Hum Compilation

COLLEGE OF SCIENCE AND TECHNOLOGY
Cagamutan Norte, Leganes, Iloilo - 5003

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Email Address : svcst_leganes@yahoo.com
COO – FORM 12
SUBJECT TITLE: ART APPRECIATION

INSTRUCTOR: CZAIRA JUNICE N. CABARON, LPT
SUBJECT CODE: HUMS 1
PRELIM MODULE
Topic 1: ART: UNDERSTANDING THE ARTS
LEARNING OBJECTIVES:
At the end of this topic, the students are expected to:

1. Appreciate the importance of art;
2. Explain the functions of art; and
3. Differentiate the functions of art and importance of art.
NOTES:
1.1. Art: Its Meaning and Importance
A. Definition of Art
Art came from the Latin

word “ars” or “artis” which
means skills. It is defined as
the expression or application
of human creative skill and
imagination. It involves
personal experience of an
individual accompanied by
some intensity of emotions.
B. The Importance of Art

Arts have a particular significance in our lives. They become much part of our daily
living as we surround ourselves with beautiful things we like. All the arts that we see and hear
have a purpose as well as expression; they occupy some place in our judgment.
It is important because it encompasses the all the developmental domains in child

development.
All arts afford man moments of relaxation and spiritual happiness, which is the
reflection of an internal happiness.
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Arts are powerful means to reform man, to change his deviant behaviour into social
order and to overcome his feelings of loneliness, uncertainty, and restlessness.
Aside from the things mentioned,

 Art improves your creativity skills.
 Art gives you joy.
 Art relieves stress.
 Art gives you the opportunity to showcase your talents.
 Art gives you confidence.
 Art helps you do well academically.
 Art helps you to communicate with other people.
 Art helps you learn visually.
 Art helps you to express your emotions.
 Art is a different language.
1.2. The Nature of Arts
The nature of art has been described by philosopher Richard Wollheim as “one of the
most elusive of the traditional problems of human culture.” It has been defined as a vehicle
for the expression or communication of emotions and ideas, a means for exploring and
appreciating formal elements for their own sake, and as mimesis or representation. More
recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which
a community develops for itself a medium for self-expression and interpretation.
1.3. Purposes and Functions of Arts
A. Purposes of Art
Art has had a great number of different functions throughout its history, making its
purpose difficult to quantify to any single concept. This does not imply that the purpose of art
is “vague” but that it has had many unique, different reasons for being created. Some of the
functions of art are provided in the outline below. This is a partial list of purposes as developed
by Claude Lévi-Strauss.
1. Expression of the imagination. Art provides a means to express the imagination

(things, places, ideas that are unreal or unknowable) in nongrammatic ways. Unlike
words, which come in sequences,each of which has a definite meaning, art provides
a range of forms, symbols and ideas with meanings that can be determined by the
artist. An artist can create visual imagery of mythical animals, religious concepts
such as heaven or hell, fictional places, or other things from their creative mind.
2. Ritualistic and symbolic functions. In many cultures, art is used in religion,

spiritual or magical rituals, performances and dances as a decoration or symbol of
a god or other divine quality. While these often have no specific utilitarian purpose,
anthropologists know that they often serve a purpose at the level of meaning within
a particular culture. This meaning is not furnished by any one individual, but is
often the result of many generations of change and understanding, and of a
cosmological relationship within the culture.
3. Communication. Art, at its simplest, is a form of communication. Most forms of

communication have an intent or goal directed toward other people. Illustrative
arts, such as scientific illustration, are a form of art as communication. Maps are
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another example. However, the content need not be scientific. Stories, emotions,
and feelings are also communicated through art.
4. Entertainment. Art may seek to bring about a particular emotion or mood, for
the purpose of relaxing or entertaining the viewer. This is often the function of the
art industries such as Motion Pictures and Video Games. And of course, more
traditional art, such as some paintings and sculptures are simply meant to be
enjoyable.
5. Political change. One of the defining functions of early twentieth-century art has
been to use visual images to bring about political change. Art movements that had
this goal—Dadaism, Surrealism, and Futurism, among others—are collectively
referred to as the avant-garde arts. This purpose of art continues today in many
objects aimed at exposing corruption of the ruling class, including government, the
wealthy, and corporations.
6. Social causes. Art can be used to raise awareness for a large variety of causes. A
number of art activities are aimed at raising awareness of AIDS, autism, cancer,
human trafficking, and a variety of other topics, such as ocean conservation,
human rights in Darfur, murdered and missing Aboriginal women, elder abuse,
marriage equality, and pollution. Trashion, using trash to make fashion, is one
example of using art to raise awareness about pollution.
7. Psychological and healing purposes. Art is also used by art therapists,

psychotherapists and clinical psychologists as art therapy. The Diagnostic Drawing
Series, for example, is used to determine the personality and emotional functioning
of a patient. The end product (the art object) is not the principal goal in this case,
but rather a process of healing, through creative acts, is sought. The resultant
piece of artwork may also offer insight into the troubles experienced by the subject
and may suggest suitable approaches to be used in more conventional forms of
psychiatric therapy.
8. Propaganda or commercialism. Art is often utilized as a form of propaganda,

and thus can be used to subtly influence popular conceptions or mood (especially
regarding political issues). In a similar way, art that tries to sell a product also
influences mood and emotion. In both cases, the purpose of art here is to subtly
manipulate the viewer into a particular emotional or psychological response toward
a particular idea or object.
These are just one writer’s categorization of purposes for art; there are many
other ways to try to organize the diverse and complex ideas of art into artificial
categories. In addition, the functions of art described above are not mutually exclusive,
as many of them may overlap. For example, art for the purpose of entertainment may
also be commercial or seek to sell a product (i.e. a movie or video game).
B. Functions of Art
There are five common functions of art: personal, social, spiritual, educational
and political.
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1. Personal Function: to express personal feelings. Perhaps the artist wanted to

remind viewers of personal family tragedy, or perhaps he just wanted to tell them
to appreciate what they had, and to live day as if it is their last.
2. Social Function: to reinforce and enhance the shared sense of identity of those
in family, community, or civilization, for example, festive occasions, parades,
dances, uniforms, important holidays or events.
3. Spiritual Function: to express spiritual beliefs about the destiny of life controlled
by the force of a higher power.
4. Educational Function: symbols and signs to illustrate knowledge not given in
words.
5. Political Function: to reinforce and enhance a sense of identity and ideological
connection to specific political views, parties and or people.
1.4. The Need to be Creative
Whether you're a first-time artist, or an expert, there are endless benefits to

continually pursuing your inner artist. Below are just seven examples.
A. Seven Ways We Benefit from Creativity
1. BECOME A BETTER PROBLEM SOLVER. There isn't a manual to being an artist,

and there isn't a manual for being alive. Obstacles and challenges throughout life
are inevitable. However, when we make creativity a habit, we continue to learn
new, resourceful ways of solving problems in our artwork, and in life.
2. CONNECT WITH YOUR COMMUNITY. When we create, we connect to other

people doing the same and an instant sense of community is formed. Whether
we're exchanging ideas, providing feedback for our peers, or simply creating next
to eachother in silence, the sense of connection experienced as artists is undeniable
and deeply rewarding.
3. SAVE MONEY. Expressing ourselves can control the urge to buy impulsively. If we
trade the activity of consuming for creating, we not only save money, but get a
deeper sense of fulfillment. Additionally, the more we learn how to make things
ourselves, the less we need to spend money on buying them.
4. EXPANDED SENSE OF TIME. Countless artists have discussed the experience of

timelessness that one encounters in the creative zone. Time feels limitless when
we are in the creative ‘zone.’ Strangely enough, when we give ourselves time to
creative pursuits, we gain time. Who couldn’t use the feeling of more time?
5. SELF AWARENESS & EXPRESSION. Creativity is the route to authenticity. As we

create, we plumb the depths of our being, accessing what we think and believe.
The more we create, the more we discover and realize our habits, impulses, and
desires. When we take the time and energy to develop our own ideas, we respect
our inner nature and are better able to express ourselves to the world on a regular
basis.
6. FREEDOM. There is no right or wrong way to be an artist. When we create, we are

given the opportunity to engage with the world without judging ourselves. We have
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permission to take risks, try new things, and strip away inhibitions in a healthy
way.
7. STRESS RELIEF. Making art is meditative. Taking the time to use our hands,
minds, and energy doing something we love is of uptmost importance in life. Being
creative makes us happy. Art is FUN, and doing anything that brings joy reduces
our stress levels and improves our quality of life. What could be more important
than that?
EXERCISES
Direction: Answer the following questions. Write your answer is the spaces provided.
1. In your own understanding, what is the significance of art to the lives of the people?
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
2. Describe the functions of art in one-word.
Personal- ______________ Social - _______________

Spiritual- ______________ Educational - _______________
Political- ______________
END OF TOPIC 1
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Topic 2: THE SUBJECT OF ARTS

1. Define subject of art;
2. Explain the difference of the subject of art;
3. Learn the ways of representing the subject;
4. Understand the kinds of subject; and
5. Know what artist means.
NOTES:
2.1. Define Subject of Art
The subject of art refers to any person, object, scene or event described or represented
in a work of art.
An artwork’s subject matter is what the images or object literally means.
The term subjects in art refers to the main idea that is represented in the artwork.
The subject in art is basically the essence of the piece.
2.2. Subject and Content
A. Representational/Objective
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.
Examples:
Painting, sculpture, graphic arts, literature and theater arts
B. Non-Representational/Non-Objective
Arts that do not have subject. They do not present descriptions stories, or
references to identifiable objects/symbols. Rather they, appeal directly to the senses
primarily because of the satisfying organization of their sensuous and expressive
elements.
C. The Content of Art
Content refers to what the artist expresses or communicates on the whole of

his work. It reveals the artist’s attitude towards his subject. It is the meaning of the art.
2.3. Kinds of Subject
In general, subject may be thought of as the “what” in a piece of art: the topic, focus,
or image.
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 Landscapes, seascapes, and  Everyday life

cityscapes  History and legend
 Still life (a collection of  Religion and mythology
inanimate objects arranged  Dreams and
together in a specific way)  Portraiture (an image of a
 Animals particular person or animal,
 Portraits or group thereof)
 Figures
 Fantasies
 Nature (a focused view or interpretation of specific natural elements)
2.4. Ways of Representing the Subject
1. REALISM – This is the attempt to portray the subject as it is. The artist want to
describe accurately and honestly as possible what is observed through the senses.
2. ABSTRACTION – abstract art moves away from showing things as they really are.
They ignored the exact form of a real-life object but only the artist’s idea, or his
feeling about it.
WAYS OF REPRESENTING ABSTRACT OBJECTS
a. DISTORTION- when the subject is in misshapen condition, or the regular shape

is twisted.
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b. ELONGATION – the subject is lengthened, protracted or extended.
c. CUBISM - has an abstract form through the use of a cone, cylinder, or sphere.
d. MANGLING – subjects or objects are cut, lacerated, mutilated, or hacked with

blows.
e. ABSTRACT EXPRESSIONISM – uses large canvasses, and lack of refinement in

applying the paint. It has strong color, heavy impasto, uneven brush strokes, and
rough textures. The art departs completely from the subject, from the studied
precision, and form any kind of preconceived design.
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3. SYMBOLISM – a symbol/sign of something invisible such as an idea or a quality.
4. FAUVISM – it is a kind of style or movement in painting that is characterized by a

thick pigment. It is usually used to express a feeling of comfort, joy and pleasure
through bright color.
5. DADAISM – The word “dada” is a French word meaning hobby horse. It embraced
elements of art, music, poetry, theater, dance, and politics. It is a protest movement
in the arts was formed in 1916 against the traditional outworn art and evil of society.
Dadaism art was playful and highly experimental.
6. FUTURISM - was an artistic and social movement that originated in Italy in the early
20th century. It emphasized speed, technology, youth, and violence, and objects such
as the car, the airplane, and the industrial city. Subjects are anything that relate to
the importance of modernization.
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7. SURREALISM - is an invented world which means “super realism”. Subjects of these

kind attempt to show what is inside man’s mins as well as the appearance of his outside
world. In other words, surrealism pictures out image in the form of dream.
2.5. The Artist and His Choice of Subject
A. Artist
An artist is a person who performs any of the creative arts. This captures all
forms of arts. In modern world, the term artist is also used for musicians as well. This is
why people often tend to hear the words “young artist”, through media to refer to
emerging musicians. The term artist is not only attributed for those who create art as an
occupation, but also for those who are skilled in a particular activity such as drawing,
designing, composing, etc. The specialty of an artist is that he is able to create art for the
sake of art itself without needing any ulterior motives.
Here are some points to bear in mind when choosing a subject:

 The subject should be one you are interested in – genuinely interested and engaged
in, not merely something of passing curiosity that happened to catch your attention
for a few minutes in a newspaper or on TV. Give new stories or ideas a little time
and thought before deciding to make them the subject of a work of art. Only your
own sustained spark of interest will give the finished work that absorbing, enticing
quality.
 Make sure it offers scope for investigation, discovery and thought. Even in a still
life or landscape which you intend to be an accurate representation of the scene
which was before you, you are still infusing your own perception and perspective
into the art. Therefore, it’s important to make sure that the subject gives you room
to develop, as an artist and perhaps even as a person. It’ll give the end result that
much more richness and depth.
 Choose something you can be honest about. There may be some areas where you
feel your true reaction is too personal, or even too controversial, for you to set it
out for others to share. These topics might be appropriate for a piece of work you
never intend to show to anyone else, but don’t try to tackle them in a way that you
think is more generally acceptable, but further from your own real feelings.
Remember that an attentive viewer will feel your integrity – or its lack – in the
finished work, and that this is a quality which gives it considerable added attraction
and power.
 Think about your main purpose. Are you aiming to convey the mood of a particular
time and place? Or were you captivated by the expression on someone’s face? Are
you exploring an idea through art? Whatever it is, make sure that your subject
reflects and works well with this driving motivation.
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EXERCISES
Directions: Match Column A with Column B. Write your answers in the spaces provided.
Column A Column B
______________1. a. Surrealism
______________2. b. Mangling
___________3. c. Dadaism
__________4. d. Realism
__________5. e. Futurism
END OF TOPIC 2
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TOPIC 3: AWARENESS, CREATIVITY AND COMMUNICATION

1. Explain what visual thinking is.
2. Differentiate looking from seeing.
3. Distinguish aesthetic from beauty.
4. Elaborate untrained artists.
5. Explain the term Iconography.
6. Appreciate the importance of creativity in appreciating and producing
art.
NOTES:
3.1. Visual Thinking
Visual thinking is the phenomenon of cognition

through visual processing. Visual thinking is often
described as seeing words as a series of pictures.
Nearly 60 percent of people learn best through
visualizations. For these types of learners, a visual
image can yield a much more powerful and
memorable learning experience than spoken words
or written text.
Visual thinking refers to a way for learners to externalize their internal thinking
processes, making them more explicit and actionable. It can also be a way to organize
thoughts and improve on critical thinking and communication skills.
Visual thinking is carried on by three kinds of visual imagery:

1. The kinds that we see, people see images, not things,
2. The kinds that we imagine in our mind’s eye, as when we dream,
3. The kind that we draw, doodle, sketch, or paint”
The word “draw” can also mean “create” when applying this visual diagram to other media.
3.2. Perception and Awareness: Looking and Seeing
Visual information – images from media and the environment around us – dominates
our perception. Our eyes literally navigate us through a visual landscape all our lives, and we
all make decisions based on how and what we see. Separating the subjective and objective
ways we see helps us become more visually aware of our surroundings. Scientifically, the
process of seeing is the result of light passing through the lens in our eye, then concentrating
it on the retina at the back of the eye. The retina has nerve cells that act like sponges, soaking
up the information and sending it to the visual cortex of our brain. Here the light is converted
to an image that we can perceive – the ‘truth’ – as we understand it to be. We are exposed
to so much visual information every day, especially with the advent of mass media, that it’s
hard to process all of it into specific meaning. Being visually aware is more complicated than
just the physical act of seeing because our perceptions are influenced by exterior factors,
including our own prejudices, desires and ideas about what the ‘truth’ really is. Moreover,
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cultural ties to perception are many. Art is a resource for questioning our perceptions about
how objects and ideas present themselves.
There is a difference between looking and seeing. To

look is to glance back and forth, aware of surface qualities
in the things that come into our line of sight. To see is more
about comprehending. After all, when we say “I see” we
really mean that we understand. Seeing goes beyond
appearances. So, as we confront the huge amounts of visual
information coming at us we start to make choices about
what we keep and what we edit out. We concentrate on that
which has the most meaning for us: a street sign that helps us get home, a view of the
mountains that lets us enjoy a part of nature’s spectacle, or the computer screen that allows
us to gather information, whether it’s reading the content in this course or catching up on the
day’s news or emails. Our gaze becomes more specific, and with that comes specific meaning.
At this point what we see becomes part of what we know. It’s when we stop to contemplate
what we see – the view of the mountain mentioned above, a portrait or simple visual
composition that catches our eye – that we make reference to an aesthetic perception. That
is, when something is considered for its visual properties alone and their relation to our ideas
of what is beautiful, as a vehicle for meaning.
3.3. Aesthetics, Arts and Beauty
A. Definitions
Beauty is something we perceive and respond to. It may be a response of awe and
amazement, wonder and joy, or something else. It might resemble a “peak experience”
or an epiphany. It might happen while watching a sunset or taking in the view from a
mountaintop—the list goes on.
The subfield of philosophy called aesthetics is devoted to the study and theory of this
experience of the beautiful; in the field of psychology, aesthetics is studied in relation to
the physiology and psychology of perception.
Aesthetic analysis is a careful investigation of the qualities which belong to objects

and events that evoke an aesthetic response. The aesthetic response is the thoughts and
feelings initiated because of the character of these qualities and the particular ways they
are organized and experienced perceptually (Silverman).
The aesthetic experience that we get from the world at large is different than the art-
based aesthetic experience. It is important to recognize that we are not saying that the
natural wonder experience is bad or lesser than the art world experience; we are saying
it is different. What is different is the constructed nature of the art experience. The art
experience is a type of aesthetic experience that also includes aspects, content, and
context of our humanness. When something is made by a human– we know that there is
some level of commonality and/or communal experience.
3.4. Art and Experience
In "Art as Experience," John Dewey explains that art is a dynamic human experience
that involves both the artist and the audience. When the audience encounters art, they are
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connecting with the artist's experiences and transforming the meaning of the art with their
own. Dewey claims that art is thus a powerful form of communication and expression.
Art as Experience has had a high influence on trends in aesthetic research, which have
sought to broaden the scope of the field from the traditional arts to popular culture
(Shusterman 1992, 2nd edition 2000), the natural environment (Berleant 1997), and the
everyday (Kupfer 1983, Saito 2007, Stroud 2011, Leddy 2012).
Its account can be regarded as a form of “internalism”, in that it seeks to separate
aesthetic experience from other types of experience by looking at its internal qualities, that
is, at what aesthetic experience feels like from the inside (Shelley 2009 [2017]).
Aesthetic experience is something that develops and attains specific qualities as the
experience proceeds. It is in this sense “dynamic because it takes time to complete”.
To qualify as an aesthetic experience:

