WEEK 1: READING THE IMAGE

Art has two interrelated aspects.

Two interrelated aspects in the study of art:

     The first is that art has its specificity: that is, its particular language or
vocabulary has something to do with the mediums, techniques, and visual
elements of art  that  constitute it as a distinct area of human knowledge and
signifying practice.

     The other aspect is that art, while it has its specificity, is at the same time
historically situated and shaped by social, economic, and political forces 

Both these aspects need to be taken into account so as to be able to fully understand
and appreciate art.

For a study of the formal elements alone will not lead to a full understanding of the work,
in the same way, that the exclusive study of the social determinants risks collapsing the
artistic into the sociological.

Meaning in art is a complex of intellectual, emotional, and sensory significations which

the work conveys and to which the viewer responds, bringing in the breadth of his or her
cultural background, artistic exposure and training, and human experience in a dialogic
relationship with the art work.

The analytic study of how the various elements and material features of the work
produce meaning should lead to a more stable and consensual field of meaning, away
from erratic, whimsical, purely subjective and impressionistic readings.

FOUR PLANES OF ANALYSIS

1. THE BASIC SEMIOTIC PLANE - is the study of "signs”. It consists of “signifier"

or its material/physical aspect and its "signified" or non-material aspect as
concept and value.

The visual elements and how they are used conveys meaning which form the text of the
work. It also includes the choice of medium and technique that refers to material and
style that the artist exercises free selection. Then, the format of the work which are
symbolic representations that participates in its meaning (fragment). Lastly the physical
properties and marks of the work such as notations, traces, and marks (fragment).
Semiotic plane is concerned with everything that can be taken as a sign. The elements
of the visual arts derive their meaning-conveying potential from two large sources:
human psychophysical experiences and the socio-cultural conventions of a particular
society and period.
BASIC SEMIOTIC PLANE

  – study of signs, elements, technical and physical aspects of work.

o Visual Elements

o Choice of medium and technique

      – material and style

o Format of work

      – symbolic elements, figurative representations

      - shape of work

o Physical Properties and marks of the work

      – significations of the work (importance/relevance)

Details of the art:

When: The Third of May 1808

What time: Early hours of the morning

What: uprising.

Description of the art: two masses of men: (1) one a rigidly poised firing squad, (2)
disorganized group of captives held at gun point.

How the art is being portrayed: Executioners and victims face each other across a
narrow space

Analysis: Contrast the soldiers' attitudes and the steely line of their rifles, with the
crumbling irregularity of their target.

Symbol of the artwork:

A square lantern situated on the ground between the two groups

Meaning of the art work:

-dramatic
The brightest illumination falls on the huddled victims to the left, whose numbers include
a monk or friar in prayer.

Physical Description

Position:

right and center, condemned figures stand next in line to be shot. The central figure is
the brilliantly lit man kneeling his arms flung wide in either appeal or defiance.
(surrender). Yellow and white clothing repeats the colors of the lantern.  Plain white shirt
and sun-burnt face show he is a simple laborer.

Background:

Between the hillside and the shakos, crowd with torches, onlookers, more soldiers or
victims.

2. THE ICONIC PLANE OR THE IMAGE ITSELF- is still part of the semiotic
approach since it is still based on the signifier-signified relationship. The only
difference is that the material elements of the work have something to do with the
particular features, aspects, and qualities of the image. The iconic plane includes
the choice of the subject which may bear social and political implications. Also
part of the iconic plane is the positioning of the figure (frontal, in profile, three-
fourths, etc.) that implies its bearing to the meaning of the work.

This is important not only in defining the relationship of subject and viewer but also in
describing pictorial space. This plane also takes into account the relationship of the
figures to one another, whether massed, isolated or juxtaposed in terms of affinity or
contrast. The style of figuration or the proportion of the body deals with the image itself.
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

ICONIC PLANE OR IMAGE

Signifier(Signs)-signified (the meaning of symbol) relationship

     Particular features, aspects, and qualities of the image

      Includes the choice of subject (socio-political implications)

Position of figures

     Presentation of the image (frontal, three-fourths, etc.)

Style of figuration

     The proportion of the body

Position

the man with raised arms is compared to a crucified Christ. Similar pose in Juan Luna’s
Spoliarium, and Picasso’s Guernica.  The figure displays stigmata-like marks on his
right-hand center of the canvas. The traditional attribute of the Roman soldiers who
arrested Christ in the garden.

3. THE CONTEXTUAL PLANE- 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. If one does not view the
work in relation to its context but chooses to confine the analysis to the internal
structure of the work then he reduces its meaning. The meaning of a work
is a complex that involves concepts, values, emotions, attitudes, atmospheres,
and sensory experiences that arise from the three planes. The experience of a
work cannot be reduced. Broad knowledge of history and the economic, political,
and cultural conditions, past and present, of a society, is called upon in the
contextual plane. It shows the progress of time

CONTEXTUAL PLANE

    Full meaning of the work  (human and social implications)

-Relationship of art and society

-Complex such as – concepts, values, emotions, attitude, atmosphere, sensory

experience

      The personal and social circumstances of its production.

It contains allusions to personal or public events, conditions, stages, as well as

influences

Full meaning
      It shows the progress of time

     Death presents a conclusive episode, imbued with the virtue of heroism.

     It presents a mechanical formalization of murder.

-the corpse of a man, splayed on the ground in the lower left portion of the work.

     disfigured head and body render resurrection impossible.

     The painting cannot be described as pleasing

-colors are restricted to earth tones and black, punctuated by bright flashes of white and
the red blood of the victims.

-quality of the pigment foreshadows Goya's later works: a rough solution producing a
matte, sandy finish

-Finally, there is no attempt by the artist to soften the subject's brutality through
technical skill.

