Subject and

Content
 MODULE CONTENT

COURSE TITLE: Art Appreciation

MODULE TITLE: Subject and Content

NOMINAL DURATION: 6 HRS (2 Hours per topic)

SPECIFIC LEARNING OBJECTIVES:

At the end of this module you MUST be able to:
1. differentiate representation art and non-representational art;
2. discuss the difference between an artwork’s subject and its content;
3. identify the subject matter and content of specific examples of art; and,
4. enumerate the sources of the subjects of some of the most recognizable
works of art in Philippine art history.

TOPICS:
1. Subject of Art
 Subject type
 Source of subject
 Kinds of subject
2. Content in the Art
 Levels of meaning
ASSESSMENT METHOD/S:
Multiple Choice Mini Quiz
Insight Paper
REFERENCES:
Caslib Jr., B.N., Garing, D. C., & Casaul, J. A. R. (2018). Art appreciation.
Manila: Rex Book Store, Inc
https://www.wga.hu/html_m/b/bailly/selfport.html
https://www.britannica.com/topic/Mona-Lisa-painting
https://www.wikiwand.com/en/The_Old_Man_and_Death
https://www.britannica.com/biography/Jackson-Pollock
https://victorianeraart.weebly.com/subject-matter.html
http://thecircular.org/francisco-de-goya-y-lucientes-desastres-de-la-guerra-
napoleon-peninsular-war/
http://www.museivaticani.va/content/museivaticani/en/collezioni/musei/cap
pella-sistina/volta/storie-centrali/creazione-di-adamo.html

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 Information Sheet AAP 113-5
Subject and Content

Learning Objectives:
After reading this INFORMATION SHEET, YOU MUST be able to:
1. differentiate representational art and non-representational art;
2. discuss the difference between an artwork’s subject and its content;
3. identify the subject matter and content of specific examples of art;
and,
4. enumerate the sources of the subjects of some of the most
recognizable works of art in Philippine art history.

In the Philippines, which is predominantly a non-museum going public,

looking at art has always been a tricky business. This is true not only for
novices, but also at times, confronts the long-time art aficionados. One of the
major hurdles that spoils an individual’s engagement with an artwork is the
notion that in order to appreciate it, one must be able to extract a specific
image, isolate the artist or maker’s intention, and unearth a particular
meaning. Failure to do so automatically implies a failure of comprehension and
therefore, failure of the experience. This, however, relegates art engagement
and therefore appreciation to the very few who had training and instruction in
producing and in reading art. This should not be the case.
The primary stage of engaging with art is its perception. Looking at art is
much like any instance of taking in information or stimulus that originates
from the world around us. For most art forms, the beginning of engagement is
through looking at the artwork. The eyes play a big role in mechanically
making a vision possible. However, like any tool, it is but one component. What
makes the difference is the awareness in the process of looking where
subjectivity is essential in navigating through the artwork. Subjectivity is

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illustrated in the way that selective perception renders one or two details more
prominent than others, prompting the viewer to focus on some details as
essentials or as standouts. Even the disposition or mood of the viewer, his
education, his background, and his exposure to varying contexts contribute to
what information is taken in and how they are interpreted. To herd all of these
into coherence and intelligibility, the relationships of visual details presented,
the ideas and feelings that they cull, and other springs of information may be
consulted.
In most cases, 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, form, and
content. These components are largely inseparable from each other and usually
related to each other.
In this section, subject and content will be discussed. To differentiate
them briefly, subject refers to the visual focus or the image that may be
extracted from examining the artwork, while content is the meaning that is
communicated by the artist or the artwork. Finally, the development and
configuration of the artwork – how the elements and the medium or material
are put together – is the form. In simpler terms, the subject is seen as the
“what”; the content is the “why”; and the form is the “how.”

Let’s Get Down to Business

In the field of the sciences, experimentation is the key to proving a

hypothesis or a larger theory. Often, an experiment is done multiple times to
further prove the reliability of an outcome. Therein, empirical or observable
data in the form of visible or tactile qualities, events or occurrence, yielding an
output or by-product must follow after a step or a series of processes. In the
arts, there are also observable qualities that the artwork holds that will point to
its subject, and sometimes even to its content. In order to flesh out what the
subject of the artwork is, it is important to first look at the constituent figures
that are perceivable on the surface of the canvas or the sculpture, and the
manner in which the artist chose to depict those figures. From these, the type
of subject can then be inferred.

