree of cultural
literacy, cultural breadth, art exposure and training, and intellectual and emotional maturity
of the viewer. Art involves cognition or learning; it is an important way of learning about
people, life, and society.
101. includes the choice of the subject which may bear social and political implications.
An example in art history is the French realist artist Gustave Courbet's choice of workers and
ordinary people in his paintings, instead of the Olympian gods and goddesses or heroes from
Greek and Roman antiquity that were the staple of classical and academic art up to the
nineteenth century. We can ask the question: Is the subject meaningful in terms of the
socio-cultural context, does it reflect or have a bearing on the values and ideologies arising
in a particular place and time?
102. A broad knowledge of history and the economic, political and cultural conditions,
past and present, of a society is called upon in the ______ ______, With this comes a
knowledge of national and world art and literatures, mythologies, philosophies, and
different cultures and world views. The work of art may contain references and allusions,
direct or indirect, to historical figures and events, as well as to religious, literary, and
philosophical ideas and values which are part of the meaning of the work.
103. Also part of the ______ _______ is the positioning of the figure or figures, whether
frontal, in profile, three-fourths, etc. and the significations that arise from these different
presentations. Does the painting show strong central focusing with the principal figure
occupying the center space or is it decentered and the painting asymmetrical in
composition? How do these presentations contribute to different meanings? Does the
subject or subjects have a formal or a casual air? How does one describe the central figure's
stance: poised, relaxed, indifferent, provocative, or aloof? How much importance is given to
psychological insight into character? to costume and accessories? to the setting, natural,
social or domestic? What is the relative scaling of the figures from large to small? What
bearing does this have to the meaning of the work? Luna's Tampuhan brings to the fore the
artist's sensitivity to body language. How do the postures of the man and the woman convey
their emotional attitudes?
104. The different symbolic systems which are culture-bound also come into play.
Although we have been strongly influenced by western symbolic systems, we have to move
towards a greater awareness of our many indigenous and Asian/Southeast Asian, Malay
animist and Islamic symbolic systems which must be given even greater value for they are
 part of our social context. These systems may have to do with color, shape, design, as well as
cultural symbols associated with the belief systems of the different ethnic groups. Figures
may also bear rich and distinct intellectual and emotional associations built around them
during the history of a group
105. In portraits, where is the gaze of the subject directed? This is important not only in
defining the relationship of subject and viewer but also in describing pictorial space. Degas'
painting Woman with Chrysanthemums shows a middle-aged woman beside a large vase of
flowers. More importantly, her intense and scheming look projects an imaginary line to a
figure or figures that are the objects of her gaze outside the pictorial field of the painting
into an implied open and expanded space. This work deconstructs the classical conventions
of portraiture.
106. The _____ ______ likewise situates the work in the personal and social
circumstances of its production. The work may contain allusions to personal or public
events, conditions, stages, as well as influences, such as persons and literary texts, that have
been particularly meaningful to the artist. Themes and sub-themes may be derived from
biographical experiences significant to the artist and biographical data may play an
important part in understanding the work and its view of reality.
107. Is there cropping of the figure or figures? What is the significance of the kind of
cropping used? Some kinds of cropping are intended to create a random, arbitrary effect as
against the deliberate and controlled. Other kinds isolate a segment of the subject, such as
the hand or the feet, in order to draw attention to its physical qualities--when a part stands
for the whole, a peasant's bare feet can tell us about an entire life of labor and exploitation.
Some artists use cropping as a device to imply the extension of the figure into the viewer's
space.
108. has to do with analyzing the values of a work. After the understanding of the work is
the difficult task of evaluating it. Often, it is facile to say that evaluation involves the two
aspects of form and content. But this division is theoretically conservative because the two
are conceptually separated. It is semiotic analysis involving the basic semiotic plane, the
iconic plane and the contextual plane that shows how meaning is produced through the
interrelationship of the signifiers (material features) and signified (concepts, values) in the
unique pictorial sign that is the work of art. At all points, meaning is anchored in material
form. Again, empirical, physical fact is value-laden, and value ensues from material fact.