4. THE AXIOLOGICAL OR EVALUATIVE PLANE -it has something to do with

analyzing the values of a work. The plane of analysis that examines the value of
work having a dialogic relationship with public. The evaluation of a work
necessarily includes the analysis and examination of its axiological content since
values are expressed in the work which holds a dialogic relationship with reality.
The style of figuration where subject is taken from visible world; object may be
stylized but still recognizable.

EVALUATIVE PLANE

       Form and content

Evaluation of the material

     Full meaning of the work

Real life and the real world

     Analysis and examination

 It depicts an execution, an early event in the so-called Peninsular War between
France  and Spain.

-no attempt to find transcendence, and

-no sense that the sacrifice of life will lead to salvation.

-he wears yellow and white: the heraldic colors of the papacy.    

     The victim

-is as anonymous as his killers

-(beneath) a bloody and disfigured corpse

- (behind and around) others share the fate

-nobility is replaced by futility and irrelevance, the victimization of mass murder, and
anonymity as a 

 hallmark of the modern condition.

    Deeper Meaning

- It is indiscriminate killing of civilians by French soldiers

-It is a painting of the massacre

-It shows terrified civilians facing a firing squad

-It intends to arouse anger and hatred

-It is a highly romantic picture of a deeply emotional episode.

-It is cited as an influence on Pablo Picasso's 1937 Guernica, which shows the
aftermath of the Nazi German bombing of Guernica during the Spanish Civil War.

GUIDE IN READING THE IMAGE

Basic Information

      Title of the Work

      Artist’s Name
       Medium and Technique

     Dimension or measurement

     Date of work

     Provenance

BASIC SEMIOTIC PLANE

 Visual Elements

 Choice of medium and technique

 Format of work

 Physical Properties and marks of the work

DESCRIPTION

    When:

     What time:

     What:

    Description:

     How:

    Analysis:

     Symbol:

     Meaning:

PHYSICAL DESCRIPTION

     Position: (At least 3-5)

     Background: (At least 3-up)

 
ICONIC PLANE OR IMAGE

    Signifier-signified relationship (At least 3-5)

     Position of figures (At least 2)

     Style of figuration (At least 2-5)

Position: (At least 5-up)

CONTEXTUAL PLANE

Full meaning of the work (human and social implications) (At least 5-UP)

EVALUATIVE PLANE

     Form and content:

     Full meaning of the work:

     Analysis and examination:

     Deeper Meaning:

           Main Subject:

          Other subjects:

          The art as a whole:

WEEK 2: CAVE ART

Importance of Cave Art

Cave art is significant because it was what people in prehistoric times did in order to
record history and culture. But, prehistoric cave art was also significant because it
also served as a warning to people who were to come later. For example, they could
show the way to kill a beast or warn them of a beast. In today’s generation, this art
helps us indicate the ability to think symbolically, and to be creative. It’s truly astounding
that this art is old and survived.

Prehistoric Art: Paleolithic Origins

Humans make art. We do this for many reasons and with whatever technologies are
available to us. Extremely old, non-representational ornamentation has been found
across Africa. The oldest firmly-dated example is a collection of 82,000-year-old
Nassarius snail shells found in Morocco that are pierced and covered with red ochre.
Wear patterns suggest that they may have been strung beads.

Nassarius shell beads found in Israel may be more than 100,000 years old and in the
Blombos cave in South Africa, pierced shells and small pieces of ochre (red
Haematite) etched with simple geometric patterns have been found in a 75,000-year-
old layer of sediment.

The oldest known representational imagery comes from the Aurignacian culture of the

Upper Paleolithic period. The Aurignacian is an archaeological tradition of the Upper
Paleolithic associated with European early modern humans lasting from 43,000 to
26,000 years ago. Archeological discoveries across a broad swath of Europe (especially
Southern France, Northern Spain, and Swabia, in Germany) include over two hundred
caves with spectacular Aurignacian paintings, drawings and sculpture that are among
the earliest undisputed examples of representational image-making.

The oldest of these is a 2.4-inch tall female figure carved out of mammoth ivory that was
found in six fragments in the Hohle Fels cave near Schelklingen in southern Germany. It
dates to 35,000 B.C.E.

The caves at Chauvet-Pont-d’Arc (see the image below), Lascaux, Pech Merle, and
Altamira contain the best known examples of prehistoric painting and drawing. Here are
remarkably evocative renderings of animals and some humans that employ a complex
mix of naturalism and abstraction. Archeologists that study Paleolithic (old stone age)
era humans, believe that the paintings discovered in 1994, in the cave at Chauvet-Pont-
d’Arc in the Ardèche valley in France, are more than 30,000 years old. The images
found at Lascaux and Altamira are more recent, dating to approximately 15,000 B.C.E.
The paintings at Pech Merle date to both 25,000 and 15,000 B.C.E. Cave painting with
bison, rhinos, and horses.

What can we really know about the creators of these paintings and what the images
originally meant? These are questions that are difficult enough when we study art made
only 500 years ago. It is much more perilous to assert meaning for the art of people who
shared our anatomy but had not yet developed the cultures or linguistic structures that
shaped who we have become. Do the tools of art history even apply? Here is evidence
of a visual language that collapses the more than 1,000 generations that separate us,
but we must be cautious. This is especially so if we want understand the people that
made this art as a way to understand ourselves. The desire to speculate based on what
we see and the physical evidence of the caves is wildly seductive.
 

       The earliest known rock paintings are dated to the Upper Paleolithic, 40,000 years 
ago, while the  earliest European  cave paintings date to 32,000  years ago.