1. Accumulation between the different phases of the experience: aesthetic experience
includes a sense that the later phases build on earlier ones and carry them further
rather than just mechanically following them
2. Intensive; they condense
3. Feeling of resistance. These resistances are not obstacles: they feed the
experience’s development and accumulation and are converted into movement
toward a close.
4. In aesthetic experience, the experiencer is also overcome by a sense of rhythm.
Aesthetic experience has an internal momentum and, already from the initial
phases, the experiencer can feel a sense of direction in it.
In other words, in an aesthetic experience “every successive part flows freely, without
seam and without unfilled blanks, into what ensues”. Moreover, aesthetic experience also
does not terminate at some random point. Rather, its close is a summation of its earlier
phases, either in the sense that the energy that has gathered up during the experience is
released or the experience reaches a fulfillment in some other sense. In short, aesthetic
experience involves “inception, development, and fulfillment”
3.5. Creativity
Creativity focuses on the process of forming original

ideas through exploration and discovery. Creativity develops
from experiences with the process, rather than concern for the
finished product. Creativity is not to be confused with talent,
skill, or intelligence. Creativity is not about doing something
better than others, it is about thinking, exploring, discovering,
and imagining. Creativity is found in the obvious art and
music, but can also be found in science and play.
Because we think of art, music, dance, and drama as examples of creative ideas, we
may have forgotten that creative thought is found in all aspects of a growing child’s life and
can be learned from daily. Just look at how creativity shows itself when a scientist discovers
a cure for a disease, how a business owner decides to increase sales, how the grocery clerk
bags the groceries, or how a parent finds a way to entice a reluctant child to head off to bed.
“The role of art as a creative work is to depict the world in a completely different light and
perspective” – Jean-Paul Sartre
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3.6. Untrained Folk Artist
8 Famous Artists Who Were Self-Taught: The untrained art-makers that follow, all
from the last 150 years, succeeded in making their mark with little or no art school guidance.
A. Henri Rousseau
An artist who grew up in the era of the French Impressionists and
Post-Impressionists, Henri Rousseau lacked those artists’ formal
training. He only began to paint in earnest in 1884, at age 40. For
most of his adult life, he worked as a clerk, earning the nickname
“Le Douanier” (“the customs officer”) from critics who sought to
discredit the naïve, unschooled painter. Yet it is rumored that the
undemanding nature of Rousseau’s job (he never actually made it to
the ranking of customs officer) is precisely what gave him the time
to teach himself painting; when he wasn’t moving paper, he made
trips to the Louvre to sketch from its collection.
Rousseau developed a following, particularly among artists, for what his advocates
saw as the directness and lack of pretension in his work, qualities that broke the mold of
academic standards. Best known for his vivid, exotic landscapes, Rousseau created
dreamlike scenes defined by crystal-clear outlines, and he would come to be loved by the
Surrealists. Kasper König, co-curator of the 2015 exhibition “The Shadow of the Avant-
Garde: Rousseau and the Forgotten Masters” at Museum Folkwang in Essen, Germany,
has noted that Rousseau’s genius lay in his ability to avoid the pitfalls of academic
composition and naturalistic rendering. “Rousseau wasn’t interested in false illusion,”
König stated. “It was about art, not illusion––and that was radical.” The 20th-century
avant-garde recognized Rousseau’s value. By the end of his life, he was exhibiting
alongside van Gogh and Paul Gauguin; Henri Matisse and André Derain—and his work was
collected by Pablo Picasso, who later bequeathed several of Rousseau’s paintings to the
Louvre.
B. Vincent van Gogh

One of the most influential artists of the modern era,
Vincent van Gogh was almost entirely self-taught. A complicated,
taciturn character, van Gogh did not have an appetite for the
classroom. He was taught from a young age by his mother and
his family’s governess, after his attempts at education outside of
the home met with failure. First was an abortive stint at a
boarding school, then an unhappy two years in intermediary
school before he entered the workforce as an art dealer’s
assistant at the age of 16.
When van Gogh eventually soured on that, he
attempted to enter seminary to become a pastor, but failed his
entrance exam. He then undertook (and also failed) a semester at a missionary school,
though he still landed a job as a missionary in 1879. When his brother, Theo, eyed some
of his sketches of his impoverished peasant congregation, he implored Vincent to pursue
art, resulting in an extremely short attempt at Brussels’s Académie Royale des Beaux-Arts
in 1880.
For the rest of his tragically short life, van Gogh focused almost solely on painting,
looking to examples of Japanese woodblock printmaking and the formal innovations of his
colleagues, among other influences. But he ultimately developed an intensely personal
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style that fueled a large body of work. While van Gogh fans are quick to point to his
emotional turmoil as the analog to his idiosyncratic style, his swirling, energetic
brushstrokes and bold, expressive tones are also the hallmarks of a fiercely independent
style forged through self-education.
C. Frida Kahlo
Frida Kahlo’s father, a German photographer, recognized his
daughter’s artistic promise when she was a young girl, teaching
her photography and recruiting his friend, a printmaker, to give
her informal instruction in the graphic arts. When she exceeded
the local artist’s expectations, he went so far as to give her a paid
position as his engraving apprentice. The young Kahlo, however,
had her sights set on medical school. Tragically, both her
apprenticeship and her education were cut short when she fell
victim to a near-fatal automobile accident at the age of 18.
During her time convalescing, the pragmatic Kahlo considered a
career as a medical illustrator that would turn her artistic hobby into something more. She
had an easel custom made with a mirror so she could watch herself paint despite her
limited mobility, which led to self-portraits and the observation of her own anatomy.
Fittingly, as she developed her style, Kahlo found herself drawn not to methods of
illustration, but of personal expression. She began to fuse modern formal devices with
Mexican folk traditions and the sort of vernacular Catholic imagery produced by untrained
artists.
Kahlo’s interest—both personal and intellectual—in questions of Mexican identity led
her to wear local garments and to fashion herself as a Mexican-German mestiza in ways
that are reflected in the numerous self-portraits she produced during her life. Her
techniques, however, and the folk arts she cherished, were also intimately linked to her
understanding of what constituted avant-garde art—namely, a resistance and alternative
to academic art training that could be found in local art practices.
D. Bill Traylor
Writing about the self-taught artist Bill Traylor
in 2013, New York Times art critic Roberta Smith
painted a somewhat grim picture: “Bill Traylor’s
talent surfaced suddenly in 1939 when he was 85
and had 10 years to live.” Born into slavery on an
Alabama plantation in 1854, Traylor didn’t receive
a formal education in anything, let alone an
embrace from an art world he was never expected
to inhabit. Even after being emancipated at the end
of the Civil War, he was forced to remain a sharecropper in the Jim Crow South. He only
moved to another farm in 1935 because, as he put it, “My white folks had died, and my
children had scattered.”
Forced into retirement by rheumatoid arthritis, Traylor wound up homeless and
sleeping in the back room of a funeral parlor by the 1930s. Lacking the means to support
himself, he began creating small drawings and paintings with whatever materials he was
able to scrounge. When a young artist named Charles Shannon came upon Traylor’s work
by chance in 1939, he supplied him with fresh materials, appreciation, and
encouragement—fuel for Traylor, who became incredibly prolific, filling image after image
with simplified figures of people, places, and other symbols connected to his personal
experiences. The body of work he would create in a limited time with extremely limited
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means is celebrated for its innovative, untutored aesthetic, as well as the artistic window
it created into the strictures of black life in the South during the Reconstruction era.
E. Grandma Moses
Discovered at the age of 78, Anna Mary Robertson “Grandma”
Moses made art throughout her life, though she received no formal
education. A small-town housekeeper-turned-homemaker, she
was, according to her New York Times obituary from 1961, “a self-
taught ‘primitive,’ who in childhood began painting what she called
‘lambscapes’ by squeezing out grape juice or lemon juice to get
colors.” In her young adulthood, she copied scenes from images
produced by the American printmaking firm Currier and Ives. As
her family developed, Moses’s art grew more domestic, or at least what one might call
decorative: a painted scene on her family’s fireboard; embroidered images made from
yarn; large quilts; dolls for her granddaughters.
In fact, had Moses not developed arthritis in her later years, she may not have switched
from her sewing needles back to the easier paintbrush of her youth. Nevertheless, she
became extremely prolific, and is said to have produced over 1,500 works representing
the simplicities of a bygone era in direct, bright, and realistic imagery. Her rise to fame
occurred when an art collector found a handful of her works in a drugstore window, playing
the unassuming backdrop for baked goods and jams that she also made for sale.
The following year, in 1939, three of those paintings were included in the Museum of
Modern Art’s “Contemporary Unknown American Painters” exhibition, and just one year
after that, Moses had her own successful solo show. By the time of her death in 1961, she
had become the self-taught grandmother of American folk art and was awarded two
honorary doctoral degrees, including (ironically enough) one from a college of art and
design.
F. Henry Darger
From 1930 until his death in 1973, Chicago hospital custodian
Henry Darger spent the majority of his leisure time in his
apartment, laboriously and lovingly writing and illustrating what
would become his magnum opus. Comprising 15,145 pages and
hundreds of illustrations, In the Realms of the Unreal tells the story
of the Vivian Girls: child princesses of a Christian nation who help
engineer a revolt against a system of slavery imposed by an evil
empire.
Working with a blend of watercolor and collage made from
popular magazines and coloring books, he obsessively portrayed
the deeds of his heroines, whose actions are interposed with tragic
suffering and torture at the hands of their exploiters. In his fantastic narrative, the Vivian
Girls recall the gruesome stories of early Catholic saints, but are rendered like comic book
characters or young girls from advertising images.
Darger did not receive formal art training; his style was influenced visually by popular
culture, and thematically by his troubled upbringing. Sent to a Catholic orphanage at age
8 and institutionalized at age 13 in the Illinois Asylum for Feeble-Minded Children, Darger
self-identified as both an artist and a “protector of children.” When he passed away at age
81, both designations were carved onto his tombstone. Against the odds, Darger produced
a modern epic and is celebrated for his innate talent, his often-transgressive subject
matter, and his dogged determination to pursue his vision.
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G. Yoko Ono
While Yoko Ono’s musical father ensured that his daughter
received classical training at the piano, she didn’t receive any
tutelage in the visual arts. After graduating high school, Ono
applied to study philosophy at Gakushuin, a prestigious private
university in Tokyo. After two years, she left the school to join her
family, who had moved to New York. She enrolled at Sarah
Lawrence College in the 1950s to pursue her considerable talent
in musical composition, which afforded her the opportunity to
enter the city and rub elbows with artists at a time when poets,
visual artists, musicians, choreographers, and other performers
were feverishly collaborating on multimedia, cross-disciplinary works of art.
Enrolling in John Cage’s experimental composition course at the New School for Social
Research, Ono discovered that her musical background was more than enough to
recommend her to the avant-garde community there, which included composer-poet La
Monte Young, Conceptual artist George Brecht, and performance artist Allan Kaprow.
It was an environment in which Ono thrived. Despite (or, perhaps, because of) her
lack of a formal art education, Ono’s work nimbly synthesizes a wide array of visual
components and theoretical ideas, most notably in her performances. And while her art
and music career certainly received a signal boost from marrying
one of the world’s most famous musicians in 1969, Ono never
required his assistance any more than she required formal training
in an art academy to become a groundbreaking and world-
renowned self-taught artist.
H. Thornton Dial
Thornton Dial was born in 1928, the heir to a family of
impoverished black sharecroppers in Alabama. He didn’t attend a
proper school until he was 13 years old, and even then, he was
embarrassed to be placed at the second-grade level. Large for his
age and conditioned to hard physical labor, Dial began skipping
school to work and make money. In his adult life, he worked in a factory making railroad
cars until it closed in 1981, at which point he began making art as a hobby.
This early experience in manual labor formed a basis for Dial’s self-education in
materials and techniques, which he deployed in semi-figurative, semi-abstract work that
would later evolve into large, often-monumental assemblages, which can be considered
of a piece with the Southern bricolage tradition. “My art is the evidence of my freedom,”
Dial said in an interview in the mid-1990s. “When I start any piece of art I can pick up
anything I want to pick up. I start with whatever fits with my idea, things I will find
anywhere.”
Dial was a keen diagnostician of the systematic ills he saw in American society. Themes
of racism, sexism, and poverty surface regularly in his work through materials that evoke
harsh living conditions, and titles that reference political events, historic places, and
Christian scripture. He is remembered for his formal ingenuity and the emotional power
of his vivid, sometimes-towering forms, which sucked everyday objects from his life into
their orbit, and turned them into something extraordinary.
3.7. Form and Content
Two basic considerations we need to be acquainted with are form: the physical and
visible characteristics inherent in works of art, and content: the meaning we derive from
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them. Formal distinctions include a work’s size, medium (painting, drawing, sculpture or other
kind of work) and descriptions of compositional elements such as the lines, shapes and colors
involved. Issues of content include any visual clues that provide an understanding of what the
art tells us. Sometimes an artwork’s content is vague or hidden and needs more information
than is present in the work itself. Ultimately these two terms are roped together in the climb
to understand what art has to offer us.
Art is a combination of form and content.
1. Form is the physical manifestation of the artwork. It answers these types of

questions:
 What is it made out of (the medium)?
 What techniques are used?
 How were the design elements and principles used?
 What is the style (abstract, impressionistic, etc)?
2. Content is the essence of the artwork. It answers these types of questions:

 What is the subject/theme?
 What is the context?
 What is the meaning/intention?
 Why was this artwork created?
3.8. Iconography
The iconography of an artwork is the imagery within it.
The term comes from the Greek word ikon meaning “image.” An icon was originally a
picture of Christ on a panel used as an object of devotion in the orthodox Greek Church from
at least the seventh century on. Hence the term icon has come to be attached to any object
or image that is outstanding or has a special meaning attached to it.
An iconography is a particular range or system of types of image used by an artist or

artists to convey particular meanings. For example in Christian religious painting there is an
iconography of images such as the lamb which represents Christ, or the dove which represents
the Holy Spirit. In the iconography of classical myth however, the presence of a dove would
suggest that any woman also present would be the goddess Aphrodite or Venus, so the
meanings of particular images can depend on context.
In the eighteenth century William Blake invented a complex personal iconography to

illustrate his vision of man and God, and much scholarship has been devoted to interpreting
it. In the twentieth century the iconography of Pablo Picasso’s work is mostly
autobiographical, while Joseph Beuys developed an iconography of substances such as felt,
fat and honey, to express his ideas about life and society. Iconography (or iconology) is also
the academic discipline of the study of images in art and their meanings.
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EXERCISES
DIRECTIONS: Identify the following. Write your answers in the spaces provided.
___________1. It is a particular range or system of types of image used by an artist or artists

to convey particular meanings.
___________2. It is the physical manifestation of the artwork.
___________3. He is one of the most influential modern artist of the modern era.
___________4. An artist who grew up in the era of the French Impressionists and Post-
Impressionists.
___________5. He explains that art is a dynamic human experience that involves both the
artist and the audience.
___________6. It focuses on the process of forming original ideas through exploration and
discovery.
___________7. A careful investigation of the qualities which belong to objects and events
that evoke an aesthetic response.
___________8. It often described as seeing words as a series of pictures.
___________9. A combination of form and content.
___________10. The essence of the artwork.
END OF TOPIC 3
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Topic 4: THE ELEMENTS AND ORGANIZATION

1. Define artwork analysis;
2. Differentiate elements of art and principles of art; and
3. Understand the elements of music.
NOTES:
4.1. Elements of Visual Arts
A. Introduction
In order to understand any field, it’s important to have a solid foundation from to
grow. For visual art, this means understanding the elements of art. These creative
building blocks are essential and having a grasp on how they work is important both for
artists and for lovers of art. By gaining a deeper understanding of the elements of art,
it’s easier to analyze, unravel, and create any type of artwork from painting and
photography to sculpture and architecture.
Line, color, shape, form, value, space, and texture are the seven core elements of
art and they often overlap and inform one another. Whether talking about drawing,
painting, sculpture, or design, these components of art all need to be taken into
consideration.
B. Seven Elements of Art
1. LINE. These marks span a distance between two points and can be straight or
curved. In visual art, lines don’t only need to be made with marks and outlines.
They can also be implied or abstract. Whether two-dimensional or three
dimensional, there’s no denying that lines have a huge impact on the rest of the
elements of art. They can be used to create shape and form, as well as give a
sense of depth and structure. Lines are foundation of drawing and are a powerful
tool unto themselves.
2. COLOR. By working with hue, value, and intensity-three building blocks of color-
artists can tap into a wide range of emotions. There’s nothing that changes an
artwork’s emotional impact more than color. Masters like Van Gogh, Monet,
Toulouse-Lautrec all expertly manipulated color in their art to provoke different
feelings. Color can be used symbolically or to create a pattern.
3. SHAPE. The result of closed lines, shapes are two-dimensional, flat, and only have
height and width. Geometric shapes like circles and squares are mathematical and
precise, while organic shapes take cues from nature and tend to be curved and
abstract. Shapes can be used to control how we perceive a composition.
4. FORM . When a shape acquires depth and becomes three-dimensional, then it takes
on form. Cylinders, pyramids, and spheres are some of the common forms, though
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they can also be amorphous. In sculpture, form is of the utmost importance,

though it can easily be introduced into drawing and painting using 3D art technique.
5. VALUE. Related to color, value is the lightness and darkness of a color. The lightest
value is white and the darkest value is black, with the difference between them
defined as the contrast. Playing with value can not only change certain forms, but
also influence the mood of the artwork.
6. SPACE. This element of art can be manipulated based on how an artist places lines,
shapes, forms, and color. The placement of these other elements creates space.
Space can be either positive or negative. Positive space is an area occupied by an
object or form, while negative space is an area that runs between, though, around,
or within objects.
7. TEXTURE. Texture is an element of art that also plays to our sense of touch. It’s
defined as a description of the way something feels or looks like it would feel. Other
times, the texture is an implied visual texture that is two-dimensional. Smooth,
rough, hard, soft, furry, fluffy, and bumpy are just some different textures that
evoke different responses.
4.2. Elements of Music
A. Music
Music, art concerned with combining vocal or instrumental sounds for beauty
of form or emotional expression, usually according to cultural standards of rhythm,
melody, and harmony.
B. Elements of Music
1. Melody. The pitch of a note refers to its highness or lowness on the musical scale;
the melody of a song is the manner in which notes of varying pitches are put
together in sequence. The melody is often the element that most people remember
after hearing a song. A conjunct melody is smooth and easy to play, while a disjunct
melody is disjointed or jumpy and more difficult to play.
2. Harmony. Harmony refers to notes of different pitches played at the same time,
as in musical chords. Consonance describes a smooth-sounding combination of
notes and dissonance describes a combination of notes that sounds harsher.
3. Rhythm. Rhythm refers to how the time is observed and controlled in music. It
includes things such as meter, which is how the beats are organized into accent
patterns of strong and weak beats, and tempo, which is the speed of the beats. It
also includes the duration of the notes and the slowing or speeding of the tempo
during a song.
4. Dynamics. Dynamics describe the loudness or quietness of a song and the
transition between the two. Dynamics includes a number of musical terms, such
as the directions "piano" and "forte," which are used in music to mean "soft" and
"loud," respectively. A musician can also accent a note, emphasizing it by hitting it
harder than the surrounding notes.
5. Tone Color. Tone color, also called timbre, refers to the way the same note can
have different sound qualities on different instruments. For instance, a singer will
produce a note that sounds very different from the same note played on a piano
or a violin, even when they're the same pitch. Similarly, a note played in the upper
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register of an instrument can have different sound qualities than the same note
played in the lower register.
6. Texture. The texture of a piece of music refers to the number of different musical
lines it has. A common song construction has a melody line and an accompaniment.
This is known as a homophonic texture. Playing multiple melodies at the same time
is known as a polyphonic texture.
7. Form. The form of a song describes how the larger parts of it are put together;
this is sometimes described as the “architecture” of the song. For instance, a single
musical verse repeated over and over with different lyrics is known as strophic
form. Ternary form describes a three-part piece of music in which the first and
third parts are the same, but the middle part is different.
4.3. Literary Types or Genre
A. Fiction
One of the most popular genres of literature, fiction, features imaginary characters
and events.
This genre is often broken up into five subgenres: fantasy, historical fiction,
contemporary fiction, mystery, and science fiction. Nonetheless, there are more than just
five types of fiction, ranging from romance to graphic novels.
1. In fantasy, the characters or settings could not exist in the world as we know it
because they require a sort of “magical” element.
The Harry Potter and Twilight series are popular examples.
2. Historical fiction, however, features made-up stories that accurately portray life
during a particular period in history.
Examples include books such as The Da Vinci Code or The Boy in the Striped
Pajamas.
3. Similar to historical fiction is the subgenre of contemporary fiction.
In this category, stories take place in the present day and characters encounter
modern day difficulties and issues.
The Hate U Give and Sisterhood of the Traveling Pants are popular
contemporary fiction novels.
4. Another popular subgenre of fiction is mystery. In these suspense-filled stories,

