Information Sheet Md-7.1.1 "Different Themes and Movements in Art History"

Unit History of Art
Module DIFFERENT THEMES AND MOVEMENTS IN ART HISTORY

GE6-AA Art Appreciation Units: 3 Page |1
INFORMATION SHEET MD-7.1.1

“Different Themes and Movements in Art History”
Objectives:
At the end of this module you will be able to:
 Identify the underlying history, philosophy of the era movements;
 Classify the various art movements by citing their important characteristics such as historical
backgrounds, factors, influential person, socio political issues and prevalent artist’s art
forms, and media;
 Present the history and movements of the arts through a timeline; and
 Cite important characteristics in an artwork based on the era movement (document and
annotate works).
PALEOLITHIC ERA
The Paleolithic, or Old Stone Age, ranges from 30,000 BCE to 10,000 BCE and produced the first
accomplishments in human creativity, preceding the invention of writing. Archeological discoveries
across a broad swath of Europe (especially southern France and northern Spain) include over two
hundred caves with spectacular paintings, drawings, and sculpture that are among the earliest
undisputed examples of representational image-making. Paintings and engravings along the caves’
walls and ceilings fall under the category of parietal art.
The most common themes in cave paintings are large wild animals, such as bison, horses, aurochs,
and deer. The species found most often were suitable for hunting by humans, but were not
necessarily the typical prey found in associated bone deposits.
For example, the painters of Lascaux, France left mainly reindeer bones, but this species does not
appear at all in the cave paintings; equine species are the most common.
Drawings of humans were rare and were usually schematic in nature as opposed to the detailed and
naturalistic images of animals. Tracings of human hands and hand stencils were very popular,
however, as well as abstract patterns called finger flutings.
The pigments used appear to be red and yellow ochre, manganese or carbon for black, and china
clay for white. Some of the color may have been mixed with fat. The paint was applied by finger,
chewed sticks, or fur for brushes. Sometimes the silhouette of the animal was incised in the rock
first, and in some caves many of the images were only engraved in this fashion, taking them out of a
strict definition of “cave painting.
MESOPOTAMIAN ERA
From Mesopotamia came the empires of Sumerian, Babylon, and Assyria. From the fertile
floodplains of the Nile emerged the Egyptians, with their great monuments and sophisticated
society. From the Iranian Plateau came the Medes and then the Persians, who nearly succeeded in
uniting the entire civilized world under one empire.
PREPARED BY: APPROVED FOR

IMPLEMENTATION:
MODULE 1st – 3rd
MIDTERM Ms. Jasmin Fallejo
7 Meeting
Instructor Mr. WILBERT A. MAÑUSCA
School Administrator
Unit History of Art
In Mesopotamian Babylonia, an abundance of clay and lack of stone led to greater use of mud brick.
Babylonian temples were massive structures of crude brick supported by buttresses, with drains to
remove rain. The use of brick led to the early development of the pilaster, column, frescoes, and
enameled tiles. Walls were brilliantly colored and sometimes plated with zinc or gold, as well as with
tiles. Painted terra cotta cones for torches were also embedded in the plaster. In Babylonia, three-
dimensional figures often replaced bas-relief—the earliest examples being the Statues of Gudea,
which are realistic if somewhat clumsy. The paucity of stone in Babylonia made every pebble
precious and led to perfection in the art of gem cutting.
The Mesopotamians regarded “the craft of building” as a divine gift taught to men by the gods, and
architecture flourished in the region. A paucity of stone in the region made sun baked bricks and
clay the building material of choice. Babylonian architecture featured pilasters and columns, as well
as frescoes and enameled tiles. Assyrian architects were strongly influenced by the Babylonian style,
but used stone as well as brick in their palaces, which were lined with sculptured and colored slabs
of stone instead of being painted. Existing ruins point to load-bearing architecture as the dominant
form of building. However, the invention of the round arch in the general area of Mesopotamia
influenced the construction of structures like the Ishtar Gate in the sixth century BCE.
EGYPTIAN ERA
Ancient Egyptian art includes the painting, sculpture, architecture, and other arts produced by the
civilization in the lower Nile Valley from 5000 BCE to 300 CE. Ancient Egyptian art reached
considerable sophistication in painting and sculpture, and was both highly stylized and symbolic.
Much of the surviving art comes from tombs and monuments; hence, the emphasis on life after
death and the preservation of knowledge of the past. In a narrower sense, Ancient Egyptian art
refers to art of the second and third dynasty developed in Egypt from 3000 BCE until the third
century. Most elements of Egyptian art remained remarkably stable over this 3,000 year period,
with relatively little outside influence. The quality of observation and execution began at a high level
and remained so throughout the period.
Ancient Egypt was able to flourish because of its location on the Nile River, which floods at
predictable intervals, allowing controlled irrigation, and providing nutrient-rich soil favorable to
agriculture. Most of the population and cities of Egypt lie along those parts of the Nile valley north
of Aswan, and nearly all the cultural and historical sites of Ancient Egypt are found along riverbanks.
The Nile ends in a large delta that empties into the Mediterranean Sea. The settlers of the area were
able to eventually produce a surplus of edible crops, which in turn led to a growth in the population.
The regular flooding and ebbing of the river is also responsible for the diverse natural resources in
the region.
Natural resources in the Nile Valley during the rise of ancient Egypt included building and decorative
stone, copper and lead ores, gold, and semiprecious stones, all of which contributed to the
architecture, monuments, jewels, and other art forms for which this civilization would become well
known. High-quality building stones were abundant. The ancient Egyptians quarried limestone all