The earliest known rock paintings are dated to the Upper Paleolithic, 40,000 years ago,
while the earliest European cave paintings date to 32,000 years ago. This period was
marked by the rise of the homo sapiens and their ever developing ability to create tools
and weapons “OLD STONE AGE”. 

       Cave art is the painting or drawing of figures called pictographs and petroglyphs to
portray a story or

to record known history. It is sometimes even used to design plans for hunting or
gathering.  

IN ALTIMIRA, SPAIN…

The first cave paintings were found in 1870 in Altimira, Spain by Don Marcelino and his
daughter.  They were painted by the Magdalenian people between 16,000-9,000 BC. 
This would have been 11,000-19,000 years ago. These paintings are sometimes called
“The Sistine Chapel of Paleolithic Art”.

In Lascaux, France…

There are two boys two boys chased after their dog into a hole where their ball got stuck
in. When they followed the dog, they were astonished/surprised to discover a cave with
beautiful paintings at Lascaux Cave, France in 1940.  These paintings were created
around 15,000 BC, which would make them about 17,000 years old.  There are seven
chambers in the Lascaux cave; the Great Hall of the Bulls, the Painted Gallery, the
Lateral Passage, the Chamber of Engravings, the Main Gallery, the Chamber of
Felines, and the Shaft of the Dead Man.

       Paleolithic art is intricately bound to anthropological and archaeological studies. It

concerned itself with either food (hunting scenes, animal carvings). Its predominant
theme was animals. It is considered to be an attempt, by Stone Age peoples, to gain
some sort of control over their environment, whether by magic or ritual. It represents a
giant leap in human cognition: abstract thinking.

 
  Humans had not known how to write during the prehistoric time period.  So, they
communicated through cave paintings. Prehistoric humans were basically hunters.
Thus, most paintings are of animals. Early paintings are believed to be of social and
religious significance. The painting of the animal sends a message to its spirit, that great
respect is intended and that only those needed for survival will be hunted and killed.

There are three general themes that tend to appear in cave paintings:

1. Humans

Humans are rarely depicted in caves.  When they are shown, they are drawn as a
cartoon-like silhouette. 

2. Animals

The most abundant animal depictions are those of horses.  A quarter of all the animal
images painted in caves in Western Europe are horses.  Images of Bison are also very
common.  The animals tend to be painted larger than the other images. 

3. Signs

Signs are abstract symbols that are difficult to interpret because of their ambiguity. 
Signs are commonly associated with hunting equipment and the female form. 

INFLUENTIAL PEOPLE during this period:

Cro-Magnons

       Cro-Magnons were the first species of the Homo sapiens sapiens.  They lived in
Europe during the period before the emergence of Indo-Europeans, from 40,000 to
8,000 BCE. The Magdalenian civilization of cro-magnons, which populated Spain and
France, were responsible for the cave paintings found in Lascaux, France dating about
17,000 years ago and Altamira, Spain dating about 12,000 years ago.

Shamans

       The shaman would retreat into the darkness of the caves, enter into a trance state
and then paint images of their visions, perhaps with some notion of drawing power out
of the cave walls themselves. Shamanism is a form of worship based on direct,
personal interaction between a shaman and the spirit world. Typically, this interaction
occurred when the shaman entered a trance, or altered state of consciousness,
sometimes state, the shaman could obtain supernatural power in the form of a spirit
helper.

MEDIUM of artwork during this period:

       Prehistoric people would have used natural objects to paint the walls of the
caves. To etch into the rock, they could have used sharp tools or a spear. The paint or
color that they probably used was from berries, clay, soot, charcoal or animal
fat. The tools used to apply the paint could have been made by attaching straw,
leaves, moss, or hair to sticks. They might have used hollow bones or reeds to spray
the color on, similar to an airbrush technique. Their art forms painting, drawings,
engravings, and handprints.

WEEK 3: ART HISTORY

  Art history is the study of objects of art considered within their time period. Art
historians analyze visual arts’ meaning (painting, sculpture, architecture) at the time
they were created.

           Art history is not simply listing all the art movements and placing them on a
timeline. It is the study of objects of art considered within their time period. Art historians
analyze visual arts’ meaning (painting, sculpture, architecture) at the time they were
created. Also, another of art history’s mission is to establishes authorial origins of
artworks, i.e. discovering who created a particular artwork, when, when and for what
reason.

            Iconography is a major part of art history. It consists in analyzing the

symbolism of works of arts. For instance, art historians identify the visual elements of a
painting and interpret its meaning. Art historians are interested in what the works of art
represented at the time they were created. It is a way to learn about the civilizations of
the past.

 Beginning of Architecture

The beginning of architecture was when the early man began the practice of burying the
dead. The first architectural structures were the menhirs, dolmens, and cromlechs. They
were associated with funeral and religious purpose

1. Menhirs were simple monuments consisting of a single large piece of stone

called megalith.

2. Dolmens were made up of a number of vertical megaliths with a horizontal slab

spanning them. They are beginning of post-and-lintel system (this is a building system
where strong horizontal elements are held up by strong vertical elements with large
spaces between them.)

3. Cromlechs were more complex structures made up of a number of megaliths in

concentric circles extending over a wide area. An example of the cromlech is the
famous Stonehenge in Salisbury Plain, England, which served as a huge calendar.

River Civilization

At the onset of warmer weather throughout the world, man migrated and settled along
the banks of the river:

The first writing system was invented: The cuneiform writing of the Phoenicians

Cuneiform is a system of writing first developed by the ancient Sumerians of

Mesopotamia c. 3500-3000 BCE. It is considered the most significant among the many
cultural contributions of the Sumerians and the greatest among those of the Sumerian
city of Uruk which advanced the writing of cuneiform c. 3200 BCE.