characters use various clues to solve crimes or uncover a culprit.
The Nancy Drew and Sherlock Holmes novels are prime examples of the
mystery genre.
5. The last subgenre of fiction is science fiction.
In these types of stories, authors and readers explore new and exciting realities
made possible by imagined technologies or social changes.
Star Wars is one of the most famous examples.
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B. Nonfiction
Unlike fiction, nonfiction tells the story of real people and events. Examples include
biographies, autobiographies, or memoirs.
C. Drama
Another popular category of literature, known as drama or play, is a story created

specifically for a stage performance.
The most renowned author of drama was William Shakespeare—the writer

of Macbeth, Hamlet, and Romeo and Juliet.
More modern plays include A Streetcar Named Desire and A Raisin in the Sun.
D. Poetry
The fourth genre of literature is poetry. In this style of writing, words are arranged in
a metrical pattern and often (though not always) in rhymed verse.
Renowned poets include e.e. cummings, Robert Frost, and Maya Angelou.
E. Folktale
Another beloved genre of literature is folktale. Folktale, which is also referred to as
mythology, tells stories of originally oral literature and are meant to pass on particular
moral lessons.
These tales often have a timeless quality, dealing with common concerns that are
relevant despite the time period.
4.4. Elements of Dance
A. Body
In dance, the body is the mobile figure or shape, felt by the dancer, seen by others.
The body is sometimes relatively still and sometimes changing as the dancer moves in
place or travels through the dance area. Dancers may emphasize specific parts of their
body in a dance phrase or use their whole body all at once.
When we look at a dancer's whole body we might consider the overall shape design;
is it symmetrical? twisted? What part of the body initiates movement?
Another way to describe the body in dance is to consider the body systems—muscles,
bones, organs, breath, balance, reflexes. We could describe how the skeletal system or
breath is used, for example.
The body is the conduit between the inner realm of Intentions, ideas, emotions and
identity and the outer realm of expression and communication. Whether watching dance
or dancing ourselves, we shift back and forth between the inner/outer sense of body
B. Action
It is any human movement included in the act of dancing— it can include dance steps,
facial movements, partner lifts, gestures, and even everyday movements such as walking.
Dance is made up of streams of movement and pauses, so action refers not only to steps
and sequences, but also to pauses and moments of relative stillness.
Dancers may use movements that have been choreographed or traditional dances
taught by others who know the dances. Depending on the dance style or the
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choreographer's decision, dancers may also revise or embellish movement they have
learned from others.
Movement can also be improvised, meaning that the dancers make it up "on the spot"
as they spontaneously dance. Movement that travels through space is broadly called
locomotor movement in contrast to axial movement, which occurs in one spot.
C. Space
Dancers interact with space in myriad ways. They may stay in one place or they may
travel from one place to another. They may alter the direction, level, size, and pathways
of their movements.
The relationships of the dancers to each other may be based on geometric designs or
rapidly change as they move close together, then apart. Even when a dancer is dancing
alone in a solo, the dancer is dynamically involved in the space of the performing area so
that space might almost be considered a partner in the dance.
Dancers may focus their movement and attention outwardly to the space or inwardly,
into themselves. The line of travel may be quite direct towards one or more points in space
or indefinite and meandering. Dancers may also orient their movement towards objects
or in relation to natural settings. Sometimes dances are created for specific locations such
as an elevator or on a raft in a lake for site-based performances.
Spatial relationships between dancers or between dancers and objects are the basis
for design concepts such as beside, in front of, over, through, around, near or far.
D. Time
The keyword for the element of time is When? Human movement is naturally
rhythmic in the broad sense that we alternate activity and rest. Breath and waves are
examples of rhythms in nature that repeat, but not as consistently as in a metered
rhythm.
Spoken word and conversation also have rhythm and dynamics, but these timing
patterns are characteristically more inconsistent and unpredictable.
Rhythmic patterns may be metered or free rhythm. Much of western music uses
repeating patterns (2/4 or 3/4 for example), but concepts of time and meter are used
very differently throughout the world. Dance movements may also show different timing
relationships such as simultaneous or sequential timing, brief to long duration, fast to slow
speed, or accents in predictable or unpredictable intervals.
Time may also be organized in other ways including
 Clock time: The dance is based on units of seconds, minutes, and/or hours. For
example, a certain section of a dance may be assigned a time such as 30
seconds into which all the choreographed movement must fit. A performance
in a public setting may be set up to repeat continuously between 12:00 Noon
and 1:00 PM.
 Sensed time: Dancers pick up on each other's timing such as gradually
increasing from a walking tempo to a running tempo by cueing off each other
rather than a music score. Another example happens when dancers hold a
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group shape then spontaneously move out of it based on the group's organic
impulse.
 Event-sequence: An internal or external event signals a change such as
repeating a traveling phrase over and over until everyone arrives at a corner
of the stage. You also see this at sports events when a touchdown triggers a
dance cheer.
E. Energy
Energy is about how the movement happens. Choices about energy include
variations in movement flow and the use of force, tension, and weight. An arm gesture
might be free flowing or easily stopped, and it may be powerful or gentle, tight or
loose, heavy or light. A dancer may step into an arabesque position with a sharp,
percussive attack or with light, flowing ease. Energy may change in an instant, and
several types of energy may be concurrently in play.
Saying that a dance "has a lot of energy" is misleading. ALL dances use the
element of energy, though in some instances it may be slow, supple, indirect energy
- not the punchy, high speed energy of a fast tempo dance.
Energy choices may also reveal emotional states. For example, a powerful push might
be aggressive or playfully boisterous depending on the intent and situation.
Some types of energy can be easily expressed in words, others spring from the
movement itself and are difficult to label with language. Sometimes differences in the
use of energy are easy to perceive; other times these differences can be quite subtle
and ambiguous. Perhaps more so than the other elements, energy taps into the
nonverbal yet deeply communicative realm of dance.
4.5. Elements of Cinema
A. Plot
“A good story well told” includes 8 core elements. In this article, I tried to summaries
this core elements in my own way. Hope you enjoy your reading. This is only an
introduction to the world of cinematic storytelling. So here are the eight narrative elements
of a motion film:
Plot defines the narrative summary or story synopsis of a film. Here sequence of events
are arranged. According to Forster, “The king died, and then the queen died, is a story,
while The king died, and then the queen died of grief, is a plot.” This wonderful quote
refers that plot does not include only memorable scenes but also major events that move
the action in a narrative. These major events give us the feeling of the forward motion of
the story. We came to know by these major events rest of the story and move ahead.
B. Structure
“A story should have a beginning, a middle, and an end, but not necessarily in that
order.” This great quote from Jean-Luc Godard is probably the easiest way to understand
the importance of structure. Also, the pleasures of structure in the movie are more vivid
and effective than the descriptions of any other form. From Citizen Kane to Psycho, Bicycle
thieves to Pulp Fiction, Memento to Fight Club directors have played with time, the plot
takes a turn and the audience is constantly challenged.
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The filmmakers of these films involve a great game by following a proper structure.
Determining the correct structure for your story is like deciding on how to dress yourself
for a certain ceremony. So, structure is important. It is not like that only non-linear
structure is creative one to tell a story. According to my personal opinion, I like simple
linear narrative like Satyajit’s ‘Pather Panchali’ How simply and beautifully the story line
moves ahead. Detail and descriptive scenes and story structure make this film worthy to
win international recognition.
C. Characterization
The purpose of different characters determines the trajectory of events and the key to
understanding the characters and their behavior. We are obsessed to create heroes we
can look for, heroes we can admire, care for, whose victories are important to us, whose
losses we hate to endure.
The most common tactics for several great stories about creating an unforgettable,
related, desirable hero and building him or her face as a ruthless, mean, unforgiving
attitude towards antagonist. It is a unbreakable common practice while characterization
of a film. It’s not about just the protagonist of a story that has a certain purpose.
The other major characters have their own desires. You need to add a perfect blend
and interesting ensemble of supporting characters. So proper characterization is one of
the key elements of a film.
D. Scenes
Scenes from great movies create unforgettable moments that have earned the status
of iconography in movie history. Scene is the building block of the screenplay, the most
basic unit of which has its own independent, whole existence. Everything that happens in
one place in the film is a scene. The moment you change the position or location, jump
time then you enter a new scene.
This great power of a scene can actually make you feel that “you were there” is what
makes the movie a “live” emotional experience. Do you remember the memorable scene
of Rose and Jack in Titanic? Standing together with wide arms on the bow of the ship as
it pierces the heart of the mighty ocean is a scene that will live forever. There are many
remarkable scenes of many famous films. These scenes are as powerful as a movie can
be one of the biggest inspirations for the creative genius involved in the tedious filming
process.
E. Visuals
Among all the above described elements, probably visual is the most unique one that
is highly integral to motion pictures. Visual is another aspect of the screenplay that must
be dealt with-what the audience sees, and how they see it. In addition to the story being
seen as real and inviting, movie visuals transcend time and cultural boundaries.
It is important to mention ‘Visuals’ as one of the narratives of the movie, although its
portrayal depends largely on the shooting of the film. At first film writer needs to
understand the visual potential of this medium. Great and unforgettable visuals can never
be created unless the film writer imagines it first. The starting point of how a film story is
shown to the audience is in the script. Then a wise director looks there first for clues on
how to compose individual shots, or for the overall visual design.
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F. Dialogue
Dialogue carries a tremendous burden as an element of a film. There is endless variety
in the dialogue of different periods and different screen writers. Two screenwriters never
write exactly the same kind of dialogue. But there are certain features that are common
to any good conversation from any writer. Good, effective dialogue arises from character,
situation and conflict. It reveals the character and takes the story ahead.
In a film, dialogue must reflect the speaker’s mood, convey his or her emotion, or
provide some window into his or her inner life. It must often reveal the speaker’s
motivation or an attempt to hide his or her motivation. Furthermore, it must reflect the
relationship of the speaker to the other characters. Last but not the least, dialogue as a
film element should be clear and comprehensible to the audience.
G. Conflict
Conflict is an element that seems to be a necessary element of every powerful dramatic
work on stage or in screen. Without conflict we don’t have a story that will hold the
audience. Conflict is that engine that drives one story forward. It provides the power and
movement of the story. Without conflict the listener remains indifferent to the events
depicted on the screen. No film story can come to life without conflict. The conflict is the
bread and butter of any film.
The more audiences you can engage with in the conflicting situations of your
characters, the more problems you can create for your heroes and overcome them one
by one, the more successfully your storytelling will be. Just think once in ‘Bicycle Thieves’
film if the bicycle wasn’t stolen, in ‘Titanic’ if the ship reached its destination smoothly, in
‘Citizen Kane’ if Charles Foster Kane wasn’t stubborn and arrogant, if he was so
sophisticated and emotional the stories would be so dull! The audience would not keep in
mind these films. So, the need of conflict in a film can’t be denied.
H. Resolution
Particularly in a film the ending is very important because hundreds of people react
instantly coming out of the theater. At the beginning screenwriters often make confusion
with the culmination and make audience think that there is only one “climax” to a film
story. But the main tension is the conflict solely of the second act. When it is resolved at
the culmination, this creates a new tension, which, can be stated simply as “What will
happen next?” which leads directly toward the resolution of the whole story.
For example, in Chinatown, the main tension is not “Will lake help Evelyn and her
daughter escape the clutches of Noah Cross?” At the time the main tension is established,
we don’t know enough to hope or fear about that. The main tension is more “Will lake be
able to find out who and what are behind the trick played on him, which led to his
embarrassment?” This is what lake spends the second act trying to unravel; obstacles to
this quest to solve the mystery create the bulk of the story. Once the mystery is completely
solved and he knows all about Evelyn, Noah, the daughter, and who killed Hollis Mulwray,
then a new tension is created: “Will Jake be able to help Evelyn and her daughter escape
from the clutches of Noah?” The resolution of that third act tension is that he is not able,
Evelyn dies, and Noah takes his daughter.
There is no hard and fast rules of filmmaking. But presence of some essential elements
in a film can make the masterpiece. Above described are the basic ones. There are more
tools and elements while telling a story on screen. I personally believe that every story
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that is well told carries a moral or theme even if the script writer wants to express it or
not.
EXERCISES
DIRECTIONS: Arrange the jumbled letters to create a word. Write your answers in the spaces
provided.
_________________1. IONURSLEOT
______________2. F O N T L I C C
______________3. S L A U S I V
______________4. T E Z A R I N O I T A C A R H C
______________5. C U R E S U T T R
______________6. I N O A C T
______________7. E L A T L O K F
______________8. C I F I O N T O N N
______________9. Y N S A T A F
______________10. T T U E R X E
END OF PRELIM MODULE
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References
BOOKS:
Eristain, T. et al, (2003). Art: Perception and Appreciation. Goodwill Trading Inc.
Boongaling, C.C. et al, (2018). Art Appreciation. Mutya Publishing House Inc.
ONLINE:
https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-2/
https://filmask.com/what-are-the-8-elements-of-film/
https://www.elementsofdance.org/energy.htm
https://www.makebigart.com/form-and-content/
https://tophat.com/glossary/v/visual-thinking/
http://vjic.org/vjic2/?page_id=2793
https://courses.lumenlearning.com/masteryart1/chapter/oer-1-11/
https://www.enotes.com/homework-help/what-is-the-meaning-of-art-as-experience-
91283
https://www.artsy.net/article/artsy-editorial-8-famous-artists-self-taught
https://www.tate.org.uk/art/art-terms/i/iconography
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COO – FORM 12

INSTRUCTOR: CZAIRA JUNICE N. CABARON, LPT
SUBJECT CODE: HUM 1
MIDTERM MODULE
Topic 1: PRINCIPLES OF DESIGN

1. Define design.
2. Differentiate the kinds of design.
3. Identify the principles of design.
NOTES:
1.1. Definition of Design

DESIGN – the overall organizational visual structure of the formal elements in
a work of art. The proper arrangement of the different art elements in order to produce
something beautiful.
1. STRUCTURAL DESIGN – shows strength and durability of materials. This kind of

design should meet such requirements as simplicity, proportionality and suitability
of materials to the purpose. Examples are monument, buildings, bridges and
towers.
2. DECORATIVE DESIGN – the surface enrichment of a structural design. Its
principal function is to enhance beauty, so it is called “luxury of the design”.
Variety of Decorative Design

 Naturalistic Design is one which is the exact replica of natural form.
 Conventional Design is one which is a result of the impression of natural
form.
 Geometric Design is produced with the aid of mechanical instruments.
 Abstract Design is one which uses suggestions of natural objects.
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Design is all around us. As human beings, we interact with design on a daily
basis whether we realize it or not. From your favorite band’s album cover, to the poster
of that movie you can’t wait to see. Everything man-made you touch has been
designed.
What makes good design? Aesthetically, design can be just as subjective as art
hanging in a museum gallery, but looks aren’t everything. Yes, beauty draws the
viewer in and can retain some attention, but design’s main purpose is to serve a
function, solve a problem, or both. The messaging and functionality are what’s
important – the aesthetics merely drive the point home.
These principles of design highlight the fundamental aspects of what makes

design not only appealing to the eye, but functional and useful for our everyday use.
1.2. PRINCIPLES OF DESIGN

A. Unity
The way elements are arranged so

that the image is seen as a whole and overall,
creates a visually compelling composition is
unity.
Unity is the feeling of harmony
between all parts of the work of art, which creates a sense of completeness.
B. Variety
Variety is the use of several

elements of design to hold the
viewer’s attention and to guide the
viewer’s eye through and around
the work of art.
Creating visual interest will keep
viewers engaged with your design. Holding their attention and guiding them through
the composition will create a powerful user experience. Variety adds something
interesting to the composition to create contrast and tension. For instance, mixing
organic shapes with geometric shapes adds variety. This concept should reinforce the
message you are trying to communicate in your design—otherwise, it can look
pointless.
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C. Emphasis
Emphasis is the art principle

by which the eye is carried first to
the most important thing in any
arrangement, and from that point to
every other detail in order of its
importance.
Emphasis is the part of the design that catches the viewer’s attention. Usually
the artist will make one area stand out by contrasting it with other areas. The area
could be different in size, color, texture, shape, etc.
D. Focal Point
Focal points are also

elements or areas of dominance,
just not to the same degree as your
one dominant element, which could
be defined as your most dominant focal point. Focal points are areas of interest,
emphasis or difference within a composition that capture and hold the viewer’s
attention.
The focal points in a design should stand out but should be noticed after the
element with the most dominance. The graphic below shows a lone circle amid a sea
of mostly gray squares. The circle is not only a different shape, but is larger and bright
red. It’s likely the first thing your eye notices in the graphic.
E. Balance
Balance is a feeling of equality in

weight, attention, or attraction of the
various elements of design. It is the
quality of two contrasting forces having
two opposite directions. In this
principles, the law of rest is always
applied. It suggest stability, security,
satisfaction, rest and peace.
Balance is the distribution of the visual weight of objects, colors, texture, and
space. If the design was a scale, these elements should be balanced to make a design
feel stable. In symmetrical balance, the elements used on one side of the design are
similar to those on the other side; in asymmetrical balance, the sides are different but
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still look balanced. In radial balance, the elements are arranged around a central point
and may be similar.
F. Proportion
Proportion is the feeling of

unity created when all parts (sizes,
amounts, or number) relate well
with each other. When drawing the
human figure, proportion can refer
to the size of the head compared to
the rest of the body. In art and
drawing, proportion is important for the elements to look realistic. Proportion doesn’t
necessarily refer to the size of one element but to the relationship of two or more
elements.
Proportion is the relationship of two or more elements in a design and how they
compare with one another. Proportion is said to be harmonious when a correct
relationship exists between the elements with respect to size or quantity
G. Rhythm
Rhythm is created when one or

more elements of design are used
repeatedly to create a feeling of
organized movement. Rhythm creates a
mood like music or dancing. To keep
rhythm exciting and active, variety is
essential.
Rhythm is the visual tempo of a combination of elements when used repeatedly,

and with variation, it gives the feeling of organized movement.
Rhythm is usually hidden in works of art and is not as obvious as the design
principles of repetition and pattern.
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H. Harmony
Harmony is the sense of

cohesiveness between the
elements in a composition. The
elements shouldn’t be exactly the
same or completely different but
related in some way. Color palettes
or similar textures can create a
sense of unity between different
components. Using similarly shaped items will create harmony because they will seem
related.
Not enough or too much harmony can make a design dull; there needs to be
some kind of variety for it to be visually interesting.
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Exercises for Topic 1