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
along the Nile Valley, granite from Aswan, and basalt and sandstone from the wadis (valleys) of the
eastern desert. Deposits of decorative stones dotted the eastern desert and were collected early in
Egyptian history.
IRON AND BRONZE AGE

The Bronze Age is part of the three-age system of archaeology that divides human technological
prehistory into three periods: the Stone Age, Bronze Age, and Iron Age. The Bronze Age spanned
from 3,300 to 1,200 BCE and is characterized by the use of copper and its alloy bronze as the chief
hard materials in the manufacturing of implements and weapons. This period ended with further
advancements in metallurgy, such as the ability to smelt iron ore.
MINOAN ERA
The Minoans decorated their palace complexes and homes with fresco wall paintings. Buon fresco is
a form of painting where the pigment is painted onto a wet limestone plaster. When the plaster
dries the painting also dries, becoming an integral part of the wall.
In the Minoan variation, the stone walls are first covered with a mixture of mud and straw, then
thinly coated with lime plaster, and lastly with layers of fine plaster. The Minoans had a distinct
painting style with shapes formed by curvilinear lines that add a feeling of liveliness to the paintings.
The Minoan color palette is based in earth tones of white, brown, red, and yellow. Black and vivid
blue are also used. These color combinations create vivid and rich decoration.
Because the Minoan alphabet, known as Linear A, has yet to be deciphered, scholars must rely on
the culture’s visual art to provide insights into Minoan life. The frescoes discovered in locations such
as Knossos and Akrotiri inform us of the plant and animal life of the islands of Crete and Thera
(Santorini), the common styles of clothing, and the activities the people practiced. For example, men
wore kilts and loincloths. Women wore short-sleeve dresses with flounced skirts whose bodies were
open to the navel, allowing their breasts to be exposed.
MYCENAEAN ERA
The city of Mycenae was the center of Mycenaean culture. It is especially known for its protective
gateway, the Lion Gate, and the Treasury of Atreus, an example of a tholos tomb. Mycenaean
architecture reflects their warring society. A wide, strong wall built from large, roughly cut stones (known
as cyclopean masonry) was one method of protection, as was limited access to citadel sites and well-
protected gates. Mycenaean culture can be summarized by its architecture, whose remains
demonstrate the Mycenaean’s’ war-like culture and the dominance of citadel sites ruled by a single
ruler. The Mycenaean’s populated Greece and built citadels on high, rocky outcroppings that
provided natural fortification and overlooked the plains used for farming and raising livestock. The
citadels vary from city to city but each share common attributes, including building techniques and
architectural features.