In Mesopotamia arose the kingdoms of Sumeria and Babylonia. The first codes of law
were drawn up, the most famous of which is the Code of Hammurabi with its principles:
“Eye for an eye, a tooth for a tooth.” - or the law of retaliation is the principle that a
person who has injured another person is to be penalized to a similar degree by the
injured party. In softer interpretations, it means the victim receives the estimated value
of the injury in compensation.

In Babylonia, known for its Tower of Babel, was erected the ziggurat, a tower-like
structure which strove to reach the skies. Sculpture was generally associated with the
religious function. All the arts were in the service of religion and the glory of the ruler.

Egyptian Art

The art of the Egypt was closely knit with religion and its very core is profound
preoccupation with death and immortality. The basic religious scripture was the Book
of the Dead with its funeral prayers and rituals. The remains of the dead were
preserved through mummification, and their image was preserved in painting and
sculpture. Egyptians devoted more time in the building of tombs rather than the
construction of dwellings. The earlier and simpler type of tomb was the mastaba. This
later developed, with the addition of several levels into the step pyramid.

PYRAMIDS
The great pyramids of the kings especially that of King Khufu or Cheops, were the
highest points of Pyramid construction. Within the chambers of the royal dead were
spacious apartments with interconnecting corridors. Here the treasures of Pharaoh were
kept. The king’s mummy was concealed beneath several layers of gold and silver
sarcophagi, which also doubled as full-length images of Pharaoh. All around the walls
were painting of the king surrounded by his family and other deities. These paintings
were stylized linear geometric style. The paintings, with the face in profile, have a fully
delignated eye, and the shoulders in frontal position.

TEMPLES

It is in the ancient Egypt temples that the visual arts – painting, sculpture, and
architecture – found fullest expression.  Egyptian architecture developed the use of
post-and-lintel system. It is also made use of columns with lotus and papyrus. Examples
of temples were:

QUEEN HATSHEPSUT TEMPLE

History: Built for the Eighteenth Dynasty pharaoh Hatshepsut, who died in 1458 BC, the
temple is located beneath the cliffs at Deir el-Bahari on the west bank of the Nile near
the Valley of the Kings.

 THE ABU SIMBEI TEMPLE OF RAMESSES II in Egypt

History: The Abu Simbel Temples were constructed during the rule of Pharaoh
Ramesses II in around 1264 BCE. The pharaoh commissioned the construction of the
monuments as a commemoration of his victory against the Hittite Empire led at the
ancient city of Kadesh during the Battle of Kadesh in May 1274 BCE. The temples were
also meant to showcase Egyptian religious superiority to its neighbors. Archeologists
and historians believe that it took 20 years to complete the temples which were
dedicated to the Egyptian deities Ptah and Ra-Horakhty.

Ancient Greek Art

The Greeks were known to excel in various fields and aspects of society. For example,
their political ideals eventually became the framework for the democratic form of
government in modern times.

They also valued poetry, drama, and philosophy, which remain interesting fields of
study for the contemporary times. For those who want to be involved in arts such as
painting, sculpture, and architecture, it is required to have a certain skill sets and body
of knowledge.

The Greeks were known to place prime importance in the use of reason. For the
civilization, man was at the center of society and how they train their minds could be the
very foundation of how they lived their lives. The humanist ideals of the Greeks were
reflected in their democratic form of government.

This certain level of freedom was also reflected in their artworks, architecture, literature,
and philosophy. They were notably passionate about natural phenomenon and believed
that nature should be in perfect order. These principles, belief system, and ideologies
are at the core of Greek art and architecture.

The development of Greek art can be divided into four periods:

1. Geometric Period was a time when Greece was starting to get back from the
onslaught of what seemed to be their Dark Ages. It was a period when geometric
shapes and patterns have taken the spotlight in most of the artworks.

2. Archaic Period, on the other hand, placed importance on human figures. This was
primarily a result of Greece's trading activities with other civilizations.

3. Classical Period - The peak of Greek sculpture and architecture. In the early 5th
century Greek artists began consciously to attempt to render human and animal forms
realistically.

This entailed careful observation of the model as well as understanding the mechanics
of anatomy - how a body adjusts to a pose which is not stiffly frontal but with the weight
shifted to one side of the body, and how a body behaves in violent motion.

4. Hellenistic Period. It was during this time when the Greeks found themselves
rebuilding their temples and focusing on creating artworks. The time of Alexander the
Great was called the Hellenistic Period. During this time, art was primarily focused on
showcasing emotions and depicting reality. Hellenistic sculptures started to emphasize
balance while showcasing dynamic poses and a number of emotions evoked by the
subjects. One of the famous Hellenistic sculptures is the "Laocoon and His Sons." The
sculpture depicts Laocoon, a Trojan priest, and his sons being strangled by serpents.
Their position was a result of Laocoon's instructions during the Trojan War. He
instructed to keep the gates of Troy locked up because he felt that the wooden horse
offered by the Greeks as a gift to Athena was a trick. Poseidon, the Greek god of the
sea was enraged by such action which led him to send serpents to strangle
Laocoon and his sons. (This is an example of work wherein the Greeks emphasized the
details of the body. Most subjects of their work included that of the gods from Greek
mythology)

The origins of theater and drama can be traced back during the Greek civilization. The
followers of Dionysus-the god of fertility-started the Greek theater. People who devoted
to Dionysus would dance during ceremonies while giving their offerings to their god.
Eventually, the Dionysians devised a more structured form of drama involving dances
and choral songs, which depicted Greek mythologies. Eventually the Greeks organized
theatrical contests where the performances were held in front of large citizens.