DIRECTION: Identify what principle of design each picture below.
1.
2.
3.
4.
5.
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Topic 2: THE MEDIUMS OF THE ARTS
LEARNING OBJECTIVES
1. Understand what medium is.
2. Appreciate the importance of mediums in arts.
3. Identify the Mediums of Music.
4. Differentiate the Mediums of Visual Arts.
5. Recognize the mediums of performance arts.
6. Know what the medium of literature is.
NOTES
2.1. Definition of Medium
Medium comes from the Latin word medium, denotes by which an artist
communicates his idea.
It is the stuff out which he creates a work of art.
These are the materials which the artist uses to translate his feelings or thought
into a beautiful reality.
2.2. The Mediums of Visual Arts
VISUAL OR SPACE ARTS – are those whose mediums can be seen and which occupy
space.
A. Classes of Visual or Space Art
Dimensional or two - dimensional – arts which include painting, drawing,

printmaking, and photography
Three – dimensional – arts include sculpture, architecture, landscape,
community planning, industrial design, and the crafts like ceramics and furniture-
making.
 WATERCOLOR – artists’ paint made with a water-soluble binder such as gum

Arabic, and thinned with water rather than oil, giving a transparent color.
 FRESCO – this is painting on a moist plaster surface with colors ground in water
or a lime water mixture. It must be done quickly because it is an exacting
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medium - the moment the paint is applied to the surface, it becomes an integral
part of the wall.
 TEMPERA – are mineral pigments mixed with egg yolk or egg white or ore.
They are often used as binder due to its film forming properties and rapid drying
rate. * It is a medium well designed for careful detail.
 PASTEL – this is a stick of dried paste made of pigments ground with chalk
and compounded with gum water.
 ENCAUSTIC – this is one of the early mediums used by the Egyptians for the
painted portrait on mummy cases. This is done by painting with wax colors
fixed with heat.
 OIL – oil painting is one of the most expensive art activities today because of
the prohibitive cost of materials. In oil painting, pigments are mixed with
linseed oil and applied to the canvas. * Painting done in oil is glossy and lasts
long.
 ACRYLIC – this medium is used popularly by contemporary painters because

of the transparency and quick drying characteristics of water color and the
flexibility of oil combined. This synthetic paint is mixed with acrylic emulsion as
binder for coating the surface of the artwork.
 MOSAIC – mosaic art is a picture or decoration made of small pieces of inlaid

colored stones or glass called “tesserae”, which most often are cut into squares
glued on a surface with plaster or cement.
 STAINED GLASS – common in Gothic cathedrals and churches. This is made

by combining many small pieces of colored glass which are held together by
bands of lead. It is also a kind of patchwork.
 TAPESTRY – this is a fabric consisting of a warp upon which colored threads

are woven by hand to produce a design, often pictorial and for wall hangings
and furniture covering.
 DRAWING – usually done on paper, using pencil, pen and ink, or charcoal. It
is the most fundamental of all skills necessary in the arts.
 BISTRE – is a brown pigment extracted from the soot of wood, and often used
in pen and wash drawings.
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 CRAYONS – are pigments bound by wax and compressed into painted sticks
used for drawing especially among children in the elementary grades
 CHARCOAL – these are carbonaceous materials obtained by heating wood or

other organic substances in the absence of air. Charcoal is used in representing
broad masses of light and shadow. Like drawing pencils, soft charcoal produces
the darkest value while the darkest produces the lightest tone.
 SILVERPOINT – in this medium, the artist has technique of drawing with a

silvers stylus on specially prepared paper to produce a thin grayish line that
was popular during the renaissance period.
 PRINTMAKING – a print is anything printed on a surface that is a direct result

from a duplicating process. Ordinarily, the painting or graphic image is done in
black ink on white paper and becomes the artist’s plate.
2.3. The Mediums of Music
Music is the art of arranging sounds in time to produce a composition through

the elements of melody, harmony, rhythm, and timbre.
It is one of the universal cultural aspects of all human societies.
A. Stringed Instruments
 VIOLIN – is the smallest of the stringed instruments and has the highest pitch.
The cello is much larger than the violin and has longer thicker and heavier
strings. The viola and the violin are played by tucking the instruments under
the chin of the musicians when they are playing. The cello is bigger than the
violin and the viola. It rests on the floor when is played. The large protruding
pin at its base holds it firmly on the floor.
 DOUBLE BASS - is the longest of the string instruments and has the lowest
pitch. The distinguishing feature of the string instruments is that the smallest
the size, the higher is pitch; and the larger it is, lower is pitch.
 HARP - is one of the oldest string instruments consisting of a triangular frame

formed by a sound box, a pillar and a curved neck, and having strings that are
stretched between the sound box and the neck and are plucked with fingers.
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 GUITAR - is a stringed musical instrument with along fretted neck, a flat

somewhat violin – like body and has six strings which are plucked with the
fingers. This is a part of jazz bands and very seldom used in orchestras.
Woodwinds
 FLUTE – is a musical instrument consisting of a tube with a series of finger

holes or keys in which the wind is directed against a sharp edge. The flute
produces a melodious sound, and so it often plays solo parts in orchestral
compositions in a concert.
 CLARINET – is a woodwind instrument in the form of a cylindrical tube with a

single reed attached to its mouthpiece. It has a wide range and usually plays
the alto part when the flute plays the melody.
 PICCOLO – is a small flute, sounding an octave higher than the ordinary flute.
 OBOE - is a woodwind instrument having a slender conical body and a double-

reed mouthpiece. The tone of the oboe is nasal.
 BASSOON - is a larger woodwind instrument of low range with a double tube

and a curved metal crook o which a double reed is attached.
 SAXOPHONE – is a musical wind instrument consisting of a conical, usually

brass tube with keys or valves and a mouthpiece with one reed. This musical
instrument is not a regular member of the orchestra.
B. Brass Instruments
 TRUMPET – is a brass instrument with a powerful, penetrating tone consisting
of a tub commonly curved once or twice around on itself and having a cup
shape, mouthpiece at one end and bell at the other. Because of its piercing
tone when played, it is associated with a martial pomp.
 HORN – is a wind instrument originally formed from the hallow horn of an
animal but now usually made of brass or other metals. It is the most expressive
of the brass choir.
 TROMBONE – is a musical wind instrument consisting of a cylindrical metal
tube expanding into a bell and bent twice in U-shape, usually equipped with a
slide. The sliding U-shape tube changes the length of the vibrating column of
air inside the tube, so the pitch of its tone are either raised or lowered.
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 TUBA – is the bass of the brass choir. It is also a valued brass wind instrument
having a long range.
 *Other brass instrument like the cornet and bugle are played in military and
outdoor bands.
C. Percussion Instruments
 CHIMES – is a musical instrument consisting of a set of slabs of metals which
produce musical tones when struck.
 GLOCKENSPIEL – is a musical instrument composed of a set of a graduated

steel bars mounted in a frame and struck with hammers and used especially in
bands.
 CYMBAL – is a concave plate of brass or bronze that produces a sharp, ranging

sound when struck played either in pairs, by being struck together, or simply
by being struck by a drum stick.
 XYLOPHONE – is a musical instrument consisting of a graduated series of

wooden bars, usually sounded by striking with small wooden hammers. The
marimba is a type of xylophone which originated from Africa. It is associated
with lovely exotic dance music.
 KETTLEDRUM – is a drum consisting of a hallow hemisphere of brass or copper

over which is stretched a skin.
D. Keyboard Instruments
 PIANO – is the most familiar keyboard instrument. It is a musical instrument
in which hammers, operated from keyboards, strike upon metal strings. It is
used to accompany solo or choral singing.
 HARPSICHORD – is a keyboard instrument, precursor of the piano, in which
the strings are plucked by leather or quill points.
 CELESTA – is another keyboard instrument consisting principally of a set of
graduated steel plates struck with hammers. The range of this musical
instrument is only one-half that of a piano, but it produces a celestial or
heavenly sound.
 ORGAN - is a wind musical instrument consisting of one or more sets of pipes
sounded by means of compressed air, played by one or more keyboards and
capable of producing a wide range of musical effects. Modern organs today,
have no pipes or reeds at all; they produce sounds electronically.
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E. Instrumental Group
 BAND - is a musical group, usually employing brass, and percussion and
woodwind instruments. This is a popular group of musicians performing during
town fiestas and parades.
 RONDALLA - as an instrumental grouping in the Philippines is made up mostly
of stringed instruments.
2.4. The Medium of Literature
Literature, in its broadest sense, is any written work. Etymologically, the term derives
from Latin litaritura/litteratura “writing formed with letters,” although some definitions include
spoken or sung texts. More restrictively, it is writing that possesses literary merit. Literature
can be classified according to whether it is fiction or non-fiction and whether it is poetry or
prose. It can be further distinguished according to major forms such as the novel, short story
or drama, and works are often categorized according to historical periods or their adherence
to certain aesthetic features or expectations (genre)
 FICTION – a short story or a novel is presented through narration. The short
story writer includes ideas or incidents that contribute to a single effect which
he aims to achieve. The existence of complex relationships are presented in a
highly condensed portrayal of character and situation.
 NOVEL – is a more extended work which may have more characters in a more
complicated situation shown through several chapters.
 STYLE – is the characteristic manner of expression, the habitual manner in
which a writer expresses himself.
Point of view is how the story is narrated, the vantage point from which the character
actions and events are seen:
 The first person point of view uses the “I” who narrates the events and
describes the characters and the relationships which they have with one
another.
 The objective point of view lets the reader watch the events as they unfold on
a stage.
 The omniscient point of view gives the reader a chance to know the hidden
thoughts, unexpressed feelings and reactions of the characters.
The medium of literature is language, that is, the writer uses words with which to “build”
his composition in the same manner that a builder uses stone, bricks, or wood to construct
an edifice. Each word has its particular sound and meaning. These words are not used singly,
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however, but in combination with other words and arranged according to certain patterns or
structures to suggest images and feelings.
While all writings use language, not everything that is written or communicated in a
language can be called literature. The term is more exclusively used to refer to works that
exploit the suggestive power of language. Other writings, like scientific treatises, journals and
the like, use words merely on the literal level as definite symbols of ideas. Literature uses
words which have fairly definite meanings in their context, but are capable of connoting or
suggesting other meanings besides, so that a reader of a short story may go beyond simple
“story line,” for instance, to other levels of meanings.
The writer chooses his words for their expressive potential as well as for their sound, and
arranges them into a definite shape through his imaginative power.
Since every language is the vehicle that a particular group of people use to express their
particular sensibility, it is limited in its appeal. It would be incomprehensible to those who do
not speak it. Thus, the beauty of a literary piece can only be appreciated by one who
understands the language in which it was written.
For instance, we cannot appreciate Chinese literature or Japanese literature in the original
if we do not know Chinese or Japanese.
2.5. The Mediums of Performing Arts
Performance arts are artworks that are created through actions performed by the
artist or other participants, which may be live or recorded, spontaneous or scripted.
A. Dance
The dancer uses his body to communicate an idea or feeling to his audience. His
movements may involve only parts of his body – his arms, legs, or head – or the whole
body itself may move from one space to another to the accompaniment of music. He may
move rapidly or slowly accordingly.
B. Theatre Arts
Theatrical productions, such as drama and the opera, combine several mediums. There
is the play itself, which is a literary form. The plot is rendered by actors and actresses
emoting and speaking or singing their parts as demanded by their roles. They are dressed
in proper costumes and they move about in a stage setting where the scenery, props, and
lighting have been so arranged as to provide the illusion of reality. Music may serve as a
part of the plot or as background to set the mood.
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Exercises for Topic 2:

Direction: Encircle the letter of the correct answer.
1. It is an instrumental grouping in the Philippines is made up mostly of stringed
instruments.
a. Band c. Choir
b. Rondalla d. Glee Club
2. The materials which the artist uses to translate his feelings or thought into a beautiful
reality.
a. Technique c. Materials
b. Instrument d. Mediums
3. It is an artworks that are created through actions performed by the artist or other
participants, which may be live or recorded, spontaneous or scripted.
a. Performance Arts c. Festivals
b. Theatre Arts d. Opera
4. What is the most familiar keyboard instrument?

a. Ukulele c. Harpsichord
b. Guitar d. Piano
5. What is the medium of literature?

a. Experience of the writer c. Plot
b. Language d. Characters
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Topic 3: Artists and Artisans

1. Differentiate an artist and an artisan.
2. Relate the nature of the work of an artist and an artisan.
3. Elaborate the important people in an art market.
4. Elaborate the process of art production.
5. Elaborate different artists and their awards.
NOTES:
3.1. Artist vs. Artisans
A. Artist
The word “artist is generally defined as an
art practitioner, such as a painter, sculptor,
choreographer, dancer, writer poet, musicians
and the like, who produces or creates indirectly
functional arts with aesthetic value using
imagination.
Artists are creative individuals who use

their imagination and skills to communicate in an
art form. They use the materials of an art to
solve visual problems. Artists look to many
sources for inspiration. Some look forward to
their natural and cultural environment for ideas; others look within themselves for
creative motivation.
Artist exhibit the courage to take risks. They are able to see their surroundings
in new and unusual ways. They are willing to work intensely for long periods of time
to achieve their goals. Sone artists are self-taught and have been called folk artists
because they are not educated in traditional artistic methods.
B. Artisan
An artisan is a craftsman, such as carpenter,
carver, plumber, embroiderer, and the like, who
produces directly functional and/or decorative arts.
Artisans help us in meeting our basic needs, such
utensils and furniture. They serve us for a long time,
supplying us directly functional arts.
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C. Similarities and Differences of An Artist and An Artisan
Artists and Artisans learn skills and techniques from some other artists but eventually,
both artists and artisans, develop their own unique styles.
The artisan is basically a physical worker who makes objects with their hands, and
who through skill, experience and ability can produce things of great beauty, as well as
usefulness. The artist, on the other hand, is someone devoted only to the creative part,
making visually pleasant work only for the gratification and appreciation of the viewer but
with no practical value.
3.2. Key Components of Art Market

The Art market is an economic ecosystem that relies not only on supply and demand
but also on the fabrication of a work’s predicted future monetary and/or cultural value. The
art market can appear somewhat unclear since artists do not make art with the sole intention
of selling it, and buyers often have no idea of the value of their purchase.
A. The following are the important players in the art market:

1. Curator. A manager or overseer, and usually a curator or keeper of a cultural
heritage institution (example: gallery, museum, or library). A content specialist
charged with an institution’s collections, selecting art to be displayed in a museum,
organizing art exhibitions in galleries or public places, researching artists, and
writing catalogs and involved with the interpretation of heritage.
To be successful, a curator should be:

 organized;
 passionate;
 knowledgeable;
 adept at multi-tasking; and
 proficient at writing.
2. Art buyer. A professional who is knowledgeable in art, who may scout talents for
an advertising agency seeking to employ an art director, or who may look for an
art for a collector or a company.
3. Art dealer. A person or a company that buys and sells works of art. Art dealers
often study the history of art before starting their careers. They have to understand
the business side of the art world. They keep up with the trends in the market and
are knowledgeable about the style of art that people want to buy.
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They figure out how much they should pay for a piece and then estimate the resale
price. To determine the artwork’s value, dealers inspect the objects or paintings
closely and compare the fine details with similar pieces.
4. Art Collector. Collectors recognize the value that such vibrant artists bring to
communities, and they are in a position to ignite interest for a particular artist's
oeuvre. This investment helps artists continue their work, build their reputation,
and allow them to evolve and create even more value.
3.3. Production Process

A. Three Stages in the Creative Process
1. Germination (Idea). It is the initial moment when you conceive a new project
in your life. In the germination stage, you are planting the seeds of your
creation. The most difficult thing in this stage is choosing. You need to be more
specific about what you want to do. You have to give to your vision a first
shape, from which you decide your next steps. Being more specific means
choosing some things and leaving some other things out. It is also important
to choose what you want to do instead of avoiding what you do not want to do.
2. Assimilation. It is a crucial step in creative process. During this phase you will
internalize and assimilate or incorporate the idea you want to create. Plan,
analyze it, and cultivate it with all the available resources.
In this stage, your project, which initially was something external
to you or to your group, comes into your own being, becomes one with you. In
this way your creation grows from inside and begins to manifest in everything
you do, consciously or unconsciously.
3. Completion. It is the time to finish your project, to give it the final shape
before you present it to the audience. Put a deadline to your projects and do
not get entangled in small and never ending details.
B. Three Stages in Art Making

In the creative process, the artist undergoes three stages of experience, which
are popularly known as pre-production, production, and post-production.
1. Pre-production or subject development. This ends when the planning ends,

and the content starts being produced.
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2. Production or medium manipulation. This is a method of joining diverse

material inputs and unimportant inputs (plans, know-how) to make something
for consumption (the output). It is the act of creating output, a good or service
that has significance and contributes to the utility of individuals.
3. Post-production (completion) or exhibition. Once, an artwork is finished,

it will be displayed, circulated, and performed for the audience and public to
see or watch.
3.4. Recognition and Award for Artist and Artisan
A. Gawad sa Manlilikhang Bayan (GAMABA) National Living Treasures Award

The award was institutionalized in 1992 through Republic Act No. 7335. The
National Commission for Culture and the Arts (NCCA), which is the highest policy-
making and coordinating body of the Philippines for culture and the arts, was taken
with the implementation.
The award is conferred upon a Filipino citizen or group of Filipino citizens
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 generations in his/her community with the same
degree of technical and artistic competence.
B. GAMABA Awardees
GAMABA Awardees in Weaving
1. Lang Dulay
 She is a T'boli artist from Lake
Sebu, South Cotabato.
 She is considered as a traditional
weaver of "t'nalak" or "tinalak"
cloth.
 Her art is considered excellent
because of the “fine even quality of the yarn, the close interweaving of the
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warp and weft, the traditional forms and patterns, the chromatic integrity
of the dye, and the consistency of the finish” In 1998, she was given the
“Gawad sa Manlilikha ng Bayan” award.
2. Salinta Monon
 She is a Tagabawa-Bagobo weaver from Bansalan, Davao del Sur.
 She is cited for demonstrating the creative and expressive aspects of the
Bagobo abaca ikat weaving called inabal at the time when it was threatened
with extinction. In 1998, she was given the “Gawad sa Manlilikha ng Bayan”
award.
3. Darhata Sawabi
 She is a weaver of pis syabit-the traditional cloth tapestry worn as a head
covering by the Tausug of Jolo, from Barangay Parang, in the island of Jolo,
Sulu.
 In 2005, she was given the “Gawad sa Manlilikha ng Bayan” award.
4. Haja Amina Appi