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Types of Subject
One of the most iconic and
recognizable paintings all over the world is
the “Mona Lisa” done by Leonardo da
Vinci. Some questions are often raised
regarding this attack, like “Who is Mona
Lisa?” “Why was Leonardo da Vinci
compelled to paint her?” But as scholars
attempt to solve the true identity of the
sitter, it is relevant to note that there is a
consensus that the Mona Lisa-whoever
she is-is based on a real person.
Portraits such as the “Mona Lisa”
are good examples of what is called
representational art. These types of art
have subjects that refer to objects or
events occurring in the real world. Often,
it is also termed figurative art, because as
the name suggests, the figures depicted
are easy to make out and decipher.
Despite not knowing who Mona Lisa is. It
is clear that the painting is of a woman
that is realistically-proportioned; only the Mona Lisa (1503) by Leonardo da Vinci
upper torso is shown; a beguiling and
mysterious smile is flashed; and that the background is a landscape – probably
a view from a window. Pushing it even further one can even imagine a scene in
which Leonardo da Vinci alternates between applying dabs of paint on the
canvas and looking at the sitter in order to capture her features for the
portrait.
On the other hand, seeing a painting
that has nothing in it but continuous drips of
paint or splotches of colors either confounds
the viewer or is readily trivialized as something
that anyone with access to materials can easily
make. The works of Jackson Pollock, who is
known for his “action paintings,” are often
subjected to these remarks. Using large-scale
canvasses that were usually laid out on the
floor or resting on a wall, Pollock tilted his
paint can and allowed paint to drip. Assisting it
with movement, he used other implements
such as hardened brushes, knives, sticks, and
trowels to add detail, texture, and dimension
to his paintings. There were no clear figures Paul Jackson Pollock (1912-
that jot out from the canvas; there were only 1956)

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drips and splashes. This kind of work can be subsumed under the category of
non-representational. As the opposite of the previously discussed type of
subject, non-representational art is also often termed non-figurative art.
Non-representational art does 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.
It is in this light that representational works are often favored because
they are easier to recognize. Viewers find a greater degree of comfort when what
they see registers as something familiar. They then continue to process this
understanding, sometimes even becoming confident enough to share their
insights to others. It can be argued then that an artist is faced with a strong
persuasion of creating works that veers toward representational art. However,
it is not simply an issue of assumed preference; rather, it cuts across matters
relating to prevailing themes, norms, and practices of specific historical
moments.

Non-representational Art and Abstract Art

One source of confusion is the notion
that non-representational art is the same as
abstract art. This is essential to discuss
because it introduces the fact that
representational art and non-representational
art is not a clear-cut divide; rather, they exist
in a spectrum. An abstract work of Pablo
Picasso is a great example to illustrate this.
Although he is more known for his paintings,
he also dabbled into other works including
sculptures. Cut metal that is hinged on a
metal base, there is a palpable distortion of
the image – whatever it is – seems to be
melting. Even without reading the title from Pablo Picasso Head of a Woman
(1962)
the caption, mere seconds of 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. As a guide, an artwork, depending on the degree of distortion
or abstraction, may be judged as leaning more toward one over the other.
Abstract art is in itself a departure from reality, but the extent of that
departure determines whether it has reached the end of the spectrum, which is
non-representationality – a complete severance from the world.
A proponent of non-representational art was Russian artist Vasily
Kandinsky. Although his chosen art form was paintings, he likened non-
representational art to music, an art form that he was also keen to. He asserted
that with sounds, musicians are able to evoke imagery in their listeners or
audiences. Object-free, he alludes to the sounds and spiritual experiences that
music makes possible in his paintings. It is therefore not surprising that a lot

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of his paintings are inspired by music and are titled as impression,
improvisation, and composition.