Ancient Rome Art

The Roman Republic was established around 500 BCE. This civilization eventually
transformed into one of Western Europe's mightiest empires. Since they had expanded
and covered many territories, they interacted with neighboring civilizations, particularly
with the Greeks. It can be said that Roman civilization came of age during the
Hellenistic Period. As mentioned earlier, it was a period when the Greek culture's
influence has reached its peak in the Mediterranean world. The Romans were fond of
the Greeks and their achievements in the arts. The fusion of Greek and Roman cultures
can be seen in most Roman artworks. Some would argue that the Romans merely
copied Greek art. This eventually made the Romans produce artworks that are often
looking stern, harsh, and strong. They also invoked the principles of realism in most of
their works, highlighting the features of human beings. Aside from this, the Romans
were also known to be master builders, which earned their reputation for grand
monuments and architectural infrastructures. One of their architectural achievements
would have to be the Colosseum. This amphitheater was planned and constructed
during the reign of Emperor Vespasian. One of its main uses was for entertainment
purposes like public events and gladiator games. This structure was a concrete
manifestation of Roman builders' craftsmanship which focused on logical organization of
the entire edifice.

“Poseidon and Medusa." Just like the Greeks, the Romans valued their gods and this
was evident with their sculptures and artworks. Ancient Greece had a huge impact in
the formation of Roman culture. There are a lot of Greek influences evident in Roman
Theater and drama. Writers of comedy like Plautus and Terence have patterned their
works to those of Greek works. Since the Roman audience was not as enthusiastic
about theatrical works unlike their Greek counterparts, most plays had to be included in
the Roman games.
WEEK 4: MIDDLE AGES

Renaissance Art

During the Renaissance Period, artists valued the "individual" as a subject of arts. The
influence of humanism shifted the focus of some artworks during the Renaissance
Period to empower the "individual." Most artworks emphasized naturalism, which was
also an influence of humanism since there was a great emphasis on the proportionality
of the human body. Most artists also added perspective of depth wherein spaces were
explored in different artworks. This technique provided a three-dimensional perspective
of most Renaissance paintings, Renaissance artists also gave importance to non-
religious themes or subjects. This was also brought by the privatizations of the art
during the Renaissance Period, however most artworks remained religious in its focus
and theme.

Michelangelo, "David." This sculpture is an example of how humanism was a dominant

belief system during the Renaissance. There is emphasis on the details of the body of
the human being. During the Renaissance Period, there was also a revival of Roman
theatrical plays These plays were performed during special Occasions at the courts of
Italian princes. The plays were done in such a way that showcased grand and lavish
entertainment for the audience. Aside from the song and dance numbers, they invested
in elaborate stages and costumes for the actors. Eventually, this would lead to Italy's
opera, which have greatly influenced their tradition of popular theater.  

 Mannerism Art

Mannerism was a period in art history, which was a product of the Renaissance Period.
During the Renaissance, artists would observe nature and try their best to emulate it
based on their observations.

As the Renaissance ended, artists started directly copying subjects from existing works
of art.

Most artworks during this period displayed distorted figures, two-dimensional spaces,
discordant hues and colors, and lack of defined focal point.

Here is a sample art work: “Perseus and Andromeda” 1611 made by Joachim

Wtewael
Baroque and the Rococo Art

The term "baroque" is derived from the Portuguese term barocco which is translated as
"irregularly shaped pearl." This is a suitable description that Rome was the birthplace of
the Baroque Period, which according to some historians was a response to
Protestantism. This period roughly spanned from 1600 to 1750. Although it was a period
following the Renaissance, it can be said that a lot of artists have developed styles and
techniques different from their Renaissance predecessors. Most artists used colorful
palettes and ornamentation in their works. This was a time when Italy in particular,
strengthened not only their religion but also other aspects like politics and art.
Expansion was the central theme of this period, which became very much evident in the
artworks produced during this time. Motion and space were taken into consideration by
artists like the use of dramatic lighting and the concept of time.

Aside from art, music also flourished during the Baroque Period. This is because people
believed that music could serve as powerful tool to communicate messages that can
evoke certain feelings among its listeners. Baroque music was able to clearly
distinguish loud from soft and solo from ensemble. Since the birthplace of this period
was in Rome, it did not come as a surprise that most composers come from Italy. This
include Vivaldi, Corelli, and Monteverdi. Eventually, the influence of Baroque music
spread outside Italy and reached other parts of Europe. Other well-known Baroque
composers include Germany's Bach and Handel. Since Baroque composers, through
their works, tried to evoke certain emotions from their audience, they began to make
more complex musical compositions and performances. However, it can be noted that
initially, this kind of music was limited only to powerful institutions like the Church and
individuals like the patrons. Eventually, such performances would be made accessible
to the middle class and the masses.

"The Assumption of the Virgin." A painting by Titian located at Venice, Italy. The
Biblical event in the painting shows how the Baroque Period reverted to having religious
subjects in their works.

Neoclassicism Art

There seems to be a debate among historians as to the beginnings of modern art.

There are accounts that would attribute for the emergence of this kind of art during the
French Revolution in 1789. However, other historians claim that it was the year 1863
when there was an emergence of modern painting exhibitions. Neoclassicism was a
movement in Europe that transpired during the late eighteenth and early nineteenth
centuries. It was the dominant art movement that time which basically aimed to revive
and rekindle the influences of Greek and Roman into art and architecture. The ancient
Greeks and Europeans had placed emphasis on human reason and keeping society in
order. These very principles were also the dominant principles during the Enlightenment
Period. Some historians would also say that this movement was a reaction to the
artworks produced during the Baroque Period. There was a call to veer away from such
extravagance in terms of style and form of the Baroque Period.