 She is recognized as the master mat weaver among the Sama indigenous
community of Ungos Matata, Tandubas, Tawi-Tawi.
5. Magdalena Gamis
 She is a master weaver who makes “inabel”, an Ilokano handwoven cloth.
GAMABA Awardees in Literature and Performing

Arts
6. Ginaw Bilog
 He is a Hanunoo Mangyan poet from Mansalay,
Oriental   Mindoro.
 He is considered as a master of the Ambahan
poetry.
 This wisdom is his key to the understanding of the Mangyan soul.
 In 1993, he was given the Gawad sa Manlilikha ng Bayan award.
Ambahan
 Ambahan is a poetic literary form composed of seven-syllable lines used to
convey messages through metaphors and images.
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 The ambahan is sung and its messages range from courtship, giving advice
to the young, asking for a place to stay, saying goodbye to a dear friend
and so on.
 Such an oral tradition is common place among indigenous cultural groups
but the ambahan has remained in existence today chiefly because it is
etched on bamboo tubes using ancient Southeast Asian, pre-colonial script
called surat Mangyan.
7. Masino Intaray
 He was born near Makagwa Valley, Palawan. He was a skilled and proficient
player of the basal (gong), aroding (mouth harp), and babarak (ring flute).
 He was also well-versed in kulilal (songs) and bagit (vocal music).
 In 1993, he was given the “Gawad sa Manlilikha ng Bayan” award.
8. Samaon Sulaiman
 He is a kudyapi (kutyapi) master and teacher of his instrument in Libutan
and other barangays of Maganoy town, Mindanao.
 He is proficient in kulintang, agong, gandingan, palendag, and tambul.
9. Alonzo Saclag
 He is a Kalinga master of dance and the performing arts from Lubuagan,
Kalinga.
 He has also mastered the dance patterns and movements associated with
his people’s ritual. He is the founder of the Kalinga Budong Dance Troupe.
10. Federico Caballero

 He is a Sulod Bukidnon epic chanter from Kalinog, Iloilo.
 He work for the documentation of the oral literature, particularly the epics,
of his people.
 He is considered as a bantugan. He strives to dispense justice in the
community through his work as a manughusay – an arbiter of conflicts.
11. Uwang Ahadas

 He is from Lamitan, Basilan. He is a Yakan, a people to whom instrumental
music is of much significance, connected as it is with both the agricultural
cycle and the social realm.
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 He is a hands-on-teacher to those who wants to learn playing Yakan

instruments including the kwintangan, kayu, and tuntungan.
GAMABA Awardees in Plastic Arts
12. Eduardo Mutuc

 He is from Apalit, Pampanga. He
has dedicated his life to creating
religious and secular art in silver,
bronze and wood.
 In 2005, he was given the “Gawad
sa Manlilikha ng Bayan” award.
13. Teopilo Garcia

 He is a hat weaver from San Quintin, Abra.
 He is known for tabungaw, which can last up to three to four generations if
taken care of properly.
C. National Artists
National Artists of the Philippines. The order of the National Artists is considered
to be the highest national recognition for individuals who contributed to the
development of the Philippine arts. The President of the Philippines grant this award
to an artist after both institutions give recommendations for this particular artist.
This began in 1972 when Presidential Proclamation No. 1001, s. 1972 was
enacted to recognize Filipinos who made exceptional contributions to Philippine arts
and letters. Painter Fernando Amorsolo was awarded the same year, making him the
first National Artist.
Criteria for the Order of National Artists
1. Living artists who are Filipino citizens at the time of nomination, as well as
those who died after the establishment of the award in 1972 but were Filipino
citizens at the time of their death;
2. Artists who, through the content and form of their works, have contributed in
building a Filipino sense of nationhood;
3. Artists who have pioneered in a mode of creative expression or style, thus
earning distinction and making an impact on succeeding generations of artists;
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4. Artists who have created a substantial and significant body of work and/or
consistently displayed excellence in the practice of their art form thus enriching
artistic expression or style; and
Artists who enjoy broad acceptance through:
• Prestigious national and/or international recognition, such as the Gawad CCP

Para sa Sining, CCP Thirteen Artists Award and NCCA Alab ng Haraya; critical
acclaim and/or reviews of their works; and respect and esteem from peers.
3.5. Famous International Artist
A. LEONARDO DA VINCI (1452 – 1519)
An Italian master of the arts of painting,

sculpture and architecture, a draftsman, an
accomplished engineer, and a pioneer investigator
in the natural sciences. Described as a rare universal
genius
He is an Epitome of the “ideal” Renaissance

humanist. Started the style of High Renaissance art
and had an immediate and profound influence on
the 16th century art and the following generations.
1. Life and Works in Painting
Leonardo was born in April 15, 1452 in Vinci, Republic of Florence (now in Italy).
He died last May 2, 1519.Despite living several centuries ago, he still remains one of
the most influential artists of all time. His only training was in the field of science and
he entered the studio of sculptor Andrea del Verrocchio as an apprentice at an early
age. Leonardo was regarded as an intellectual in his lifetime because of his passion for
science.
Leonardo's contributions to the art world were small, but two of his paintings
are the most popular today: "Mona Lisa" and "The Last Supper," which is the only
surviving fresco of Leonardo da Vinci.
The fact that his interest ranged beyond art could have been the reason why
his input was very small. In his lifetime, so engrossed was he in physics and mechanics,
that he created workable artistic designs for bicycles, among other things.
This is what is popularly believed to be the cause of his failure to complete
several of his paintings and art projects. There are also credible reports that he spent
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a significant amount of time thinking and testing scientific laws, as well as writing his
observations about them.
Among Leonardo’s other important works are: an unfinished Adoration of the
Magi inn the Uffizi in Florence; The Virgin of the Rocks of which there are two versions,
one in the Louvre and one in the National Gallery in London; and a St. John in the
Louvre, his last painting.
In 1504, he began a large wall painting, The Battle of the Anghiari, in the
council chamber of the Florentine Republic in the Palazzo Vecchio.
2. Analysis and Evaluation of Leonardo and Some of His Paintings

The Last Supper, which is among the most famous paintings in the world,
portrays the apostles’ reaction to Christ startling announcement that one of them
would betray him.
The Mona Lisa is a portrait of a woman, the wife of Florentine merchant

Francesco di Bartolommeo del Giocondo – hence the alternate title for the painting La
Giaconda. The paintings’ slight smile, suggest rather than stated, puzzles and
fascinates the beholder. Da Vinci achieved such effect by employing Sfumato – a
technique which produces a haze or mist caused by light, shadow and aerial
perspective and which gives the painting a poetic, dreamlike quality.
B. MICHELANGELO BUONORROTI (1475 – 1564)
An Italian sculptor, painter, architect, and

poet, regarded by many as the epitome of culture of
Renaissance, Italy. He was born on March 6, 1475 in
Caprese. Both parents were Florentines; his mother,
Francesca del Sera; his father, Lodovico di Buonorroti
Simoni. He was a major figure of the Renaissance in Italy,
especially in Florence and Rome. Even today, some of his
marble carvings have a flawless beauty.
Michelangelo is popularly known for the Italian Renaissance sculpture as well

as the Sistine Chapel frescoes, among other incredible works of art. In Florence,
Michelangelo carved in marble a San Giovannino and a Sleeping Cupid (both lost).
The first sojourn to Rome resulted in great fame for the youthful sculptor and
sharply revealed in the Bacchus and Pieta two of the contrasting main themes which
served Michelangelo all his life: pagan exaltation of the nude male figure, and love-
pity for the Christ.
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Michelangelo is the name that reveals artistic ideas and love of beauty. He can capture
love and life with beautiful artworks presented effectively either in sculpture, paintings
or even in poetry.
C. PABLO PICASSO (1881-1973)

He was born on October 25, 1881 in
Malaga, Spain. He is the first child of Don Jose
Ruiz Blasco (painting and drawing master at the
Malaga School of Arts and Crafts) and Maria
Picasso y Lopez He studied art in Barcelona and
then went to Paris in 1890. The paintings
belonging to this period are poignant studies of
poverty and suffering and is dominated by
melancholy shades of blue and green, they are
filled with stooped, angular figures. Notable
examples include La Vie (Cleveland Museum of
Art, Ohio) and the Old Guitarist (Art of Institute of Chicago).
He is one of the greatest and most original artists of the 20 th century. By
1905(Rose Period), He given up portraying the world of the poor. He turned instead to
charming depictions of circus players and harlequins. The graceful airy figures in such
works as Boy Leading a Horse and Saltimbanques are among his popular creations.
He was a sculptor, printmaker, painter, and ceramicist. He developed cubism
with the French artist Georges Braque. His interest in primitive African sculpture can be
seen in the masklike portrait Gestrude Stein, in which human figures are broken up into
geometrical shapes. A landmark in the history of art, the art is often considered the
connecting link between Realistic painting and Cubist abstraction.
In such early cubist works as Female Nude and Woman with a Guitar, Picasso
analyzed objects and figures from several angles. From this Analytical Cubism, Picasso
later moved to a more decorative style, known as Synthetic Cubism. Characteristic of the
latter style is the painting of Three Musicians in which the figures and objects are
abstracted into geometrical forms and arranged in a flat pattern.
His Classical period, which began in 1920, was rich in studies of massive
figures. The outstanding works of this type include his painting Woman in White and such
drawings as Mother and Child and The Lovers. In Mid-1930’s, he became concerned with
social and political themes. In his symbolic etching Minotauromachy, he represented a
personal vision of the struggle between the forces of evil and good.
After the outbreak of Spanish Civil war, he expressed his outrage at Fascism in
his powerful mural Guernica, which is often considered his masterpiece. Many of his later
paintings and sculptures, such as his Demoiselles au bord de la Seine, After Courbet and
the Bronze Monkey and Her Young testify his active fantasy and unique artistry.
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Picasso’s works demonstrate his imagination, superb draftsmanship and

expressive power. He was among the 250 sculptors who exhibited the 3rd Sculpture
International held in America. His style and technique was exceptionally prolific throughout
his lifetime, producing a total number of 50,000 artworks, including drawings, paintings,
and sculptures, among others. Of all forms of art, Picasso excelled most in painting.
D. VINCENT VAN GOGH (1853-1890)

He is the oldest son of a Protestant minister. He
was born in Groot Zuudert in Dutch province of North Brabant
on March 30, 1853.
Born in the Netherlands, van Gogh was a
remarkable painter whose works of art are still sold at
unbelievable p rices across the world today. His contribution
to art was basically painting. He created many still-life
paintings, several of them were portraits of friends and
acquaintances. In all, van Gogh completed about 800 paintings. One thing that
distinguished him as a painter was his grasp for color relationship and unique brushwork.
His work is still a great source of inspiration for several impressionists all over the world.
E. BEETHOVEN, LUDWIG VAN (1770- 1827)

Ludwig van Beethoven was one of the famous
composers in history. He won for composers a new freedom
to express themselves. Before his time, composers wrote
works for religious services, to teach, and to entertain people
at social functions. But people listened to Beethoven’s music
for its own sake. As a result, he made music more
independent of social, religious or teaching purposes.
Beethoven was born in Bonn, Germany, on
December 16, 1700. He showed musical talent when we was
very young and learned to play the violin and piano from his father who was singer. In
1787, Beethoven’s gentle and loving mother died. After that, his father was often drunk
and had a bad temper. Beethoven found relief from his difficult family life when he became
tutor to two children of the von Bruening family. The children’s mother was a kind and
well-educated woman who introduced Beethoven to important people in Bonn.
When he visited Vienna, the famous composer Wolfgang Mozart heard him play
the piano. Mozart said, “He will give the world something worth listening to”. About this
time, Beethoven met Found Ferdinand Waldsteen, who became his lifelong friend and
often helped his career.
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In the late 1790’s, Beethoven began to lose his hearing. This increasing
deafness changed his personality. He became totally deaf during the last years of his life,
but his deafness did not hinder his composing, as many people believe. However, it did
reduce his normal social life, which he made him suffer deeply. Despite being deaf,
Beethoven’s music became more profound. He developed a completely original style of
composing. It reflected his violent emotion, his sufferings and joys.
In 1826, Beethoven caught a serious cold which developed into pneumonia and
then dropsy. He died on March 26, 1827.
F. MOZART, WOLFGANG AMADEUS (1756- 1791)

An Australian composer, Wolfgang
Mozart was born in Salzburg to Violist and
composer Leopold Mozart. In 1762, his father took
him on a tour of Germany and to Paris and London,
where he received adulation for his abilities.
In 1770, in Rome, Mozart was able to

write out the entire score of a Miserere by Georgio
Allegri after hearing the work twice; he earned
the highest praise for his talents as performer,
improviser and composer. He continued to tour,
composing piano sonatas, symphonies and his
early operas but failing to find a permanent position worthy of his exceptional talents.
After a period of unhappy service with the archbishop of Salzburg, he settled

in Vienna as a freelance musician and teacher, composing such masterpieces as the operas
The Marriage of Figaro and Don Giovanni. He compose 49 symphonies, over 40 concertos
(of which those for piano(25), horn, violin and clarinet are best known), 7 string quintets,
26 string quartets, divertimenti, piano sonatas and violin sonatas.
Some of his finest works, the operas Cossi Fan Tutte (1790) and The Magical
Flute (1791) and The Jupiter Symphony (1788), were written during the last years of his
life. His unfinished Requiem was completed after his death by Franz Sussmayr.
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Exercises for Topic 3:

WORD SEARCH Direction: Identify the corresponding terms that are being described in
each item. Encircle your answer and write it before the number of its corresponding item.
B U A R T C I S T C
J K U P I U U A D U
S A P I O R T B R R
E R T I U A I S J V
A R T I S T F G H E
U A D U V O E N I L
D E A L E R E Y U B
K U P I U O E N I L
B N E V O H T E E B
1. Creative individuals who use their imagination and skills to communicate in an art form.
2. Is a craftsman, such as carpenter, carver, plumber, embroiderer
3. A manager or overseer, and usually a curator or keeper of a cultural heritage institution.
4. A person or a company that buys and sells works of art.
5. The renowned composer who lose his hearing but continued his passion towards music
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Topic 4: EVALUATING ART

LEARNING OBJECTIVES
1. Define art evaluation;
2. Understand the background/context of art;
3. Appreciate the work of art;
4. Identify the basic steps of art criticism.
NOTES
4.1. WHAT IS ART EVALUATION

The task of evaluating a work of art, such as a painting or a sculpture, requires a
combination of objective information and subjective opinion. The more information we can
glean about the context, and the work of art itself, the more reasoned our assessment will
be.
Art evaluation is the making of judgement or judgements about a work of art with
respect to set of criteria.
Art Evaluation is Not Simply Liking or Disliking
Before going into detail about how to evaluate art, let us again re-emphasize that the
whole point of art appreciation is to explain WHY we like or dislike something, not simply
WHETHER we like it or not. For example, you may end up disliking a picture because it is too
dark, but you may still like its subject matter, or appreciate its overall message. To put it
simply, saying "I don't like this painting" is insufficient. We need to know the reasons behind
your opinion, and also whether you think the work has any positive qualities.
4.2. THE BACKGROUND/CONTEXT OF THE WORK OF ART

Context consists of all of the things about the artwork that might have influenced the
artwork or the maker (artist). These would include when the work was made; where it was
made (both culturally and geographically); why it was made; and possibly some other details
or information. Contextualism—looking at the cultural context of an artwork—can deepen
and/or improve our understanding of an artwork, but it may or may not change our first
impressions; and it doesn’t really have an effect on formal analysis. With some additional
contextual information about the time, the culture, and the maker/artist of an artwork, we
can become more informed. All artworks exist in a context—more accurately, all artworks
exist in multiple contexts.
A. Historical Context
Time is the most basic and first context we consider. When we say, “When in
time?” the question is also related to where in time—and has considerations related
to context.
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B. Art and Artist Context
The context for the artist or creator includes:
 Their culture, their worldview (where they grew up; family values; etc.)
 Their place; geography (e.g., city, rural, home, traveling)
 Their “worldview,”religion, beliefs, etc.
C. Viewer Context
Context also has to do with the viewer. For example: When a person in Paris in the
1890s looked at a Van Gogh painting, how that painting looked and felt and seemed to
her was very different from an American viewer looking at the same painting today. When
thinking about a viewer’s context, it’s useful to think about the following, since all of them
can affect how person sees or responds to an artwork:
 Time
 Culture
 Nationality
 Gender
4.3. APPRECIATING THE WORK OF ART
The easiest way to get to

understand and therefore appreciate a
work of art is to investigate its
context, or background. This is
because it helps us to understand
what was (or might have been) in the
mind of the artist at the time he
created the work in question. Think of
it as basic detective work.
Unlocking the meaning behind a work of art is one of the many joys of viewing
and collecting. But how do you appreciate art and actually interpret it?
Often, there is a veneer of elitism surrounding the art world, including the false
idea that one must be “in-the-know” to truly appreciate artwork. Park West strives to
remove this idea by making fine art available to everyone. One way to open the doors
to the art world is by learning how to look at artwork.
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Art can be and do many things; it can be an expression of emotions, it can

represent a feeling or idea. Art can make statements or simply be aesthetically
pleasing to the eye. Regardless of the type of art, artwork requires context in order to
understand the meaning behind it.
By examining a work of art, clues about its meaning can be gleaned from within
the work itself. Looking at and comprehending art is all about taking the time to view,
identify and think.
LOOK AT THE ART

Viewing the art seems like an obvious first
step, but it’s more than quickly glancing at the
art and drawing a conclusion. Before stepping
back and taking the artwork in, take a moment
to identify the artwork’s basic qualities:
 Is it a painting, sculpture, or graphic work?