Sources and Kinds of Subject

When hit with a wall or a block, the writer is often advised to look back
and take from what he knows. From there, a well and wealth of materials may
be drawn. But for artists, where do they source the subjects of their paintings?
What do they paint?
For non-representational art, a higher level of perceptiveness and insight
might be required to fully grasp the feeling, emotion, or concept behind the
work. It is perhaps easier to infer where the subject matter comes from if the
artwork is an example of representational art. From the figure(s) depicted in the
artwork, there is already a suggestion as to its inspiration.
However, in discussing the sources and kinds of subjects in artworks, it
is important to note that these two are often inextricably related. Often, even a
singular source of inspiration can yield multiple translations. A good starting
point is, of course, the nature.
There is nothing more rudimentary than human interaction with the
physical world around the artist. Early childhood often revolves around getting
to know not just the body and what it can do, but also in getting accustomed to
a multitude of sensory prompts around the artist especially those situated in
his environment.
Artist throughout history have explored diverse ways of representing
nature: from plants to animals; the qualities of bodies of water and the terrain
of landmasses; and even the perceivable cycles and changing of seasons. Often,
these depictions are seen as expressions of the sacred or the profane, sired by
reality or supplemented by the artist’s imagination. One artist who was attuned
with nature was Vincent van Gogh. He saw art and nature as inseparable,
often finding solace and happiness in painting in it (working in the middle of
unspoiled fields) and painting from it (landscapes). In a letter to his brother
Theo, he wrote “…if I felt no love for nature and my work, then I would be
unhappy.” (Van Gogh Museum, 1882).

Vincent van Gogh’s Die Ebene Von Auvers (1890)

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 Other artist with a considerable number of landscapes and seascapes are
Claude Monet, Camille Pissarro, Paul Cézanne, and JMW Turner. In the
Philippines, National Artist for Painting Fernando Amorsolo and Fabian de la
Rosa gained prominence from their painted rural scenes such as women in the
fields gathering harvest.
Breaking nature into smaller parts is Jan Van Kessel the Elder who did
numerous still lives and small-scale, highly detailed studies, and scientific
illustrations of flowers, insects, shells, fruits, garlands, and bouquets.
Greek and Roman mythology were also
ripe with references: from episodes that transport the
viewer to heroic encounters of Achilles and Aeneas;
warnings about man’s folly like the vanity of Icarus; the
wit and cunning of Odysseus; the beauty of Aphrodite
and the athleticism of Myron. From narrations in
literature, artists, on the other hand, gave faces to
Greek and Roman deities or the gods and goddesses
whose fates are seemingly as tragic as those of men.
Some of
the art
forms they
took on
Discobolus by Myron (500 were wall
B.C.) paintings
or frescos and sculptural works
such as busts, statuaries, and
ceramics and pottery, among
others.
Another integral aspect of
human life is the distinct
relationship with a higher
Jan van Kessel’s A Cockchafer, Beetle,
controlling power. If the belief system Woodlice and other Insects, with a Sprig
of Greeks and Romans was of Auricula (1650)
polytheism with a multitude of gods
and goddesses, the Judeo-Christian
tradition stems from a belief in a
lone creator of the universe or what
is called monotheism. This tradition
had an immense influence in
Western Civilization especially in
art. Guided by a host of styles and
techniques, various media and art
forms were also experimented with:
paintings, frescos, church The Sistine Chapel ceiling, painted by Michelangelo
between 1508 and 1512
architecture (over-all plan of the
space, stained glass windows, tabernacles, and altars), sarcophagus, icons and
other carvings, vestments, tapestry, illuminated manuscripts, and other sacred
scriptures, among others.