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
CLASSICAL GREEK AND ROMAN ART AND ARCHITECTURE

Classical Art encompasses the cultures of Greece and Rome and endures as the cornerstone of
Western civilization. Including innovations in painting, sculpture, decorative arts, and architecture,
Classical Art pursued ideals of beauty, harmony, and proportion, even as those ideals shifted and
changed over the centuries. While often employed in propagandistic ways, the human figure and
the human experience of space and their relationship with the gods were central to Classical Art.
The idealized human form soon became the noblest subject of art in Greece and was the foundation
for a standard of beauty that dominated many centuries of Western art. The Greek ideal of beauty
was grounded in a canon of proportions, based on the golden ratio and the ratio of lengths of body
parts to each other, which governed the depictions of male and female figures.
While ideal proportions were paramount, Classical Art strive for ever greater realism in anatomical
depictions. This realism also came to encompass emotional and psychological realism that created
dramatic tensions and drew in the viewer.
Greek temple designs started simply and evolved into more complex and ornate structures, but later
architects translated the symmetrical design and columned exterior into a host of governmental,
educational, and religious buildings over the centuries to convey a sense of order and stability.
Greek temple designs started simply and evolved into more complex and ornate structures, but later
architects translated the symmetrical design and columned exterior into a host of governmental,
educational, and religious buildings over the centuries to convey a sense of order and stability.
BYZANTINE ART AND ARCHITECTURE

Existing for over a thousand years, the Byzantine Empire cultivated diverse and sumptuous arts to
engage the viewers' senses and transport them to a more spiritual plane as well as to emphasize the
divine rights of the emperor. Spanning the time between antiquity and the Middle Ages, Byzantine
art encompassed an array of regional styles and influences and developed long-lasting Christian
iconography that is familiar to practitioners today.
Byzantine emperors used art and architecture to signal their strength and importance. Often,
depictions of the emperor were less naturalistic and instead used compositional clues such as size,
placement, and color to underscore his importance. Additionally, the emperor was often visually
associated with Christ, making it clear that his power was divinely ordained and, thus, secure.
The architectural surfaces of Byzantine churches were covered in mosaics and frescoes, creating
opulent and magnificent interiors that glittered in the candle and lamp light. In building such
elaborate and seemingly miraculous structures, the goal was to create the sense of a heavenly realm
here on earth, a goal that later Gothic architecture fully embraced.

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
GOTHIC ART AND ARCHITECTURE

With soaring vaults and resplendent stained glass windows, Gothic architecture attempted to
recreate a heavenly environment on earth. Elaborating on Romanesque styles, Gothic builders,
beginning in the 12th century, further developed the use of flying buttresses and decorative tracery
between stained glass windows thus creating interior spaces that dwarfed worshippers and dazzled
their senses. Additionally, in response to a new interest in humanism, architectural and portable
sculpture primarily depicted figures that acquired more naturalistic and sensuous features than had
previously existed in the Middle Ages. Wealthy noblemen commissioned sumptuous manuscript
illuminations, and toward the end of the Gothic era in the 14th century, elaborate altarpieces and
frescoes became more common in churches and chapels.
The innovations of Gothic architecture were premised on the ideas developed by Abbot Suger that
earthly light contained divine light and that the physical edifice of the church needed to make this
concept tangible. Revolutionary transformations of flying buttresses and groin vaulting allowed the
inclusion of more stained glass windows in the church’s structure, thus transforming the everyday
sunlight into a prism of colors that danced over the surfaces of the stone and reminded worshippers
of God’s divine presence.
A renewed interest in humanism, which had a slightly different cast than the later humanism of the
Renaissance, led to more naturalistic figurative sculpture that decorated the exterior of the churches
and housed sacred relics, which were increasingly important to a city’s reputation. In particular,
representations of the Virgin Mary and Christ child move away from massive frontal poses to more
typical, or every day, poses that register the tender human emotion one often sees between mother
and child.
Resources:
 https://books.google.com.ph/books?
id=WTDhb5ZtDoIC&printsec=frontcover#v=onepage&q&f=false

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
SELF-CHECK MD-7.1.1
A. Identify the correct answer.
1. It ranges from 30,000 BCE to 10,000 BCE and produced the first accomplishments in
human creativity, preceding the invention of writing.
2. With soaring vaults and resplendent stained glass windows, Gothic architecture
attempted to recreate a heavenly environment on earth.
3. Existing for over a thousand years, the Byzantine Empire cultivated diverse and
sumptuous arts to engage the viewers' senses and transport them to a more spiritual
plane as well as to emphasize the divine rights of the emperor.
4. Classical Art encompasses the cultures of Greece and Rome and endures as the
cornerstone of Western civilization.
5. From Mesopotamia came the empires of Sumerian, Babylon, and Assyria. From the
fertile floodplains of the Nile emerged the Egyptians, with their great monuments and
sophisticated society
6.