Thus, the first consideration in evaluating would be to what degree the material basis of the
work conveys meaning or intellectual/emotional contents
109. Here one also takes into account the relationship of the figures to one another,
whether massed, isolated, or juxtaposed in terms of affinity or constrast. A painting may
expand or multiply its space by having not just one integral image but several sets of images
in montage form, from the same or different times and places. These may occur in temporal
sequence to constitute a narrative or may take the form of simultaneous facets or aspects of
reality. Serial images which show an image multiplied many times, as in Andy Warhol's
Marilyn Monroe or Campbell Soup Cans, convey significations arising from the blatant
consumerism of the advanced capitalist societies of the First World.
110. For all visual forms, whether paintings, prints, posters, illustrations, cartoons, and
comics have their standards of technical excellence to which a work may be on par or below
par. Understanding and evaluating the technical side of the work requires a familiarity with
 and sensitivity to the properties of medium. Thus, the viewer/critic should devote time to
researching on and observing art-making, even doing exercises of his or her own. At the
same time, one makes allowance for the transgressing of conventional processes and norms
in the quest for new creative and expressive resources.
111. The style of figuration is an important part of the iconic plane. The figurative style is
not mere caprice, passing fashion, or the artist's personal ecriture; beyond these, it implies a
particular re-presentation or interpretation of the world, a world view, if not ideology.
Classical figuration basically follows the proportion of 7 1/2 to 8 heads to the entire figure in
its pursuit of ideal form, as in a formal studio portrait with the subject enhanced by make-
up, all imperfections concealed. Realist figuration is based on the keen observation of
people, nature, and society in the concern for truth of representation, thus creating true
portraits of individuals or exposing the poverty and squalor that arise from social inequities.
Impressionist figuration is fluid and informal, often catching the subject unawares like a
candid camera. Expressionist figuration follows emotional impulses and drives, thus often
involving distortion that comes from strong emotion.
112. As has been stated, the meaning of a work is a complex of concepts, values, and
feelings which derive from reality and have a bearing on it. Because of this, the evaluation of
a work necessarily includes the analysis and examination of its axiological content
constituted by values which become fully articulated on the contextual plane although these
had already been shaping on the basic semiotic and iconic planes. And since values are
expressed in the work which holds a dialogic relationship with reality, the assessment of
these values is a necessary part of critical evaluation. It then becomes possible that the
values of the artist and the viewer do not quite coincide or may even be contradictory.
113. the viewer should not be too anxious to find precise stylistic labels, for
contemporary art has seen the development of highly original styles that have gone far
beyod the School of Paris. It is important to be sensitive to the meaning-conveying potential
of highly individual styles. In the basic semiotic plane which deals with the material aspect of
the work and in the iconic plane which deals with the features of the image itself, one can
see that as the signifier cannot be separated from the signified, concrete fact or material
data cannot be divorced from value; in other words, fact is valueladen and value or
ideological meaning is derived from material fact.
114. Every work of art, such as a poem, a novel, an essay, a play, a musical piece, a
painting, etc., has four basic relationships: 1. the ______ _____ 2. the ___ 3. the ____ and 4.
its own ____.
115. These four relationships of a work of art are the bases for the four principal
approaches to art criticism and appreciation. These four approaches are:
 ____ (based on the subject matter)
 _____ (based on the artist)
 ________ (based on the audience)
 aesthetic or ____ (based on the form)
116. Art is an imitation of an imitation of reality…” according to?
117. art is an imitation, depiction or representation of some aspect of nature or life. That
which is imitated, depicted or represented in art is its ______ ______.
118. “Art is a reflection or a mirror of reality.” According to?
119. In ________ art, subject matter and form are one: the form is the _______.
120. Anything in the universe may serve as the subject of art: aspects of nature such as
the sea, the sky, fields, forests, mountains, animals, etc., (often depicted in paintings),
human concerns in the realm of the experience, action and deed (as recounted in fiction,
narrative poetry and the drama), and emotions and moods (lyric poetry) and ideas (the
essay), spatial forms (sculpture and architecture), tonal forms (music) and plastic forms in
motion in space and time (dance).