  Romanticism Art 

Romanticism, as an art movement, used the central themes of Neoclassicist artworks

as a springboard. Romanticists have highlighted heroic elements into their work. During
the Age of Revolutions, there has been a tremendous focus on patriotic and nationalistic
movements. One of the major revolutions in history would be the French Revolution.
Such revolutionary movements became the focal point of most Romantic works.

The major and central themes of Romanticism movement include the emphasis on the
goodness of mankind. Most works also promoted justice, equality, and social order.
Artists also emphasized emotions and feelings of man, which was a deviation from the
humanist principles of rationalism.

 Realism 

Realism as a style of work focuses on the accuracy of details that depicts and somehow
mirrors reality. There is little room for imagination in this movement since emphasis is
placed in observable traits that can concretize through artworks. Realism was heavily
influenced by Hellenistic Greek culture since most artworks during that period placed
emphasis on the human body.

Realism as a modern movement in art veered away from traditional forms of art. In a
way, it revolutionized themes and techniques in paintings. In addition, this movement
also expanded and widened existing notions of what can be considered as art.

 Since artists worked within the context of revolutions and social change, artistic works
began to depict real-life events. Idealistic concepts and images were replaced by real
manifestations of society. There is a move to combine both art and life in artistic works
since the modern world were suitable for subjects of art. This movement also
reexamined existing belief systems and traditions.

Impressionism Art 
The Impressionism movement started in France, which led to a break from the tradition
in European painting. Impressionism is a style of painting that emerged in the mid- to
late 1800s. Impressionist artists incorporated scientific principles to achieve a more
distinct representation of color. The distinctive characteristic of this style is that it allows
the artist to emphasize the immediate impression he has of a particular event or scene.
The said impression is communicated by the artist through his work and can be seen
through the brushstrokes, distinction of colors, and the lights and shadows used by the
artist.

Berthe Morisot, by Manet (1869). Impressionist artists started moving art outdoors

which aimed to include the shifting light they wanted to capture in their works. This work
by Morisot is one of the first few "open air' paintings under the impressionism
movement.

Post-Impressionism Art 

It is an art movement that emerged in France, which is a result of both the influence and
rejection of Impressionism. Most artists that belong to this movement started off as
impressionists but later on saw the inherent limitations and flaws of impressionism. This
eventually led to the development of individual style that gave emphasis to defining from
with the use of broken colors and short brush stroke. Some of the famous post-
impressionism artists include Paul Cezanne, Georges Seurat, Paul Gauguin, and
Vincent van Gogh, among others. Most of the works of the said painters became the
framework of the contemporary techniques and trends during the twentieth century.

 Neo-Impressionism Art 

As an art movement, neo-impressionism is considered as a response to empirical

realism of impressionism. Most painters who subscribe to such movement rely on
systematic and scientific techniques that have a predetermined visual effect not only on
the art work itself but also how the audiences perceive the art. The leading figure in
neo-impressionism was Georges Seurat who recorded optical sensations on a more
scientific manner. His color theories paved the way for the technique called pointillism.
This art technique basically utilizes discrete dots and dashes of pure color. These
elements are believed to blend with the viewer's perspective. Aside from Seurat, other
neo-impressionist artists include Henri-Edmond Cross, Maximilien Luce, and Camille
Pissarro, among others.

 Art Nouveau 

Between 1890 and 1910, countries from Europe and the United States witnessed the
emergence and flourishing of a new art style. This ornamental style of art was a break
from the conservative historicism, which was the prevailing and dominant theme of most
Western artworks. This ornamental style uses long and organic lines that are concretely
manifested in architecture, jewelry and glass design, among others. In most works, the
defining characteristic of Art Nouveau is the asymmetrical line that usually is in the form
of insect wings or flower stalks. The line is done in such a graceful and elegant manner
that somehow evokes a certain power to it.

Emile Galle, Vases and lamps, “Celebration of Spring” on 1846–1904

His work was inspired by nature and literature. He would collect and study plants and
bugs in his free time for inspiration, pioneering experimental techniques in glass making
that he later patented. Many of his work had floral motifs and poems sealed within,
written for the owner.

Fauvism 

This is a style of painting that emerged in France around the turn of the twentieth
century. What makes fauvists revolutionary is that they used pure and vibrant colors by
applying straight from the paint tubes directly to the canvas. This is done to produce a
sense of explosion of colors in the canvas. The fauves, just like the impressionists,
painted directly from nature. The difference lies with how the fauves have this strong
and expressive reaction to how they portray their subjects. Most fauvist works reject the
conservative and traditional renderings of three-dimensional space. What artists did was
they introduced and promoted a picture space that is defined by the movement of color.

BOATS AT THE PORT OF COLLIOURE BY ANDRE DERAIN ON 1905

Details: In Boats in the Harbour, also known as Bateaux dans le port, Collioure, Andre
Derain amplifies the charm and vibrancy of the small fishing village, Collioure. His use
of a bright color palette and bold brushstrokes are the perfect example of the fauvist
artists’ personal expression on the then new genre.

Technically, the painting is wild, with neat colors, as though used straight from the paint
tube. The inconsistent brushstrokes not only intensify the composition, but also cause
distraction and minimize traditionalism. On an emotional level, Boats in the Harbor
evokes the soaring degree of elation Andre Derain must have felt while creating it. The
paintings atmosphere is joyful, yet serene, not an easy feat for any artist.