 Is it on canvas or another medium?
 Is the texture rough or smooth?
 Does it appear chaotic or organized?
 Is it large or small?
 Are the colors bright or subdued?
IDENTIFY THE ART AND ARTIST
Aside from the visual elements listed above,

knowing when or how the artwork was made
reveals more context. The famous “Guernica”
(1937) by Pablo Picasso is a sight to behold on
its own, but knowing Picasso composed the
painting in response to the bombing of the town
of Guernica during the Spanish Civil War lends to
understanding its anti-war symbolism.
Even if the historical context of an artwork is not apparent, knowing the year
of its creation offers an idea as to the broader events taking place at the time.
In all cases, learning something about the artist undeniably adds to the
appreciation of art. A fact as simple as “Tim Yanke” loves listening to music when he
paints” gives a solid base to use when viewing his art.
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THINK ABOUT THE MEANING
Use what you observed in the first two

steps to think about meanings and narratives
the artwork could have. The title of the art is
a good starting point.
Consider what the subjects or symbols

meant to the artist when they created the
artwork. What do the colors say about the
artist, and how do they apply to the subjects
in the art? For example, the owls in Lebo’s oeuvre could represent wisdom, but why
are they so brightly colored?
Art like the luminous paintings of Thomas Kinkade are not as difficult to
interpret. In the case of more abstract or conceptual art, there may not be literal
depictions of subjects or ideas, and therefore require a bit more thought.
In addition to the earlier questions, ask how the art makes you feel. Many
artists, such as Michael Cheval, have specific meanings behind their art, but also
encourage viewers to come up with their own interpretations. In this way, there is no
“right” answer that must be reached to unlock the painting’s mysteries.
Still, every interpretation is not automatically correct, which is why the techniques
described above are helpful in finding clues. It is surprising how much of what you
already know lends itself to understanding a work of art, so asking the “Who?” “What?”
“Where?” “When?” “Why?” and “How?” questions may lead to great insights.
DISCOVER YOUR TASTES
“Umbrella Man I Ver. XIII” (2016), Peter

Max
Applying these techniques to every work of art you
come across may seem daunting, but just remember
one important fact: You don’t have to look at
everything.
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4.4. ART EVALUATION AND CRITICISM
Art criticism is analyzing and evaluating works of art. As art critics, when we look at
a painting, sculpture, or other form of art, we don't approach it as something that we like or
dislike. We view it in a business-like way. For example, does the artwork represent a particular
era, movement, or style? In approaching art criticism, just think of yourself as a detective. In
other words, what makes art 'art'
A. Steps
Art criticism involves four basic steps, including:
 Look at the obvious

 Analyze the artwork
 Decide on an interpretation
 Make a judgment call
1. Look at the Obvious. In the course of your daily life, you'll most likely have to
provide others with some general information about yourself, such as your name,
address, or school. When critiquing an art piece, you'll be looking for that same type
of information about the artist.
For example, what's the name of the piece? What's the name of the artist?
What country was he or she from? What medium did the artist use, such as paint,
clay, film, or other type of material?
2. Analyze the Artwork. Next you have to describe the piece of art in terms of its
subject matter, color, and style. For example, if you're looking at a painting, do you
see people, a landscape, or an object? Let's say you see a woman. Is she smiling? Is
she frowning? What is she wearing? Is she doing anything?
Check out the color palette, which is a spectrum of colors used by the artist.
Sometimes you can tell from the color during which century the piece was created. Do
you see pastels, or do you see bright colors? Maybe you see more muted tones.
Look at the style. Style refers to a particular type of movement, such as Art
Nouveau or Cubism. If the woman is very realistic, you may want to look at periods
prior to 1910. If you sort of see a woman, but she is made up of cubes, you might
suspect that the picture was painted in the 1910s or 1920s during the Cubist period of
art.
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3. Decide on an Interpretation. Now that you've examined the artwork, what does
it all mean? John Q. Public would like to hear what you think is going on in the painting.
Sometimes your interpretation may be more straightforward; other times, you'll be
calling John's attention to a hidden meaning. For instance, Salvador Dalí, the surrealist
painter, specialized in hidden meanings, which stem from sexual trauma to science
and religion.
4. Make a Judgment Call. Last, but not least, an art critic needs to make a judgment
call. For example, what did you think of the artwork? In this step you have to go
beyond 'I like it', 'I love it', or even 'I hate it'.
In making your judgment call, you need to ask yourself if the work was
successful. For instance, did it convey the message the artist intended? Was the
composition, color, and line quality successful in, say, representing Bauhaus, Swiss
Design, or Art Nouveau? In art criticism, judgment is never personal; it is about
interpreting the art and whether the art communicates a message to the audience.
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1. Choose a painting or artistic photograph to work with and take yourself through
these steps. Write up your finished critique as if you're writing for an art related
newspaper column or an art magazine.
2. Evaluate the artworks below.
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Topic 5: HISTORICAL DEVELOPMENT OF ART (Western)

At the end of this topic, the students will be able to:

1. Identify paintings according to its era.
2. Differentiate art according to its era.
3. Explain how art started in the west.
NOTES:
5.1. Pre-historic Period
Art appeared as one of the earliest activities of man. Even as far back as the prehistoric
period, before man knew how to read and write, he was already an artist.
A. Cave Paintings
Painting, along with sculpture, is most ancient of the arts. Archaeologists have
discovered many cave paintings in southwestern France and northern Spain to be as
old as 40, 0000 years and more.
With the discovery of prehistoric art galleries on rocks worldwide we see how
our extinct human cousins appreciated beauty and life. Advancement in understanding
their accomplishments and communications – especially as seen through cave
paintings – has opened our eyes to a people that were creative and adventurous.
 Painting a picture of community. We can learn from the oldest cave

paintings in Spain and recent discoveries in America that date back 6,000
years. Discovering ancient cave images that depict acts of service, celebration
or community involvement allude to an understanding of humanity. Today,
such things are paramount to our health and well-being. Upper Paleolithic
humans understood the importance of community involvement.
 Using art to communicate. Cave paintings illustrate the human need
to communicate. This communication takes its form in leaving a mark for the
future- to help guide, or communicate something so important that it needs a
permanent representation.
Lascaux Cave Altamira Cave
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B. Sculpture
It was trough the same belief in magic that
sculpture came to be. The first works of
sculpture, aside from small animal statues,
were the fertility statues, so called because of
their exaggerated treatment of the female
sexual attributes.
Fertility statue
C. The Beginnings of Architecture
Early man, with his nomadic existence in search of animals to hunt for food and
clothing, did not build permanent dwellings but lived in caves and natural shelters. The
first notions he had of building came when he began the practice of burying his dead. This
occurred with the development of social organization.
Stonehenge in Salisbury Plain, England
5.2. River Civilizations
The first civilizations formed on the banks of

rivers. The most notable examples are the Ancient
Egyptians, who were based on the Nile, the
Mesopotamians in the Fertile Crescent on the
Tigris/Euphrates rivers, the Ancient Chinese on the
Yellow River, and the Ancient India on the Indus.
These early civilizations began to form around the time
of the Neolithic Revolution (12 000 BCE).Rivers were
attractive locations for the first civilizations because they provided a steady supply of drinking
water and made the land fertile for growing crops. Moreover, goods and people could be
transported easily, and the people in these civilizations could fish and hunt the animals that
came to drink water. Additionally, those lost in the wilderness could return to civilization by
traveling downstream, where the major centers of human population tend to concentrate.
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5.3. Egyptian Art

Ancient Egypt, which grew along the banks of the Nile, branching out into the fertile
delta of Lower Egypt and emptying into the Mediterranean, was one of the earliest important
agricultural civilizations. Egypt for a long period was under the centralized rule of Pharaoh,
“the great house,” the dynasties of which mark the periods of Egyptian history.
A. The Religious Function

The art of ancient Egypt was closely knit with religion, and to understand it, we
must realize that at its very core is a profound preoccupation with death and immortality.
It was in accordance with this belief that the Egyptians devoted more time and
effort into the building of tombs than into the construction of dwellings.
Mastaba
B. Pyramids
The great pyramids of the kings, especially that of King Khufu or Cheops, were the
highest point of pyramid constructions.
The wonders of the pyramids are

not confined to the exterior. Within, the
chambers of the royal dead were
spacious apartments with
interconnecting corridors. Here the
treasures of the Pharaoh were kept
(golds and jewelries). The king’s
mummy was concealed beneath several
layers of gold and silver sarcophagi which also doubled as full-length images of the
Pharaoh garbed in all the emblems of his state.
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C. Temples
It is also in the ancient Egyptian temples that the visual arts – paintings,
sculpture and architecture – found fullest expression. The temples shared the massive
quality of the pyramids. Some were constructed on the sides of a cliff, such as that of
Queen Hatshepsut and the temple at Abu Simble.
Temples of Luxor and Karnak
5.4. Classicism and the Greco-Roman Tradition
The civilization of ancient Greece or Hellas began about 1000 BC. The geography of
Greece varies greatly from that of Egypt, for Greece has mountainous interior and a long and
rugged coastline with many harbors.
A. Greek Art
The history of Greek art is divided into three principal periods: the Archaic
Period, the Classical Period or Hellenic Period and the Hellenistic Period.
1. Archaic Period. In the Archaic Period the arts manifested the influence of earlier
civilizations, such as those of Mesopotamia and Egypt, in their linear, geometric
tendency and stylized forms.
In sculpture there were two

important types, the kouros and the
kore.
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2. Classical or Hellenic period. It is with the Classical or Hellenic Period that Greek
civilization particularly that of Athens is mainly associated. This period marks the
highest point in the remarkable civilization of the ancient Greeks.It is also known
as the Golden Age of Athens or the Age of Pericles, after its great statesman. As
an outstanding period of cultural achievement it is a constant point of reference in
the history of art and philosophy.
3. Hellenistic Period. The beginning of the Hellenistic Period was marked by two
important historical events: the defeat of Athens by its rival and the subsequent
conquest of the Greek city-states by Alexander the Great. The term “Hellenistic”,
then, refers to the period after the 5 th century B.C. when Greek culture
intermingled with Oriental influences and, together with the political instability of
the time, gave rise to a new set of aesthetic ideals.
 Painting. Painting in ancient Greece was largely confined to pottery. Greek

pottery was first in highly stylized, geometric style, which later developed
into the expressive, flexible style of red and white figured vases.
 Sculpture. There are two outstanding sculptors of the period: Praxiteles and
Lysippos. Praxiteles is known best for the beautiful statue of Hermes and
the infant Dionysus. As for Lysippos, his acknowledged masterpiece is the
Apoxyomenos.
Hermes and the infant Dionysus Apoxyomenos
5.5. The Medieval Period
Under the Medieval period, we shall consider four artistic styles – Early Christians,
Byzantine, Romanesque and Gothic
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A. Early Christian Art

In contrast to the Roman love of luxury and worldly pleasures, as well as their
thirst of power, Christianity produced a new scene of values, laying emphasis on the
spiritual and the eternal life on earth being but a preparation for life after death.
Catacombs Old Basilica of St. Peter in Rome
B. Byzantine Art
The term Byzantine refers to the eastern branch of the Roman Empire which
existed from the founding of Constantinople by the Emperor Constantine.The classical
and Asian artistic traditions merge in Byzantine art.
Crucifixion Mary
Saint Basil’s Cathedral Hagia Sophia
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C. Romanesqe Art
Romanesque art, architecture, sculpture, and painting characteristic of the first of

two great international artistic eras that flourished in Europe during the Middle
Ages. Romanesque architecture emerged about 1000 and lasted until about 1150, by
which time it had evolved into Gothic. The Romanesque was at its height between 1075
and 1125 in France, Italy, Britain, and the German lands.
The name Romanesque refers to the fusion of Roman, Carolingian and

Ottonian, Byzantine, and local Germanic traditions that make up the mature style.
Book of Kells Avila, Spain Carcasonne, France
D. Gothic Art
Gothic art, the painting, sculpture, and architecture characteristic of the second of
two great international eras that flourished in western and central Europe during
the middle ages. Gothic art evolved from Romanesque art and lasted from the mid-12th
century to as late as the end of the 16th century in some areas. The term Gothic was
coined by classicizing Italian writers of the Renaissance, who attributed the invention
of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman
Empire and its classical culture in the 5th century CE.
Chartres Cathedral Last Judgment
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5.6. Renaissance
The economic progress in the late Medieval Period, which was brought about by
increased trade and commerce, resulted in the growth of cities and provided the backdrop for
the remarkable period that is known as the Renaissance.
Renaissance, a word borrowed from the French language, literally means “rebirth”
and in the history of art it is applied to the 15th century which is one of the highest moments
of civilization.
A. The Renaissance Ideal Man
What then was the Renaissance ideal man? Renaissance held up the ideal of
the well-rounded man, knowledgeable in a number of fields – philosophy, science, art,
including painting and music – and applying his knowledge to productive and creative
activity.
B. Painting and Sculpture

In the visual arts, portable easel paintings became popular due to wider
patronage. Although many subjects remained religious, figures from classical
mythology made their appearances.
The Death of St. Francis Adam and Eve Driven out of Paradise Night and Day
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Direction: Match the given images to its corresponding era/to where it is developed.
A. B.
1.
 Romanesqe Art
2.  Gothic Art
 The Medieval Period
3.
4.  Archaic Period
5.
 Renaissance
END OF MIDTERM MODULE
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References
BOOKS:
Eristain, T. et al, (2003). Art: Perception and Appreciation. Goodwill

Trading Inc.
Boongaling, C.C. et al, (2018). Art Appreciation. Mutya Publishing
House Inc.
ONLINE:
https://courses.lumenlearning.com/introliterature/chapter/defining-
literature/
https://courses.lumenlearning.com/atd-sac-
artappreciation/chapter/reading-context-is-part-of-when-and-where/
https://www.parkwestgallery.com/how-to-appreciate-art/
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COO – FORM 12

INSTRUCTOR: CZAIRA JUNICE N. CABARON,LPT
SUBJECT CODE: HUM 1
FINAL MODULE
TOPIC 1: REMARKABLE CENTURY OF THE DEVELOPMENT OF ART

1. Appreciate the art of the 16th Century.
2. Recognize the art of the 17th and Early 18th Centuries.
3. Give importance to the art of the late 18th and the 19th Centuries.
4. Understand the art of the 20th Centuries.
NOTES:
1.1. The 16th Century
A. Mannerism
The Renaissance is often said to be the beginning of modern times because of its
rationalism and scientific attitude, as well as its material progress. However, the world-view
of the Renaissance remained largely conservative and idealist, as it was based on the idea of
an unchanging and eternal order.
Soon enough, the delicate balance, the cool classical composure of the Renaissance, would
be shaken by traumatic socio-political circumstances. In 1527, Rome, which rivaled Florence
as center of art, was sacked and brought to ruin by the Spanish and German armies of
Emperor Charles V.
This social breakdown and the violence which attended it was soon reflected in the arts.
The decay of classicism in the visual arts took the form of mannerism.
Mannerism in the arts may assume various forms. First, there may be mannerism in
subject. The meaning of mannerist painting is often obscure and ambiguous, and it may
contain elements one cannot account for.
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Mannerism, Italian Manierismo, (from maniera, “manner,” or “style”), artistic style that
predominated in Italy from the end of the High Renaissance in the 1520s to the beginnings
of the Baroque style around 1590. The Mannerist style originated in Florence and Rome and
spread to northern Italy and, ultimately, to much of central and northern Europe. The term
was first used around the end of the 18th century by the Italian archaeologist Luigi Lanzi to
define 16th-century artists who were the followers of major Renaissance masters.
Mannerism originated as a reaction to the harmonious classicism and the idealized

naturalism of High Renaissance art as practiced by Leonardo da Vinci, Michelangelo, and
Raphael in the first two decades of the 16th century. In the portrayal of the human nude, the
standards of formal complexity had been set by Michelangelo, and the norm of idealized
beauty by Raphael. But in the work of these artists’ Mannerist successors, an obsession with
style and technique in figural composition often outweighed the importance and meaning of
the subject matter. The highest value was instead placed upon the apparently effortless
solution of intricate artistic problems, such as the portrayal of the nude in complex and
artificial poses.
Madonna of the Long Neck St. Martin and the Beggar
View of Toledo Vision of Saint Jerome
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1.2. The 17th and the Early 18th Centuries
A. Baroque Art
Closely following the Renaissance was the great religious upheaval called reformation
that shook the whole of Europe out of its complacency. Religious leaders like Martin Luther,
John Calvin, and John Knox demanded religious reforms to put a stop to the abuses of the
clergy such as selling indulgences and religious titles. They soon acquired a large following,
and they eventually broke away from the Catholic Church in order to establish the various
sects of the Protestant Church. From then on, Christendom was split into many factions.
The Catholic Church had the difficult task of salvaging its good name and reassuring
its members. Towards this end, the Council of Trent was convened from 1545 to 1563 to
set Church policies on various subjects, including art. While Protestantism generally turned
away from artistic representations of religious subjects, the Catholic Church encouraged
artists to assume the task of stimulating religious fervor through art that appealed to the
senses and the emotions.
The highly sensual and dynamic style that emerged from this period of crisis was the
baroque style.
Baroque was the dominant style in art and architecture of the seventeenth century,
characterized by self-confidence, dynamism and a realistic approach to depiction.
At its height in Rome from around 1630–1680, Baroque is particularly associated

with the Catholic Counter-Reformation. Its dynamic movement, bold realism (giving
viewers the impression they were witnessing an actual event), and direct emotional
appeal were ideally suited to proclaiming the reinvigorated spirit of the Catholic Church.
Although originating in Rome, Baroque was influential across Europe. It was also used
to depict many non-religious themes and can be seen in portraits, still lifes as well as
mythical subjects.
Painting
Crucifixion Descent from the Cross
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Sculpture
Ecstasy of St. Theresa Daphne and Apollo
Architecture
Church of San alle Quattro Fontane Church of Wies (interior)
1.3. The Late 18th and the 19th Centuries
A. Neo-Classism
Neoclassical art, also called Neoclassicism and Classicism, a widespread and influential
movement in painting and the other visual arts that began in the 1760s, reached its height
in the 1780s and ’90s, and lasted until the 1840s and ’50s. In painting it generally took
the form of an emphasis on austere linear design in the depiction of Classical themes and
subject matter, using archaeologically correct settings and clothing. Neoclassicism in the
arts is an aesthetic attitude based on the art of Greece and Rome in antiquity, which
invokes harmony, clarity, restraint, universality, and idealism. In the context of the
tradition, Classicism refers either to the art produced in antiquity or to later art inspired
by that of antiquity, while Neoclassicism always refers to the art produced later but
inspired by antiquity. Classicizing artists tend to prefer somewhat more specific qualities,
which include line over colour, straight lines over curves, frontality and closed
compositions over diagonal compositions into deep space, and the general over the
particular.
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During the centuries which marked the triumph of baroque, the classical trend did not
disappear but was pursued by two French artists, Nicolas Poussin and Claude Lorrain, who
studied in Rome where they were influenced by the classical tradition.
Funeral of Phocion Arcadian Shepherds
B. Romanticism
Romanticism as an artistic style followed the French Revolution. Romanticism stressed the
individual freedom of the artist and his subjective reaction to the world around him.
Romanticism, attitude or intellectual orientation that characterized many works of

literature, painting, music, architecture, criticism, and historiography in Western civilization
over a period from the late 18th to the mid-19th century.
Romanticism can be seen as a rejection of the precepts of order, calm, harmony, balance,
idealization, and rationality that typified Classicism in general and late 18th-century
Neoclassicism in particular. It was also to some extent a reaction against the Enlightenment
and against 18th-century rationalism and physical materialism in general.
Romanticism emphasized the individual, the subjective, the irrational, the imaginative,
the personal, the spontaneous, the emotional, the visionary, and the transcendental.
Charging Chasseurs Pesthouse at Jaffa
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1.4. The 20th Centuries