121. portrays or depicts something other than its own form. Examples are Venus de Milo,
Da Vinci’s Monalisa, Prokofiev’s Peter and the Wolf, Tchaikovsky’s ballet Swan Lake.
Literature is principally ________?
122. He places art on the same level as shadows and reflections of things on water – all
these being mere illusions of illusions of reality.
123. represents nothing except its own form. Examples: the Pyramids of Egypt,
Mondrian’s non-figurative paintings, the symphonies of Mozart. Among the major arts,
__________ is most nearly always non-objective.
124. _______, believes that art is far removed from reality which exists in the realm of
Ideals or Universals, of which our world is but an imperfect imitation, and art is, in turn, only
an imitation of our world.
125. rejected the belief in the realm of Ideals. He taught that reality exists right in our
own world, around us and within us as perceived by our senses. Art is “a mirror of reality”
and therefore brings us in contact with it.
126. The approach to art criticism through the subject matter is called ______ (derived
from the Greek word mimesis, meaning ______.)
127. “He who touches this book, touches the man.”
128. This approach stresses the importance of subject matter or content in art.
129. “Leaves of Grass”
130. From the point of view of the _____ (poet, essayist, fiction writer, dramatist,
composer, painter, sculptor or architect), art is a means of expression, a medium for
communicating an idea, an emotion or some other human experience, an impression of life,
a vision of beauty. And because the artist puts something of himself into his art, it becomes
an extension of himself, an objectification of some aspect of his personality. Our experience
of a work of art, therefore, brings us in contact with the personality of the artist.
131. , the merit of a work of art lies in its subject; the beauty of the subject and its
significance are the basis for aesthetic judgment.
132. The individuality of the ______ is revealed to us through his creation. However, the
degree to which the artist has revealed himself varies from one form of art to another, from
one particular work of art to another.
133. . This approach has been discredited by modern critics who assert that the aesthetic
quality of a work of art depends not so much on what is depicted (the subject) as on how it
is depicted (the form).
134. The expressive approach to art criticism stresses the relationship of the artwork to
its creator. In this approach, the ___ himself becomes the major element generating both
the artistic product and the norms by which the work is to be judged. Interpreting art in the
light of the knowledge that we have about the artist has some degree of validity: it is an
admitted fact that something about the artist, his life-history, his philosophy and beliefs, his
character, certain circumstances in his life which may have influenced the creation of the
 artwork in question, his background, the era during which he lived, and other pertinent
information places us in a better position to interpret and evaluate his work.
135. o modern critics, therefore, a poem in praise of the splendor of God is not
necessarily beautiful than another poem expressing a lover’s complaint about the horrible
smell coming from his lady’s armpits, and a painting depicting a lovely woman by the sea
does not necessarily have greater aesthetic merit than another painting depicting a drunken
old man sprawled beside a huge pile of garbage. What we should appreciate is not the
subject but the manner of presentation of the subject
136. While the possession of such knowledge certainly enhances our appreciation,
modern critics assert that it is unnecessary. They question the validity of the expressive
approach and insist that an artwork be judged according to its intrinsic qualities and merits
and in judging its aesthetic value, we must not take into account its relationship to its
creator.
137. Leaves of grass?
138. “Literature, to be of importance, must be simple and direct and must have a clear
moral purpose…” according to?
139. Moreover, in passing judgment on the aesthetic merit of an artwork, we must not be
influenced by our personal regard for its creator or his reputation. Hence, we should
appreciate a symphony by Mozart, not because this composer is one of the most delightful
and admirable personalities in the world of music, but because that symphony has certain
aesthetic qualities which make it worthy of appreciation for its own sake, regardless of who
composed it or what sort of man he was. Richard Wagner, another composer, was an
extremely disagreeable person – selfish, conceited, arrogant – but the fact remains that his
music is glorious!
140. The purpose of literature is to teach, to moralize, to instruct…”
141. art is experience; for what is a poem unless one can read it; what is a painting unless
one can see it, and what is a sonata unless one can hear it? Art always has an ______ even if
this audience is none other than the artist himself.