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 Commissioned by Pope Julius II, the intricate fresco that lines the Sistine
Chapel was created by Michelangelo. The immense detail and vast surface he
had to cover had him working on it from 1508 to 1512.
Unlike in Islam for example, practicing Jews and Christians were allowed
to depict their God and other important biblical figures; laying visual
foundations in inculcating the faith. But perhaps the influence of this tradition
is most intriguingly manifested in the architectural marvels that are spread out
all over the world.
The formative years of church architecture can be traced in the fourth
and fifth country but different styles and plans were developed since then.
Prevailing ideas and philosophies became resources that were used by
architects to reimagine what the church should look like. For instance, Gothic
churches were characterized by three things: soaring heights (ceilings), volume
(flying buttresses and ribbed vaults), and light (bright stained-glass windows,
airy and pleasant interiors). Gothic style architecture is often attributed as the
brainchild of Abbot Suger. There is a definitive sense that pointed to the feeling
of awe on the part of the believer and the perceived majesty and power of God –
all of which happened during the time when religion was at the heart of
everyday life. This echoes her belief that “art was central to religious
experience.”
Proceeding from a kind of a hybrid between literature and sacred text is
India’s miniature paintings. In Central India, the kind of art that was produced
was deeply rooted in Vedic texts such as Upanishads, Puranas, and other
important text like the Sanskrit epics Mahabharata and Ramayana, Indian
artists had a wide array of materials to work with in showcasing not just their
artistry and skill. The significance of these paintings rests on its ability to
foster devotion and the observance of a code of ethics through the
visualizations of heroic narratives. These paintings were small but were highly
pictorial, stylized, and employed a good contrast of colors. Some artists also
included verse from the epics as part of the cartouche which added interest
and meaning to the paintings.
Historically significant events particularly in the affairs of humanity are
abundant references for art
production. From early
breakthroughs such as the
discovery of fire and the
overthrow of geocentric
theory in favor of a sun-
centered universe,
succeeding advancements
brought about by discovery,
innovation, and man’s
incessant search for glory
plotted a dynamic course of
history.
An example is Goya’s
El Tres de Mayo which
captures the death of Madrilenes, the local insurgents during the Peninsular

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War. Former allies in the overrun of Portugal and France turned against Spain.
Napoleonic forces invaded Madrid without much difficulty and the painting
captures the dramatic demise of its people under a firing squad.
History, as a resource for artists in search of subjects, brings into
consideration events that are familiar and sometimes even common or shared
in world context: the establishment of nations and states (discovery, conquest,
and colonization). And the resulting ideologies that they breed (democracy,
liberty, freedom, and rights). These works serve as documentary and
commemorative artworks that illustrate subjects such as important leaders
and figures, events as they were recorded to have happened, and
representations of ideologies or values.
In the history of art, it is important to remember that the sources and
kind of subjects were not merely a product of the artist’s inclination and
choice. A closer examination of the various art movements and artworks
created within those movements will indicate that notions of freedom and
independence, which are presumed to be enjoyed by artists, were not without
limits or restrictions. For instance, a particular kind of subject and the way it
is visually translated may be traced in relation to the art patrons (those who
commission the artworks), the favored artistic style and canons, and more
importantly, the norms and trends prevailing in the artist’s milieu.
During the Spanish colonial period in the Philippines, art was
predominantly representational. During the first century of their dominance,
art came as an aid for communication-a means of propagating religion to locals
who spoke a different language. The visual arts, from paintings to early
sculptures such as santos and other votive figures and icons, were created to
assist Catholic ministry. Existing art and craft traditions persisted, with some
augmented and infused with influences that were not limited to the Spanish
culture through contact.
The momentum that secular (or non-religious) art later gained in the
nineteenth century can also be attributed to this contact, with the opening of
the Suez Canal and the growth of export economy in agriculture. The
consequence of these developments was the rise of the middle class. With their
new-found economic and social mobility, patrons of the art were no longer
limited to the clergy, but brought about a demand coming from these wealthy
illustrado families. Of interest was the increase in demand for commissioned
portraits (of an individual or an entire family), finding it necessary to document
themselves in light of their elevated status. Wearing the most intricate and
elaborate of garbs, significant adornments such as jewelry and embroidered
implements, among others, completed the intended narrative. This artistic
trend cemented the distinction of artists such as Simon Flores, Justiniano
Asuncion, and Antonio Malantic who became the foremost portraitists of the
time. Here, it is evident how during the Spanish colonial period, the subjects of
artworks, even the manner in which they are translated, were mostly dictated
by the patrons who commission them for religious and secular art.

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Content in Art
As outlined in the beginning, in discussing works of art, the subject may
simply be referred as the “what” – what is readily seen and relates to the
artwork, its inspiration, and the many kinds of translation. But apart from
what is made explicit, to recognize and grasp the message of the artwork, the
viewer may sometimes need to go beyond what is visible. Why was the artwork
created in the first place? When this is asked, we are after the meaning or
message that is expressed or communicated by the artwork. One of the
foremost scholars that expounded on context analysis or how meaning is
arrived at is art historian, Erwin Panofsky in his seminal work Meaning in the
Visual Arts (1983). His methodology will be later identified as Iconology through
the interpretation of iconography.
To take on the challenge of understanding the content of art, it must be
reiterated that there are various levels of meaning. Perhaps the most common
is what we call factual meaning. This pertains to 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, on the other hand, pertains to the acknowledged
interpretation of the artwork using motifs, signs, 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. Finally, when subjectivities are consulted, a