A. Modern Art
What is called modern art is a product of various social factors. The turn of the century
saw marked advances in science and technology.
The invention of photography released the painter from the demands of realistic
representation, so that painting assumed a freer, more experimental and at the same time,
more personal character. Painting redefined itself as an art distinct from mere reproduction.
But photography also taught the painter a few things.
B. The Crisis of Subject in Painting
Against this historical background modern art was born. It first manifested itself as a
crisis of subject.
The Luncheon on the Grass Olympia
C. Search for Meaning in Art
As has been previous mentioned, subject matter in art was the principal issue in the
work of the French realist, for they were among the firsts who took the common people,
laborers and peasants, as subjects of art.
The search for meaning in art continued to the beginning of the 20th century with Pablo
Picasso who would emerge as one of its most inventive geniuses.
In the Rose Period, Picasso took his subjects from the acrobats, saltimbanques, and
other people of circus, fascinated as he was with the problem of illusion and reality in their
lives.
Guernica
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D. Sculpture
Modern sculpture may be said to begin with the French artist, Auguste Rodin. A
contemporary of the impressionist painters, he was their counterpart in sculpture.
New developments include kinetic sculpture in which the piece, usually of surprising
ingenuity, behaves like a machine in perpetual motion. There are also large, ground-
rooted sculptures in which size is a significant feature.
Mobiles
E. Conceptual Art
Other movements were informed and shaped by pop art, such as conceptualism. As
opposed to celebrating commodities as reference to real life, conceptualism fought against
the idea that art is commodity. This movement also brought to the fore issues brought
about by art institutions such as museums and galleries where works are peddled and
circulated.
“In conceptual art, the idea or concept is the most important aspect of the work. When
an artist uses a conceptual form of art, it means that all of the planning and decisions are
made beforehand and the execution is a perfunctory affair.”
F. Architecture
Modern architecture has been shaped by new materials. These are primarily structured
steel and reinforced concrete.
Bauhaus Unite d’Habitation
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G. Music
Modern music has come a long way from classicism. In our times, composers have
been preoccupied with the reassessment of the elements of melody, harmony, rhythm
and tone quality. This has led further experimentation which has undoubtedly given
modern music its exciting and unpredictable character.
EXERCISES
A. DIRECTIONS: Using this Concept Map, describe the arts of the 16 th Century.
16th Century
B. DIRECTIONS: Using this Venn Diagram, state the Commonalities and Differences of
the arts of the 17th Century, Early 18th Century and the Late 18th Century.
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TOPIC 2: ASIAN ART
LEARNING OBJECTIVES
1. Describe art from different countries in Asia.
2. Differentiate art forms from different countries in Asia.
3. Relate art forms from different countries in Asia.
4. Explain the distinct characteristic of Asian music.
NOTES
2.1. Chinese Art
The pursuit of wisdom and the passion for beauty are the two poles of the Chinese
mind, and China might loosely be defined as philosophy and porcelain.
It was during the Sung Dynasty that this movement to beautify the person, the temple
and the home reached its highest expression. It had been a part of the excellence of the T’ang
life, and would remain and spread under the later dynasties; but now a long period of order
and prosperity nourished every art, and gave Chinese living a grace and adornment which it
had never enjoyed before.
In the present context, China is at the forefront of economic development. Its
booming economy has led to its modernization. In, addition, history shows that China has
been at the leading edge of development especially in cultural development. Inhabitants of
China in the past were able to produce primitive artisan works. Excavated pieces show
bronze vessels with intricate designs depicting a lot of imagery dating from the second
millennium BCE. The Chinese during the Chou Dynasty was under a feudal kind of social
system. It was parallel period with that of Greece’s Golden Age: a period when culture
particularly art flourished. During this period, metal works befitting the royal family were
produced in abundance. Jade was also a popular choice material for artworks.
The art of LACQUER began in China, and
came to its fullest perfection in Japan. The sap is
drawn from trunk and branches, strained, and
heated to remove excess liquid; it is applied to thin
woods, sometimes to metal or porcelain, and is
dried by exposur e to moisture. In China, the
finished lacquer is carved with a color required by the design.
The art grow slowly; it begun as a form of writing upon bamboo strips, the material was used
in the Chou Dynasty to decorate vessels, harness, and carriages.
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JADE is as old as Chinese History, for it is found in the

most ancient graves. The Chinese word for the stone is much
more sensible; “jun” means soft like the dew. The ingenuity of
the Chinese artist is revealed in his ability to bring lustrous colors
of green, brown, black and white out of these naturally colorless
materials, and in patient obstinacy with which he varies the forms, so that in all the world’s
collections of jade no two pieces are alike.
BRONZE is almost as old as jade in the art of China, and

even more exalted in Chinese reverence. The casting and decoration
of bronze became one of the fine arts of China. Chinese bronzes are
equaled only by the work of the Italian Renaissance.
A. QUALITIES OF CHINESE PAINTING
1. Its scroll or screen form

2. The Chinese scorn of perspective and shadow.
3. The exclusion of color
4. Skill in execution lying almost entirely in accuracy and delicacy of line, not on the
power of perception, feeling and imagination.
5. Emphasis as an indirect suggestion as against explicit representation, suggesting, not
describing.
6. Men rarely being the center or the essence of the picture.
7. The love for flowers and animals as subjects for painting.
8. Often men shown as old, and nearly all alike
9. The sincerity of the feeling for nature.
B. PORCELAIN
To the Chinese, pottery was a major art. They
combined beauty with use. It gave to their greatest
national institution the drinking of tea- utensils as
their homes with shapes so fair that even the poorest
families might live in the presence of perfection.
Pottery is the sculpture of the Chinese.
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C. ARCHITECTURE
1. PAGODAS AND PALACE. Architecture has
been a minor art in China. Large structures
have been rare, even in honoring the gods,
and only a few pagodas date back beyond
the sixteenth century. The PAGODAS
dominated the landscape of almost every
Chinese town. Communities make pagodas
in the belief that such structures could ward
off wind and flood, propitiate evil spirits,
and attract prosperity.
The general impression left by Chinese architecture upon the foreign and
untechnical observer is one of charming frailty. Color domin ates form, and beauty
has to do without the aid of sublimity.
The Chinese temple or palace seeks not to dominate nature, but to
cooperate with it.
2.2. Japanese Art and Culture
The vast cultural importation was almost the beginning of art in Japan. The temples
were essentially like those of China, but more richly ornamented and more delicately carved.
The majestic torii, or gateways, marked the ascent or approach to sacred retreat, bright colors
adorned the wooden walls, great beams heed up a tiled roof gleaming under the sun, and
minor structures.
A palace was rarely one building; usually it was a main structure connected by covered
walks with subordinate edifices for various groups in the family. There is no distinction of
dining room, living room, or bedroom.
A. SCULPTURE
The sculptors used wood of metal rather than stone since
their soil was poor in granite and marble. Almost the earliest, and
perhaps the greatest, masterpiece of sculpture in Japan is the
bronze Trinity of Horiuji, a Buddha seated on a lotus bud between
Bodhisattwas.
B. POTTERY
Japanese pottery is a part of Far Eastern ceramics,
fundamentally like Chinese, and yet stamped with
the characteristics of delicacy and fineness of all
Japanese work.
Seto-ware became a generic name for all Japanese pottery in the seventeenth
century, became the English term for porcelain.
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C. PRINTS
The Japanese art is most widely
known and influential in the West.
About the middle of the eighteenth
century, the art of engraving, which had
come to japan in the language of
Buddhism half a millennium before, was turned to the illustration of books and life of
people.
D. THE TEA CEREMONY (Cha-no-yu)

More sacred than sake, to the aristocracy was, tea. This gracious remedy for
the tastelessness of boiled water was introduced from China to Japan, successfully in
1191.
E. The Four Principles Governing the Tea Ceremony

According to Master Zen Takuan, the way of cha-no-yu, is to appreciate the
spirit of naturally harmonious blending of Heaven and Earth.
1. HARMONY implies the unity of

man and nature as well as the
spirit of gentleness.
2. REVERENCE stem from the
feeling of one’s unworthiness and
the desire to transcend it.
3. PURITY the spirit of cha-no-yu is
to cleanse the six senses from
contamination. Where all the sense organs are cleansed, the mind is cleansed of
impure thoughts.
4. TRANQUILITY according to Susuki it is related to Wabi, the spirit of poverty, and
Sabi, soli tudes. The idea of Sabi came primarily from renga masters, who show
great aesthetic for things of age, numbness, chillness, obscurity- all of which are
negative feelings opposed to warmth, the spring, expansiveness and transparency.
F. PAINTING
In Japanese painting, form and color are represented without any attempt at
relief, but in European methods relief and illusions are sought for. The Japanese artist
wished to convey a feeling rather than an object, to suggest rather than to represent.
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2.3. Indian Art

India has a rich and complex history spanning thousands of years. India was the only
major Asian culture known to be visited by the ancient Greeks and Romans and has caused
fascination as an exotic and mysterious land ever since. Such an image developed partly in
thanks to its exuberant and unique art.
Indian art is a term used in art history to group and study the different artistic
expressions created in the historical regions of the Indian subcontinent, including modern-
day India, Bangladesh, and areas of Pakistan and Afghanistan. It covers several art forms,
historical periods, and influences.
A. History
Archaeologists have
found evidence of
prehistoric rock art in India, an
early art form consisting of
carvings or drawings on cave
rocks. The oldest examples are
the Bhimbetka petroglyphs
found in central India and
believed to be at least 290,000
years old. Rock art continued to Cave paintings in the Bhimbetka archeological site (c. 7,000 BCE)
be created as cave paintings,

representing animals and humans. The oldest examples of these paintings date from
about 7000 BCE.
The people of the Indus valley civilization on the border of modern India and
Pakistan produced the earliest known Indian art sculptures, from between 2500 and
1800 BCE. They were small terracotta and bronze figures depicting animals and
humans, like cows, monkeys, and dancing positions.
Buddhism originated in India at some point in the 6th century BCE. Religious
artists made sculpture pieces, including stone and bronze. They also produced
magnificent examples of Indian cave art, with entire temples being carved in stone
and decorated with Greek-influenced columns and sculptures. By the 5th century CE,
sculpture was a common practice among Indian Buddhists and Hindus.
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Hinduism continued to be the

focus of art creation for centuries,
sculptures of Shiva and other deities, and
huge stone temples like the Kandariya
Mahadeva Temple, built in the 11th
century in northern India. Islam gradually
gained importance in India and under the The Taj Mahal (17th century) is a landmark of
Mughal architecture century)
Mughal Empire, established in the 16th

century. Art creation grew under the sponsor of the Islamic rulers, and it's during this
time that the Taj Mahal was built. Arts flourished, and many buildings and art pieces
were created.
India became a British colony in the 19th century, which had a big impact on
art. The British established art schools that promoted European styles, and back in
Europe people demanded Indian objects. This resulted in local artistic traditions
merging with foreign influences. A romanticized Indian style developed, which
exaggerated traditional ornaments to please the European buyers.
After India's independence in 1947, artists have searched for new

styles. Contemporary Indian art has been international in scope and very
experimental, but it still incorporates references to the long and rich artistic history of
the country.
A. Types & Styles

Traditional Indian art usually had a religious
character and Buddhism, Hinduism, and later Islam, have
been a common theme throughout the centuries. The
pieces often feature mythological, human, and animal
forms and had elaborate ornaments. Unlike other areas
Shakuntala, a painting by Raja Ravi Varma (19th
influenced by Islam, Indian art didn't abandon figurative century)
representations.
B.Architecture focused mostly on religious

buildings. Many Hindu temples featured very
distinctive towers in the form of truncated pyramids
and had elaborate ornamentation with hundreds of
sculptures. However, many were later destroyed
under Muslim rule, among other things, because of
Pattadakal Temple, c. 8th century

their erotic decorations.
century)
Mughal architecture incorporated many Islamic elements. Arches and domes became
common, and the decoration was full of geometric patterns and stylized flowers.
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2.4. Indonesian Art

A. Overview: Art in Indonesia
The art and culture of Indonesia have been
shaped by interactions between original indigenous
customs and multiple foreign influences. Indonesia is
centrally located along ancient trading routes
between the Far East, South Asia, and the Middle
East, resulting in art and paintings that are strongly influenced by a multitude of
religions, including Hinduism, Buddhism, Confucianism, Islam, and Christianity.
B. Indonesian Painting Before the 19th Century
Indonesian painting before the 19th century was mostly restricted to the
decorative arts, considered to be a religious and spiritual activity. Artists’ names were
often anonymous, as the individual human creator was seen as far less important than
his creation to honor the deities or spirits. Notable artwork includes the mural paintings
on the long houses of the Kenyah people of Borneo, which are based on endemic
natural motifs such as ferns and hornbills. Other traditional art includes the geometric
wood carvings of the Toraja people of South Sulawesi.
There is a tradition of Balinese painting that uses narrative imagery to depict

scenes from Balinese legends and religious scripts. These classical paintings can
usually be found in Indonesian lontar or palm-leaf manuscripts and on the ceilings of
Balinese temples.
C. Indonesian Painting After the 19th Century
Under the influence of the Dutch colonial power, a trend toward Western style
painting emerged in the 19th century. In the Netherlands, the term “Indonesian
Painting” is often applied to the paintings produced by Dutch or other foreign artists
who lived and worked in the former Netherlands-Indies. The most famous indigenous
19th century Indonesian painter is Raden Saleh (1807–1877), who was also the first
indigenous artist to study in Europe. His art is heavily influenced by Romanticism.
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The Arrest of Pangeran

Diponegoro by Raden Saleh: Raden
Saleh was perhaps the most famous
indigenous 19th century Indonesian
painter, and his work is heavily
influenced by Romanticism and his
training in Europe.
The 1920s to 1940s was a time of growing nationalism in Indonesia. The previous
period of romanticism was not seen as a purely Indonesian movement and began to wane,
and painters began to turn to the natural world for inspiration. Some examples of Indonesian
painters during this period are the Balinese Ida Bagus Made and the realist Basuki Abdullah.
The Indonesian Painters Association (or PERSAGI, 1938–1942) was formed during this period
and established a contemporary art philosophy that saw art as a reflection of the artist’s
individual views, as well as an expression of national cultural thoughts. During the 1960s,
new elements were added when abstract expressionism and Islamic art began to be absorbed
by the art community. The national identity of Indonesia was stressed by painters through
the use of a realistic, documentary style.
2.5. Asian Music

For the majority of us Filipinos brought up in the romantic melodies of Chopin and the
witty songs of the Beatles, Asian music may sound quite strange and puzzling. Our reluctant
attitude to Asian music may be modified by the knowledge that Western Music developed
from ancient Asian forms.
Asian music, wherever it is played, is associated with religious ritual, magic, and
astronomy, thus fulfilling the social function of strengthening communal bonds. The Hanunoos
in our country, for instance, perform the ngayung, which has been describe as a ritual
chanting by the mediums to rid the settlement of malign forest spirits.
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Exercises for Topic 2: Which Asian country do I belong?
Direction: Using the table given below, identify which Asian art is being
described in each sentence.
CHINESE ART JAPANESE ART INDIAN ART INDONESIAN ART
Statements:
1. The search of wisdom and the passion for beauty is the aim of this art.
2. At first, recognition is only focused on the creation and not on the creators.
3. The casting and decoration of bronze became one of the fine arts of this country.
4. Philosophers had a great impact in their art.
5. They became a British colony in the 19th century.
6. They do a certain ceremony to appreciate the spirit of naturally harmonious blending
of Heaven and Earth.
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TOPIC 3: PHILIPPINE ART
LEARNING OBJECTIVES
1. Describe the context of space in the view of Filipinos.
2. Analyze how lines and shapes were utilized in different art forms.
3. Develop students ability in manipulating elements of arts.
NOTES:
3.1. Textile Art
A. Definition
It is a process of creating something using fibers gained from sources, like
plants, animals, insects (silk worms), or synthetic materials. Making textiles is an
extremely old art form. People develop textiles to keep warm, to protect surfaces, and
to insulate dwellings.
B. Philippine Textile Art Traditions

Weaving is a way to create a fabric in which two separate sets of yarn or thread
are interlaced at right angles to produce cloth or fabric. Since weaving by hand requires
immense strength, our ancestor invented the loom. It is a manually operated device
that holds the warp and weft threads interlace with each other. From fibers and threads
to colors and prints, weaving speaks so much about the Filipino culture.
Here are some examples of Philippine textile:
1. Cordillera Administrative Region (CAR)- Woven Fabrics
The people of Kalinga are prominent in making own woven clothes. Their cloth
weaving is one of the finest products in the CAR. In Kalinga it is characterized by
dominant red stripes and motifs of geometric patterns, as well as nature symbols
interfaced with white, yellow, and black fibers.
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Ifugao Ikat weaving is a style of weaving that uses a resist dyeing process on
either the warp or weft before the threads are woven to create a pattern or design.
The result of this process is a motif which is fuzzy in appearance. This blurry look
comes from the slight bleeding of the dyes into the resist areas. Ifugao Ikat is
characterized by diamond stripes of white and red stripes. It is known for its colors
and striking design patterns.
2. Ilocos Region- Woven

Fabrics. Now most fabrics are
mass-produced with imported
threads from abroad, textiles
carefully handwoven with
Philippine cotton are becoming
increasingly difficult to find. One
of these textile is the Abel of the
Ilocos Region.
3. Region IV-B (MIMAROPA)-