The broken brushstrokes on the water and in the sky bring these elements to life, and
create a depth that extends way beyond the shoreline, where a man is seen pensively
overlooking the marina. Boats in the Harbor takes the viewer on a journey to Collioure,
where both Derain and Matisse spent time admiring the beautiful view.
Cubism

 Between 1907 and 1914, French artists Pablo Picasso and Georges Braque introduced
a new visual arts style called cubism. This style would later on have a huge influence on
artists during the twentieth century. Cubists highlighted the two- dimensional surface of
the picture plane. Focusing on a flat surface was a rejection of the dominant techniques
like the use of perspective, foreshortening, and modeling. In addition, one of the things
that cubism rejected was the existing and prevailing notion that art should imitate
nature. Cubists emphasized that they are not in any way obliged to copy texture, form,
color, and space. They presented a new depiction of reality that may appear fragmented
objects for viewers.

 Futurism

It is an early twentieth century art movement that started in Italy, which highlighted the
speed, energy, dynamism, and power of machines. In addition, common themes for
works in this movement are restlessness and the fast-pace of modern life. Later on, the
movement's influence branched out not only in Europe but also in Russia. The greatest
impact of futurism is evident in poetry and visual arts.

This image is part of Sant'Elia's design for a new city and this reflects the architect's
ideas of modernity. He expressed these in The Manifesto of Futurist Architecture in
1914, writing that "We must invent and rebuild our Futurist city like an immense and
tumultuous shipyard, active, mobile, and everywhere dynamic, and the Futurist house
like a gigantic machine". In this part of the design, elevators can be seen ascending the
façade of the building, and modern modes of transportation, highways and trains, run
alongside and into the complex. The building itself is multi-leveled and as well as more
traditional vertical lines it is composed of elliptical and diagonal lines, which Sant'Elia
wrote were "dynamic by their very nature".

WEEK 5 AND 6: GAMABA [GAWAD SA MANLILIKHA NG BAYAN/ THE NATIONAL

LIVING TREASURES]

GAMABA or Gawad sa Manlilikha ng Bayan also known as the National Living

Treasures, is the award given to a person or a group of artists that is recognized by the
Philippine government for their contributions to the nation’s cultural heritage.

In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures
Award was institutionalized through Republic Act No. 7355.  Tasked with the
administration and implementation of the Award is the National Commission for
Culture and the Arts, the highest policy-making and coordinating body for culture and
the arts of the State.  The NCCA, through the Gawad sa Manlilikha ng Bayan Executive
Council, conducts the search for the finest traditional artists of the land, adopts a
program that will ensure the transfer of their skills to others, and undertakes measures
to promote a genuine appreciation of and instill pride among our people about the
genius of the Manlilikha ng Bayan.

The Gawad sa Manlilikha ng Bayan has its roots in the 1988 National Folk Artists Award
organized by the Rotary Club of Makati-Ayala. As a group, these folk and traditional
artists reflect the diverse heritage and cultural traditions that transcend their beginnings
to become part of our national character. As Filipinos, they bring age-old customs, crafts
and ways of living to the attention and appreciation of Filipino life. They provide us with
a vision of ourselves and of our nation, a vision we might be able to realize someday,
once we are given the opportunity to be true to ourselves as these artists have
remained truthful to their art.

As envisioned under R.A. 7355, “Manlilikha ng Bayan” shall mean a citizen engaged in
any traditional art uniquely Filipino whose distinctive skills have reached such a high
level of technical and artistic excellence and have been passed on to and widely
practiced by the present generation in his/her community with the same degree of
technical and artistic competence.

HOW DOES ONE BECOME A MANLILIKHA NG BAYAN?

To become a Manlilikha ng Bayan, an individual or group candidate must:

1. Possess a mastery of tools and materials needed for the traditional, folk art and
be a maker of works of extraordinary technical quality;

2. Have consistently produced works of superior quality over a significant period;

3. Have engaged in a traditional and folk art which has been in existence and
documented for at least fifty (50) years;

4. Command respect and inspire admiration of the country with his character and
integrity;

5. Must have transferred and/or willing to transfer to other members of the

community the skills in the traditional and folk arts for which the community has
become nationally known.

6. However, a candidate who, due to age or infirmity, has left him/her/them

incapable of teaching further his/her/their craft may still be recognized provided
that he/she/they must possess the qualifications as enumerated above.
CATEGORIES

The Award may cover traditional and folk arts in the areas of performing arts and craft.
Consideration shall be made for adequate representation in geographic distribution and
different artistic categories.

The categories are, but not limited to, the following categories of traditional folk arts:

 Maritime transport
 Weaving
 Carving
 Performing arts
 Literature
 Graphic and plastic arts
 Ornament
 Pottery

Other artistic expressions of traditional culture may be added.

AD HOC PANEL OF EXPERTS

To ensure a fair selection of potential awardees, the Gawad sa Manlilikha ng Bayan

Executive Council shall be assisted by an Ad Hoc Panel of Expert consisting of experts
in the traditional and folk arts categories. The names of those selected to become
members of the Ad Hoc Panel of Expert shall be submitted to the NCCA Board of
Commissioners for proper designation. The term of the members shall expire upon
completion of the search and selection process.

WHAT ARE THE BENEFITS AND PRIVILEGES OF AN AWARDEE?

For the individual awardee:

1. The rank and title of Manlilikha ng Bayan, as proclaimed by the President

of the Philippines in accordance with Executive Order No. 236 or Honors
Code of the Philippines;

2. The GAMABA gold-plated medallion minted by the Bangko Sentral ng

Pilipinas (BSP) and citation;

3. A lifetime emolument and materials and physical benefits comparable in

value to those received by the highest officers of the land such as:
  A minimum cash award of Two Hundred Thousand Pesos (Php
200,000.00), net of taxes.

 A minimum lifetime personal monthly stipend of Fifty Thousand

Pesos (Php 50,000.00).