142. “There are no moral or immoral books; they are either well-written or badly
written.”
143. One aspect of art, which is of importance to the ______, is its value, function or
significance. Aside from its essential value (aesthetic), art may have secondary values:
religious, philosophical, moral, historical, political, social, scientific, commercial, sentimental,
practical, etc.
144. art is a composition, a whole consisting of various parts or elements; the selection,
organization, and integration of these elements according to certain formal principles and
employing certain techniques constitute that which we call the _____ of art.
145. The approach to art criticism, which emphasizes the value and importance of art to
its audience, is known as the ______ approach.
146. Hence, in poetry, the organization of such expressive elements as imagery, figures of
speech, tone, movement, symbols, sound values of words, meter, rhyme, etc., using
language as medium, creates ____ ____. In music, the integration of such expressive
elements as rhythm, melody harmony, tempo, dynamics, and timbre, using tone as medium
and following the basic principles of organization – repetition, variation and contrast –
results in the creation of _____ _____. A film in achieving its objective to tell a story (the
 subject matter), employs and combines many elements: screenplay, acting, direction,
cinematography, pacing, editing, set design, background music, costuming, make-up,
casting, etc. How the story is presented in terms of these elements constitutes _____ _____.
147. _______ critics attach little importance to the aesthetic value and instead judge art
according to how useful it is to the audience. For instance, they are partial to artworks that
have moral value – that aim to teach, to instruct, to ennoble, or to mold the moral character
of the audience (this view may be traced back to the Romans, Horace, and Cicero), or else
they have preference for those for those objects of art that are useful or have practical
value. Marxist-Leninist-Maoist critics are classified as pragmatic because they assert that the
role of art in the socialist order is to contribute to the fulfillment of the objectives of the
state, to serve as a vehicle for propaganda in the people’s struggle against imperialism, etc.
Again, modern critics reject the pragmatic approach because they consider all the values of
art, aside from the aesthetic value, as merely secondary, therefore incidental, non-essential.
148. Modern critics, advocating the _______ and aesthetic approach to art criticism,
stress the importance of form in a work or art. They uphold the motto, “Art for art’s sake,”
which is attributed to the English playwright, Oscar Wilde. This view seeks to liberate art
from the chains of morality, religion, political propaganda, social, reform, etc., and sets up
art as something worthy of appreciation for its own sake.
149. It is the prevailing view in the field of art criticism that the merits of art are found in
its own form and that these merits are there regardless of whether they are grasped and
appreciated as such by the audience or not; only an enlightened audience can appreciate
great art. Pragmatists attack this view on the ground that it is “_____”—that it confines art
to the enjoyment of the favored few and shuts out the great masses of people who are not
“enlightened”. The Russian novelist Leo Tolstoy, a pragmatist maintains that a work of art
attains more greatness the more it gives moral upliftment and pleasure to the greatest
number of people
150. The _____approach considers the form as the basis of aesthetic judgment and other
considerations are secondary.
151.
152. This approach requires that the audience be knowledgeable, which is the reason
why pragmatists charge that it encourages snobbery and elitism. Analyzing the form of a
painting (or any work of art for that matter) is an intellectual undertaking that employs a
systematic method to arrive at aesthetic judgment.
153. Modern critics assert that the aesthetic judgment of the masses is far from reliable,
the masses being for the most part uneducated, ignorant; that the greatness of a work of art
does not depend on, and cannot be measured by, its popularity with the people; that a
gaudy painting of Mayon Volcano from a shop on Mabini Street is not necessarily greater
than an abstraction by Picasso simply because it is understood and appreciated by a greater
number of people, or that My Way by Frank Sinatra is superior to Mozart’s Symphony No. 40
for the same reason.
154. Every work of art involves an element of choice; certain possibilities have been
employed; others have been rejected. It is essential to consider alternatives to see what
these choices are and why they occur. One may begin by considering the physical properties
– size, shape and medium – of the work of art. How do these affect its immediate
personality as an object? One can then explore the more complex qualities of the work. For
 the sake of convenience, try to isolate factors, but keep in mind that they have an organic or
functional relation to other aspects and to the whole
155.