Palawan Fabrics. Palawan
people are known for weaving,
which is a way to create fabric by
pulling two different threads on
top of another that follows a
certain type of pattern. The
material they use can only be
found in Palawan and is called
Amumutina grass.
4. Mindanao Region. The Dream
Weaver- there are weavers and
there are dream weavers- a
world and realms apart. T’nalak
is a ritual textile, its creation is
conneted to the T’boli spirituality
and cosmology. A dream weaver
is said to be anointed by the
weaving deity Fu Dalo that
patterns and designs are
revealed by the spirit in dreams. An acolyte or apprentice is trained usually by a
relative and if deemed worthy, the deity Fu Dalo visits her dreams and reveals
original patterns that usually become signature style of the weaver.
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3.2. Tnalak Process
T’nalak is a sacred cloth woven by the T'boli people in communities around Lake
Sebu, Mindanao island. Traditionally made by women of royal blood, thousands of
patterns that reference folklore and stories are known to the T’boli women by memory.
Fu Dalu, a spiritual guardian, guides t’nalak weaving, a process that is enriched with
taboo and ritual.
T’nalak has a distinctive tri-colour scheme: White for the pattern, red for relief
elements and black (or deep brown) for the background. Fibres used in weaving are
harvested from the abaca tree and prepared in a process known as kedungon. Two
metal blades are used to quickly remove the pulp and reveal the filaments, which are
worked by hand into fine threads. During tembong, an artisan will connect individual
threads end to end. Temogo, or dyeing, is done in the ikat-style, using beeswax and
natural pigments. Fibres are first boiled in a black dye for several weeks. Weaving
(mewel) is done on a backstrap loom (legogong) and weaving one piece of cloth can
take up to a month of uninterrupted work. The final stage in the process, semaki,
involves burnishing the fabric with a cowrie shell that is heated by friction. Nut oil is
used to condition the fabric and add sheen.
T’nalak is used for ritual purposes, as an offering to the spirits and during
festival celebrations. It is also exchanged between families for food and supplies in the
T'bolis’ barter economy, which endures to this day. Many communities rely on the
commercial sale of t’nalak to earn a T’nalak is used for ritual purposes, as an offering
to the spirits and during festival celebrations. It is also exchanged between families
for food and supplies in the T'bolis’ barter economy, which endures to this day. Many
communities rely on the commercial sale of t’nalak to earn a living. For more
information and to support the T’boli weavers, visit One Weave.living. For more
information and to support the T’boli weavers, visit One Weave T’nalak is used for
ritual purposes, as an offering to the spirits and during festival celebrations. It is also
exchanged between families for food and supplies in the T'bolis’ barter economy, which
endures to this day. Many communities rely on the commercial sale of t’nalak to earn
a living.
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3.3. Tnalak and T’boli Art
The T'boli are famous for their dream-inspired and spirit infused T'nalak
weavings, but also for their embroidery, brass casting and other crafts. T'nalak
weaving is an artform perfected over decades of practice by T'boli women, and only a
handful of master weavers can be considered true 'dream weavers', the works of whom
are highly valued. The T'nalak Dream Weavers website seeks to promote the fair trade
of traditional arts of the T'boli Tribe, located in Lake Sebu, in the Mindanao region of
the Philippines.
T'nalak, a deep brown abaca-based cloth tie-dyed with intricate designs, is

produced by women of Mindanao's T'boli Tribe. It is one of the best known cultural
products of the Philippines.
T'nalak production is a labour intensive process requiring a knowledge of a

range of skills learned from a young age by the women of the tribe. First, abaca fiber
is stripped from the abaca tree, cleaned, dried and separated into strands. These
strands are then carefully selected, hand tied and rolled into balls. Natural vegetable
dyes produced by the T'boli weavers themselves are used to stain these hand spun
abaca fibers. The T'nalak is then woven, usually in tones of red, brown and black, with
the end product requiring months of work to produce a single, unique weaving.
T'nalak has great significance for the T'Boli. According to T'boli tradition, the
T'nalak designs have been passed down through generations and come to the best
weavers in dreams, brought to them by their ancestors. T'nalak weavings are one of
the traditional properties exchanged at the time of marriage and is used as a covering
during birth to ensure a safe delivery. The T'Boli believe that the T'nalak is infused
with spiritual meaning, and as such there are a variety of traditions surrounding its
production and use. One should not step over a weaving in progress, and doing so is
to risk illness. Cutting the cloth will cause sickness or death, unless done according to
traditions. If a weaving is sold, a brass ring is often attached to appease the
spirits. And while weaving a T'nalak, T'boli women practice abstinence in order to
maintain the purity of their art.
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The T'boli have a variety of other traditional

products. The skills inherent in production of these
T'boli products are highly valued, and as such many
women learn each from their mothers and
grandmothers. The T'boli are excellent
embroiderers and brass casters, with their products
prized well beyond the borders of their community.
T'boli jackets are a sought after fashion
accessory with high society women in Manila, for
example. They also are known for their bead jewelry
and wood carving. Rounding out these cultural
practices are a rich tradition of dancing, singing and
instrument playing, and T'boli musicians and dancers
have performed at major events around the world.
3.4. Dagmay
“Dagmay” is a handwoven textile made

from abaca. Making it involves a mud-dyeing
technique wherein tribe members soak their
tannin-dyed yarns into iron-rich mud for days.
The Mandaya women then weave the fiber into
intricate figures and patterns depicting their
folklores and beliefs. More often, “dagmay”
carries the human and crocodile motifs to their
highest expression. The reptile is revered as shown by the regularity which it appears
in their design. This skill and art is handed down from one generation to the next,
where each design made is a showcase of the weaver’s expressions.
3.5. Pis-Syabit Seputangan
Pis Siyabit or Pis Syabit is the

prized handwoven cloth of the Tausugs of
Sulu. Usually used as head covering, it is
made from cotton or silk, square in shape
and provided with geometric patterns. It
can also be worn on the shoulder, knotted
around the hilt of the sword, or tied
around the head among the Tausug men.
Pis Siyabit is usually seen being worn during weddings and other Tausug occasions as
a symbol of colorful history and rank.
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In modern times, pis siyabit is also used to decorate households such as frames,
curtains, and as giveaways.
3.6. Inaul
Inaul, which means “woven” in Maguindaon, is

a hand-woven tapestry fabric with geometric
designs. As a status symbol, it is revered as an
object of “bara-bangsa” which means dignity.
The inaul is commonly used in the malong, the
multitasking tubular fabric. One of the best
image models is ARMM Deputy Speaker
Congresswoman Bai Sandra Sinsuat Sema who
collects the inaul and wears it with pride.
Weavers use cotton and rayon silk threads inserted on big looms that can
handle huge volumes. Bai Albaya explains that the process starts with arranging
the threads to determine the colors, the quantity, and the length of the malong.
The threads are put on the wheel, spun, and inserted into the loom’s comb for
the design. To assure quality, weavers are tasked to make just one inaul tapestry
per creation.
“Once the weaver starts on the inaul, she has to finish it. If she delegates,
the result will be different. Each weaver has their own way with the tension of
the threads and the loom,” explains Bai Albaya.
By convention, the weaving can take as long as a month to produce one four-
meter fabric. A fully embroidered inaul fetches from P1,900 to P2,500. The price
is P500 for a 12 inch by 2 meter shawl.
“The inaul has over 100 uses—as bedsheet, turban, table runner, men’s
trousers, basket, pillowcase, and cradle. The special inaul is made from imported
thread. They are used for formal clothes like gowns and jackets,” says Bai Albaya.
Inaul as a Status Symbol

She explains that in the olden times, princesses in royal households wove
their own clothes. To denote their status, they used yellow, maroon, orange, and
black for royalty. White threads were used for mourning clothes. Green
symbolized coolness and peace.
The common designs are the rainbows or changing hues of threads,
stripes, taro, and wide borders. The lumbayan na ta’dman is a silhouette of a
woman peering from the window, waiting for her lover. Modern designs consist
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of twisted florals, the elbow or siko-siko, geometric patterns, triangles, and the
reversible fabric.
3.7. Visual elements in Philippine traditional motif and crafts
A. Introduction:
Admittedly the creation of things for use is the basic motivating force in the
practical operations of man. But amazingly his endeavors have never been merely
utilitarian. An unconscious desire to beautify all that he has or does has led him to
seek the elements of beauty and to integrate them with the purpose of his living. The
Philippine visual arts encompass a range of forms developed by Filipinos in the Ethnic,
Spanish, American, and featured thumb of contemporary traditions. In ethnic
communities, pottery, weaving, carving, and metalcraft are made for ritual purposes
or for everyday use. Spanish colonization introduced painting and sculpture whose
subject matter was for the most part religious, although secular themes and forms
emerged in the 19th century under the patronage of the new mestizo elite. The
American period witnessed the conflict between conservatism and modernism, with
the latter gaining ground in the end in painting and sculpture. After World War II artists
explored a variety of Western and Eastern styles, media, and philosophies—some
consciously going back to ethnic roots—to express themselves as individuals and as
Filipinos.
3.8. Decorative motifs and symbols, classification
A. Motifs and Symbols Introduction
Since the man began to give shape to the materials provided by nature for
meeting his rudimentary requirements, he has never been able to resists the inward urge
to adorn and beautify his possessions and surroundings. All these efforts have led to the
creation of motifs from different origins, organizing them in suitable layouts. This gave
the uniqueness to the motifs used in traditional Indian textiles.
B. Decorative Motifs and Symbols Classification
There are times when we do not understand what is being meant by a word, a
thought, an act, or a thing. We need other things to describe them in order to properly
understand their meanings. This is particularly true when we are dealing with works of
arts and in the literary world. This is why symbols and motifs are created: to help us
understand.
C. Motif
A motif is an image, spoken or written word, sound, act, or another visual or structural
device that has symbolic significance. It is used to develop and inform the theme of the
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literary work. The concept of a motif is related to a theme, but unlike a theme which is an
idea or message, a motif is a detail that is repeated in a pattern of meaning that can
produce a theme while creating other aspects at the same time. It is closely related to a
theme or a symbol and uses different narrative elements. It is constantly repeated to
represent a dominant or central idea or theme in a work of art. It relates more thought
which is used to support a theme.
D. Motifs typically are used in one of three ways:
1. A single object that appears multiple times throughout the work with most of the
emphasis placed on the item.
2. A collection of related objects that appear multiple times to emphasize the theme.
3. A collection of seemingly unrelated items that serve to draw attention to the theme
in a subtler manner.
E. Classification of Motif
The motifs or units of a textile design may be classified as: Geometric, Realistic
or Natural, Stylized, Abstract. As symbols can be used to change the meaning of a
word or phrase, they can change the way we view things. To get the meaning of a
word, it is necessary to use symbols so that it can be understood well. The meaning of
a symbol depends largely on its usage, its history, and purpose. A very fine example
of a symbol is the cross. It is used to symbolize Christianity, the religion which is based
on the teachings of Jesus Christ who was crucified. The cross is also use to remind
Christians about how Christ suffered in order to save them.
F. Types of Symbols
1. Iconograms are illustrative representations. They are iconic signs which,
as an illustrative representation, emphasize the points in common between
the signifier and the signified.
2. Pictograms are pictorial representations, such as ISOTYPE. Pictograms are
iconic signs which represents complex facts, not through words or sounds
but through visual carriers of meaning.
3. Cartograms are topographical representations with complex functions
(statics, etc.) and iconic facts, for example an atlas or the ground plan of a
house.
4. Diagrams are functional representations. They are visual signs which are
partly iconic representations, but are more functional carriers that illustrate,
for example, a sequence of facts of functions.
5. Ideograms represents a concept. Typically, ideograms correspond to the
sign as a symbol which relates to the object or concept referred to,
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independently of any format identification with it. (Note that many

symbolscan fall into multiple categories, but the context and intention will
help us understand how to “read” them.
6. Logograms are conceptual representations like writing. They are visual,
referential linguistic signs that do not take the phonetic dimension into
consideration.
7. Typograms are typographical representations. A typogram is a sign that is
also composed of a sign, derived from a written repertoire such us the
alphabet.
8. Phonograms are phonic representations. A phonogram is a sign that is
used to signify linguistic or other sounds.
G. Indigenous Philippine Arts and Crafts
One of the most precious traditional livelihoods that are still kept until today is weaving.
Originating in the pre-colonial times, the art of weaving of the Cordillera tribal groups in
the Philippine North is still existing despite the threat of the more practical, mass
production of cloth. The natives use back strap loom to produce blankets and articles of
clothing. Piña cloth is also produced in looms throughout the province of Antique. It is a
delicate and exquisite hand-woven cloth that is made from the fibers obtained from the
leaves of pineapple plants. It is popularly used in Barong Tagalog, the country’s traditional
formal men’s wear. With the organic and airy textile being used, the ‘barong’ is now
becoming more popular around the world. Abaca fiber derived from the abaca plant is
widely grown in certain regions in the country. It is woven mainly to make ‘sinimay’ fabric
and abaca rope, as well as specially papers like vacuum bags, currency, and tea bags.
There are also handcrafts like bags, carpets and clothing made of abaca. Baskets are also
made by Cordilleran’s as livelihood. They also use these as storage for food when they
need to go to mountain terraces to raise crops. Certain types of baskets also serve for
carrying grains, for hunting animals, and for fishing in the streams. Bamboo baskets are
used as fish traps; the shape and size of baskets determine to the kind of fish to be
caught.
Filipino potters make pots of different sizes, shapes, and designs, which are usually
geometric with stylized nature –themed motifs. Functional pieces are made as the need
would arise. An example of this is the ‘palayok’, which is used for cooking. ‘Banga’ and
‘tapayan’ are used for storing liquids. There is also the clay-made stove or ‘kalan’. The
‘burnay’ pottery in Ilocos Sur is still a lively tradition that continues up to the present.
Philippine sculpture is the most familiar art form among Filipinos. The most popular
woodcarvings are those of the anitos (nature gods), santos (saints), and statues of Christ
and the Blessed Mother. Since the early 16th century, jewelry making in the country has
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been practiced in the country. It is believed that the skills of the early Filipino
jewelrymakers are adopted from their Asian neighbors like the Chinese. Jewelry-making
is traditionally a home-based industry. With government support, the Philippines has
come to be known for its exquisite gold jewelry. The more popular jewelry pieces are
actually made of gold and silver. Rings, earrings, bracelets, brooches, pendants,
necklaces, tie pins, and cuff links (with or without gemstones) of these precious metals
are common. The Philippines is also known for pearls and semi-precious stones
(FREEMAN).
3.9. Philippine Symmetry Art Improvisation in Various Art forms
A. Improvisation
As defined, it is the art and act of improvising or of composing, uttering,

executing, or arranging anything without previous preparation or producing
something from whatever is existing or available.
B. Skills and Techniques in Improvisation
Improvisational skills can apply to many diverse abilities or forms of

communication and expression across all disciplines, which may be artistic,
scientific, physical, cognitive, and non-academic disciplines. Improvisation can
make an important contribution in music, dance, cooking, speech presentation,
sales and other more.
Technique improvisation are widely utilized in training for the performing arts
or activities, particularly in music, theater, and dance. To “extemporize” or “ad lib”
is basically the same as improvising.
In the industry or organization, one improvisational, group problem-solving

technique being used is brainstorming. It is when any and all ideas that a group
member may have are permitted and encouraged to be expressed, regardless of
actual practicality or importance.
3.10 Improvisation In The Various Art Form
1. Performing arts. Improvisation can be thought of as an “on the spot” (at the
moment) or “off the cuff” (impromptu) spontaneous moment of sudden
resourcefulness or inventiveness that can just come or pop up to mind and
body.
Common in the performing arts are the musical improvisation, improvisational

theater, and dance improvisation.
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• Music Improvisation- is the creative activity of immediate musical

composition, which combines performance with communication of
emotions and while simultaneously playing instrumental, as well as
spontaneous response to other musicians. The art of improvisation can
be understood as composing music “on the fly.”
Improvisation can take place as a solo performance, or

interdependently in ensemble with other players. When done well, it
often elicits gratifying emotional responses from the audience.
• Improvisational Theater- often called improv or impro, it is the form of

theater , often comedy, in which most or all of what is performed is
unplanned or unscripted: created spontaneously by the performers. In
its purest form, the dialogue, action, story, and characters are created
collaboratively by the players as the improvisation unfolds in present
time, without use of a previously prepared, written script.
Improvisational techniques are often used extensively to train actors
for stage, film, and television and can be an important part of the
rehearsal process.
• Dance Improvisation- it is the process of spontaneously creating

movement. The development of improvised movement material is
facilitated through a variety of creative explorations. Including body
mapping through levels, shape, and dynamics schema.
P a g e 28 | 30
Tel. # (033) 396-2291 ; Fax : (033) 5248081

Direction: Name the following artworks.
_________________________________ ______________________________
_________________________________ ______________________________
___________________________________ _______________________________
END OF FINALS MODULE
P a g e 29 | 30
Tel. # (033) 396-2291 ; Fax : (033) 5248081
References
BOOKS:
Eristain, T. et al, (2003). Art: Perception and Appreciation. Goodwill

Trading Inc.
Boongaling, C.C. et al, (2018). Art Appreciation. Mutya Publishing
House Inc.
ONLINE:
https://courses.lumenlearning.com/introliterature/chapter/defining-literature/
https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/reading-context-
is-part-of-when-and-where/
https://www.parkwestgallery.com/how-to-appreciate-art/
https://www.britannica.com/art/Mannerism
https://www.tate.org.uk/art/art-terms/b/baroque
https://www.britannica.com/art/Neoclassicism
https://www.britannica.com/art/Romanticism
http://www.tboli.globalmatters.com/
https://www.thetextileatlas.com/craft-stories/tnalak-weaving-philippines
https://mindanaotimes.com.ph/2019/06/01/reviving-the-mandayas-dagmay/
https://www.mymindanao.com/2017/10/pis-siyabit-weaving-in-sulu.html
https://pdfcoffee.com/visual-elementsin-philippines-traditional-motifs-and-crafts-
pdf-free.html
P a g e 30 | 30

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COLLEGE OF SCIENCE AND TECHNOLOGY

Cagamutan Norte, Leganes, Iloilo - 5003

SUBJECT TITLE: ART APPRECIATION

Topic 1: ART: UNDERSTANDING THE ARTS

At the end of this topic, the students are expected to:

1.1. Art: Its Meaning and Importance

Art came from the Latin

B. The Importance of Art

It is important because it encompasses the all the developmental domains in child

Aside from the things mentioned,

1.2. The Nature of Arts

1.3. Purposes and Functions of Arts

1. Expression of the imagination. Art provides a means to express the imagination

2. Ritualistic and symbolic functions. In many cultures, art is used in religion,

3. Communication. Art, at its simplest, is a form of communication. Most forms of

7. Psychological and healing purposes. Art is also used by art therapists,

8. Propaganda or commercialism. Art is often utilized as a form of propaganda,

1. Personal Function: to express personal feelings. Perhaps the artist wanted to

1.4. The Need to be Creative

Whether you're a first-time artist, or an expert, there are endless benefits to

A. Seven Ways We Benefit from Creativity

1. BECOME A BETTER PROBLEM SOLVER. There isn't a manual to being an artist,

2. CONNECT WITH YOUR COMMUNITY. When we create, we connect to other

4. EXPANDED SENSE OF TIME. Countless artists have discussed the experience of

5. SELF AWARENESS & EXPRESSION. Creativity is the route to authenticity. As we

6. FREEDOM. There is no right or wrong way to be an artist. When we create, we are

2. Describe the functions of art in one-word.

Personal- ______________ Social - _______________

Topic 2: THE SUBJECT OF ARTS

At the end of this topic, the students are expected to:

2.1. Define Subject of Art

An artwork’s subject matter is what the images or object literally means.

The subject in art is basically the essence of the piece.

2.2. Subject and Content

C. The Content of Art

Content refers to what the artist expresses or communicates on the whole of

2.3. Kinds of Subject

 Landscapes, seascapes, and  Everyday life

2.4. Ways of Representing the Subject

WAYS OF REPRESENTING ABSTRACT OBJECTS

a. DISTORTION- when the subject is in misshapen condition, or the regular shape

b. ELONGATION – the subject is lengthened, protracted or extended.

d. MANGLING – subjects or objects are cut, lacerated, mutilated, or hacked with

e. ABSTRACT EXPRESSIONISM – uses large canvasses, and lack of refinement in

3. SYMBOLISM – a symbol/sign of something invisible such as an idea or a quality.

4. FAUVISM – it is a kind of style or movement in painting that is characterized by a

7. SURREALISM - is an invented world which means “super realism”. Subjects of these

2.5. The Artist and His Choice of Subject

Here are some points to bear in mind when choosing a subject:

TOPIC 3: AWARENESS, CREATIVITY AND COMMUNICATION

At the end of this topic, the students are expected to:

3.1. Visual Thinking

Visual thinking is the phenomenon of cognition

Visual thinking is carried on by three kinds of visual imagery:

3.2. Perception and Awareness: Looking and Seeing

There is a difference between looking and seeing. To

3.3. Aesthetics, Arts and Beauty

Aesthetic analysis is a careful investigation of the qualities which belong to objects

3.4. Art and Experience

To qualify as an aesthetic experience:

Creativity focuses on the process of forming original

3.6. Untrained Folk Artist

B. Vincent van Gogh

Personal- Social - _