 Medical and hospitalization benefits not exceeding Php 750,000.00

per year.

4. A state funeral, the arrangements for and the expenses of which shall be
borne by the Government, upon the death of the Manlilikha ng Bayan; and

5. A place of honor, in line with protocol precedence, in state functions,

national commemoration ceremonies and all other cultural presentations.

For the group awardee:

1. The rank and title of Manlilikha ng Bayan, as proclaimed by the President of the
Philippines in accordance with Executive Order No. 236 or Honors Code of the
Philippines;
2. The GAMABA plaque for the group;
3. A one-time award of Two Hundred Thousand Pesos (Php 200,000.00), net of
taxes;
4. The group shall designate its leader who will represent and attend events and
functions on behalf of the group. The said representative will also have a place of
honor, in line with protocol precedence, in state functions, national
commemoration ceremonies and all other cultural presentations.

AWARDEES OF GAWAD SA MANLILIKHA NG BAYAN

As defined by UNESCO, the bearers of intangible cultural heritage are to be known

internationally as Living Human Treasures. The Filipino counterparts of this title are the
Gawad sa Manlilikha ng Bayan (GAMABA) awardees. There are currently sixteen
declared GAMABA awardees, all of which have exemplified the highest standard in their
respective field of expertise. The award is only given to individuals or groups that have
exhibited the highest possible standard in intangible cultural heritage. A master of the
heritage does not automatically qualify an individual or group for the award as the craft
of the master should exude a higher meaning to the highest standard set by the highly
critical council of the GAMABA board. Due to this lengthy and critical process, only
sixteen of the thousands of traditional masters have been conferred with the award.
GINAW BILOG
[January 3 1953 – June 3 2003]

 Poet, Hanunuo Mangyan

 Panaytayan,Oriental Mindoro (1993)
 Ambahan is a kind of poem consisting of seven-syllable lines which most of the
time contains messages of love and friendship.

MASINO INTARAY
[APRIL 10 1943 – NOVEMBER 30 2013]

 Musician and Storyteller

 Pala’wan Brookes Point, Palawan (1993)
 A musician and a poet whose Expertise were the Basal, Kulilal, and Bagit.
 Basal is a kind of musical ensemble played during the “tambilaw”, a ritual of rice
sharing among the Palawan People as an offering to the Lord of rice and during
the “tinapay”, a rice wine drinking.

SAMAON SULAIMAN
MARCH 3 1953 – MAY 21 2011

 Musician, Mamasapano, Maguindanao (1993)

 Master in playing the Kutyapi, a 2-stringed plucked lute. The Kutyapi Is one of the
most difficult to master indigenous Filipino instrument.

LANG DULAY
AUGUST 3 1928 – APRIL 30 2015

 Textile weaver, T’boli, Lake Sebu, South Cotabato

 Tnalak is a kind of fabric made up of fine abaca fibers weaved with different
designs which reflect the traditions of the T'boli.

SALINTA MONON
DECEMBER 12 1920 – JUNE 4 2009

 Textile Weaver, Tagabawa Bagobo, Bansalan, Davao del Sur

 Started weaving at the of 12 through the Guidance of her mother
 She used to wear the traditional hand-woven tube skirt of the Bagobo. (Sinukla
and Bandura)
ALONZO SACLAG
AUGUST 14 1942

 Musician and Dancer, Lubuagan, Kalinga

 A master of dance and performing arts. He has also mastered the dance patterns
and movements associated with his people’s rituals.
 He is the founder of the Kalinga Budong Dance Troupe to ensure that the music
and dance of his ancestor are passed to the younger generations.

FEDERICO CABALLERO
DECEMBER 25 1938

 Epic Chanter, Sulod-Bukidnon, Calinog, Iloilo

 Worked for the documentation of the oral literature, particularly the epics of his
People: Labaw Dunggon and Humadapnon
 One epic could take as much as 162 hours to recite and Humadapnon is the
longest epic to recite
 Two months of daily performances are required for it to be completely chanted

UWANG AHADAS
FEBRUARY 15 1945

 Musician, Yakan Lamitan, Basailan

 Is a Yakan, a people to whom instrumental music is closely connected to the
spiritual realm
 Kwintangan Kayu – consisting of five wooden logs Hung horizontally, from the
shortest to the longest. Played to serenade the palay, as lover woos his beloved.

DARHATA SAWANBI
MARCH 12 2005

 Textile Weaver, Tausug, Parang, Sulu

 Weaving the Pis Syabit, the traditional cloth tapestry worn as a head covering by
the Tausug of Jolo.

EDUARDO MUTUC
OCTOBER 12 1949

 Metal smith, Kapampangan, Apalit, Pampanga

  Creating religious and secular art in silver, bronze, and wood.

HAJA AMINA APPI

JUNE 25 1925 – APRIL 2 2013

Weaver

 Tandubas, Tawi-Tawi
 Weaving Mat, 2004

AMBALANG AUSALIN
MARCH 4 1943

 Master Weaver
 Lamitan, Basilan
 Weaving (Yakan Tennun), 2016

MAGDALENA GAMAYO
AUGUST 13 1924

 Master Weaver
 Pinili, Ilocos Norte
 Weaving (Inabel), 2012

ESTELITA BANTILAN
OCTOBER 17 1940

 Master Weaver
 Malapatan, Sarangani
 Weaving (B'laan Igem), 2016

YABING MASALON DULO

AUGUST 8 1914

 Master Weaver
 Polomolok, South Cotabato
 Weaving (Ikat), 2016
TEOFILO GARCIA
MARCH 27 1941

 Casque Maker
 San Quintin, Abra
 Casque Making (Tabungaw), 2012