Creazione di Adamo a fresco painting by Italian artist Michelangelo

variety of meaning may arise when a particular work of art is read. These
meanings stem from the viewer’s or audience’s circumstances that came into
play when engaging with art. When looking at a particular painting for
example, perception and meaning are always informed (and even colored) by a
manifold of context what we know; what we learned; what we experienced; and
the values we stand for. It is therefore expected that meaning may not be
singular; rather, a painting may communicate multiple meanings to its many
viewers. This is what we call subjective meaning art.
Michelangelo’s “Creation of Adam” can be read using various levels of
meaning previously discussed. There, Adam is figured with an aged God, both
of them with an arm stretched and their respective index fingers appearing to
be fixed at an impending contact. Apart from God who is wearing a tunic,
everyone else is in the nude. God is afloat, surrounded by drapery and figures
presumed to be angels and cherubs. Adam on the other hand is earth-bound,

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sitting and reclined, positioned diagonally parallel to that of God. From a
factual perspective, Michelangelo depicted a scene from the Creation Story, in
particular, the creation of man. Apart from being a key element of
Michelangelo’s fresco at the ceiling of the Sistine Chapel, the subject matter
suggests that this is an example of biblical art.
This work is indeed iconic, and asserted by the conventional meanings
attached to it. Here, the specific poses of God and Adam (convex and concave
postures, respectively) allude to the correspondence of the body and the
commonly held belief that man was created in the image and likeness of God.
During this time, the ideals of humanism were underscored and the arts and
sciences were furthered. It is therefore understandable that the classical
canons of the form of the body (ideally proportioned and muscular) are
portrayed, especially by Michelangelo who was first and foremost a sculptor.
Here, the view is that the greatness of old civilizations such as that of the
Greeks and the Romans may not only be replicated, but even surpassed. Some
art scholars noted how Michelangelo exhibited just that – an elevated artistry –
in that the dynamism and energy of the figures in the frescoes in the Sistine
chapel are unlike the works of predecessors.
An interesting overlap between the conventional and subjective meanings
is the proposal from gynecologist Frank Lynn Meshberger, whose published
essay appeared in the October 1990 issue of the Journal of American Medical
Association. Written was his theory that an image and a message were hidden
in plain sight: how the silhouette of God, the shroud and the drapery that trail
behind, all seemingly align with the shape of the human brain. According to
Meshberger, the work can be also be aptly called “the Endowment of Adam” for
it brought to light that as God’s creation, the most important qualities imparted
to man was intellect. Like most renaissance artist, Michelangelo unlocked the
secrets and precision of human anatomy assisting in dissections during his
time. For Meshberger, it was with his medical background and perhaps
exposure to art and history that allow him to catch the symbol, hidden in
Michelangelo’s work.

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Let’s Wrap It Up

There is sense of panic when one is confounded with the question, “What
am I seeing?” or rather “What am I supposed to see?” Perhaps, addressing this
stigma is the first step in inviting more Filipinos to engage with art and have a
more enduring appreciation for it.
In gaining the basics of deciphering the subject and content of art, it is
hoped that an individual’s sensitivity and perceptiveness to art will be
developed. As was discussed in the chapter, one may begin by looking at
perceivable features of the artwork. Taking note of what is apparent will
provide clues as to what the intended meaning of the artist might be. Knowing
more about the context of its creation – from the artist’s inspiration, reference
or source, will prove useful in understanding the meaning of the artwork.
However, one must not forget that each viewer is armed with his or her
experience, background, and education. These will assist in fleshing out
different levels of meaning that maybe derived from the artwork. These might
not be as evident as say, the figures depicted on the surface; however, these
alternative readings contribute to the significance of the artwork.
The majority of the public are consumers and not producers of art, and
so ensuring the readiness of the public to not only successfully engage with the
art, but meaningfully do so, is the primary function of art appreciation and
education. It is hoped that the specialized language of art will unfold for the
learning pleasure of the students, enabling the ease and encouraging the
predilection of engaging with art through its description, analysis,
interpretation, and even critique.

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