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
SELF-CHECK ANSWER KEY MD-7.1.1
1. Paleolithic Era
2. Gothic Art and Architecture
3. Byzantine Art and Architecture
4. Classical Greek and Roman Art and Architecture
5. Mesopotamian Era

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
STUDENT NAME: __________________________________ SECTION: __________________
WRITTEN WORK MD-7.1.1

WRITTEN WORK TITLE: Ancient Art
WRITTEN TASK OBJECTIVE: The learners independently demonstrate critical thinking and self-
management concepts
MATERIALS:
 Pen and Paper
TOOLS & EQUIPMENT:
 None
ESTIMATED COST: None
Question:
What are the highlights of the different Eras?
How are they different from one another?
How does Ancient Art influence our Art today?
PRECAUTIONS:
 Write an essay with not less than 500 words
ASSESSMENT METHOD: WRITTEN WORK CRITERIA CHECKLIST

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
WRITTEN OUTPUT CRITERIA CHECK LIST MD-7.1.1
CRITERIA SCORING
Did I . . .
1 2 3 4 5
1.Read the Information Sheet?
2.Answer the self-check questions correctly?
3.Understand the concept of the different Movements in Art History?
4.Identify the difference between the concepts?
5.Analyze the significance of the concepts in daily life.
6.Understand the importance of making meaningful art?
7.Motivate myself to be more appreciative of art?
8.Exert effort in developing creativity?
9.Help myself not get confused of the different elements and principles of
art and design?
10. Learn the application of the different elements and principles of art and
design?
TEACHER’S REMARKS:  QUIZ  RECITATION  PROJECT
GRADE:
5 - Excellently Performed
4 - Very Satisfactorily Performed
3 - Satisfactorily Performed
2 - Fairly Performed
1 - Poorly Performed
_______________________________
TEACHER
Date: ______________________

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting
Unit History of Art
GE6-AA Art Appreciation Units: 3 P a g e | 10
WRITTEN OUTPUT CRITERIA CHECK LIST MD-7.1.1
CRITERIA SCORING
Did I . . .
1 2 3 4 5
1. Focus – The single controlling point made with an awareness of task
about a specific topic.
2. Content – The presentation of ideas developed through facts,
examples, anecdotes, details, opinions, statistics, reasons and/or
opinions
3. Organization – The order developed and sustained within and across
paragraphs using transitional devices and including introduction and
conclusion.
4. Style – The choice, use and arrangement of words and sentence
structures that create tone and voice.
5. Conventions – Grammar, mechanics, spelling, usage and sentence
formation.
TEACHER’S REMARKS:  QUIZ  RECITATION  PROJECT
GRADE:
5 - Excellently Performed
4 - Very Satisfactorily Performed
3 - Satisfactorily Performed
2 - Fairly Performed
1 - Poorly Performed
_______________________________
TEACHER
Date: ______________________

IMPLEMENTATION:
MODULE 1st – 3rd
7 Meeting

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Unit History of Art

Module DIFFERENT THEMES AND MOVEMENTS IN ART HISTORY

INFORMATION SHEET MD-7.1.1

PREPARED BY: APPROVED FOR

PREPARED BY: APPROVED FOR

IRON AND BRONZE AGE

PREPARED BY: APPROVED FOR

CLASSICAL GREEK AND ROMAN ART AND ARCHITECTURE

BYZANTINE ART AND ARCHITECTURE

PREPARED BY: APPROVED FOR

GOTHIC ART AND ARCHITECTURE

PREPARED BY: APPROVED FOR

A. Identify the correct answer.

PREPARED BY: APPROVED FOR

SELF-CHECK ANSWER KEY MD-7.1.1

PREPARED BY: APPROVED FOR

STUDENT NAME: __________________________________ SECTION: __________________

WRITTEN WORK MD-7.1.1

PREPARED BY: APPROVED FOR

STUDENT NAME: __________________________________ SECTION: __________________

WRITTEN OUTPUT CRITERIA CHECK LIST MD-7.1.1

PREPARED BY: APPROVED FOR

STUDENT NAME: __________________________________ SECTION: __________________

WRITTEN OUTPUT CRITERIA CHECK LIST MD-7.1.1

PREPARED BY: APPROVED FOR

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STUDENT NAME: ________________ SECTION:

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