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Art Appreciation Module WORD 2021 Final
Art Appreciation Module WORD 2021 Final
TOPICS
1. History of Art and Humanities
2. Assumptions of Art
3. Art as Creation, Imagination, and Expression
4. Art Forms
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. criticize the position of art and its study in the Humanities
(discipline);
2. discuss and assess the assumptions about art and clarify the
common misconception of art;
3. articulate personal experiences or engagements with different
samples of art; and
4. enumerate the different art forms and examine various examples.
You might be wondering what in the world an art course subject is doing in your
degree program. Some of you may think that studying arts or developing an
appreciation for arts is a waste of time and unnecessary because it may not be relevant
to your degree program or your work later in life. At the same time, others may deem it
significant nevertheless.
Alain Badiou philosophized the nature of man in this phrase: “there are only
bodies and languages… except there are [also] truths”. The first part of this phrase
signifies man’s biological body which can be wounded and bled, a flesh and a body that
can be discarded and buried under the ground; and languages that connote the
presence of communities and cultures (because language is an aspect of culture) that
make the distinction of the ‘other’ present and interaction in diversity possible. In a
sense, you are a biological creature (your biology), and you are interacting with others
(your sociality). The second part pertains to the truths—truths that define the being in
the noun, human being. These refer to moments of transcendence that differentiate
human beings with other animals, truths that allow human beings to transcend from
their biology and sociality—to become more than bodies and languages. These truths,
for Badiou, are science, politics, art, and love. Among these truths, art and humanities
are viewed as transcendental endeavors. These disciplines move beyond the focus on
the biology and sociality of man. Art and humanities put man as a creative, observant,
rational, experiential, and moralistic being. Above all, the conception of these truths
upholds man as having the capacity to create and appreciate the work of his hands.
In the words of Caslib et al. (2018),
Art Appreciation, as a course, attempts to develop in students the ability to
appreciate, scrutinize, and appraise works of art[…] Toward the end of [this
course], the authors wish to contribute to the holistic development of each Filipino
learner in the hopes that every college student does not just become a skilled
professional, an expert in his field, but one who is truly human, a kind that does not
just think (man as rational) and socialize (man as homo socius) but one who
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appreciates the work of the hands and the beauty that he is capable of producing
and beholding.
The hope is for you to appreciate and live by art not as an epistemological body that you
need to study or learn from, but as a component of your humanity and as a
manifestation of freedom, creation, living, and being allowed in your characteristic as a
transcendental body and language.
The following discussion introduces you to concepts and perspectives regarding
the assumptions and the nature of art.
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The Galloping Wild Boar in Altamira, Spain
This cave painting was claimed to belong to the Upper Paleolithic Age, which was found
by a Spaniard and his daughter while they were exploring the cave. They also saw
pictures of hind and bison, and this proved that pre-historic men, with their tools,
already manifested earliest attempts at recoding their innermost thoughts and interest
(Caslib et al., 2018).
SUPPLEMENTARY MATERIALS
More on the history of art:
HISTORY OF IDEAS – Art (https://www.youtube.com/watch?v=z7ECzduUWx0)
History of Art – Animation (https://www.youtube.com/watch?v=bI1NYSCoANU)
The Evolution of Art (and how it Shaped the Modern World)
(https://www.youtube.com/watch?v=bkWHrWw5yTg)
What is Art? (https://www.youtube.com/watch?v=QZQyV9BB50E)
Who decides what art means? - Hayley Levitt (https://www.youtube.com/watch?
v=HoXyw909Qu0)
Guide question: How does the idea about art or the conceptualization of art changed or
varied through time?
TASK/ACTIVITY
IS THIS ART?
Determine if the image shown is a work of art or not. Write YES or NO. If the answer is
YES, identify what kind of art it is (Art Form). There will be two answers for every item.
1. ___________________________ 2. ___________________________
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3. ___________________________ 4. ___________________________
5. ___________________________ 6. ___________________________
7. ___________________________ 8. ___________________________
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11. ___________________________ 12. ___________________________
Four assumptions aim to characterize the nature, temporal and spatial contexts,
and motivations for the conduct, practice, and production of art (Caslib et al., 2018 pp.
2-8).
1. ART IS UNIVERSAL
Art has always been timeless and universal, spanning generations and
continents through and through. In every country and every generation, there
is always art. The first assumption about the humanities is that art has been
crafted by all people regardless of origin, time, place, and that it stayed on
because it is liked and enjoyed by people continuously.
2. ART IS NOT NATURE
Art is man’s expression of his reception of nature. Art is not nature. Art is
made by man, whereas nature is a given around us. Art is based on an
individual’s subjective experience of nature. It is not meant, after all, to
accurately define what a thing is like in nature. Artists are not expected to
duplicate nature; they can only reinterpret it or even distort it.
3. ART INVOLVES EXPERIENCE
Art is always an experience. Unlike fields of knowledge that involve data, art is
known by experience. Dudley et al. (1960) affirmed that “all art depends on
experience, and if one is to know art, he must know it not as fact or
information but as experience.” A work of art then cannot be abstracted from
actually doing. In order to know what an artwork is, we have to sense it, see or
hear it, and see and hear it. An important aspect of experiencing art is its
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sense of being highly personal, individual, and subjective. In philosophical
terms, the perception of art is always a value judgment. It depends on who the
perceiver is, his tastes, his biases, and what he has inside him.
4. ART IS CULTURAL
A culture of particular people is expressed in art forms. It’s called material
culture referring to tangible facets of a culture where a community or ethnicity
expresses their beliefs, sociopolitical structure, concepts of gender and sex,
and worldviews, among others. Art is a facet of culture, ritual dances are part
of performative art, motifs in clothing are art, and traditional music is art.
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This discussion answers the question, “Where do artists source their motivations
in doing art? From where does the artist get the idea for their artwork?”
Man has also been Art starts in the Art has grown out
ART AS CREATION
Also, art in any given period simultaneously reflects two things (Ortiz et al., 1976):
1. The genius of its creator. i.e., the creativity of the creator and how it reflects on
their artwork.
2. The sensibility or the characteristic values and attitudes toward important
aspects of life held by the society in which the work of art was born. i.e., social,
economic, political, religious, and scientific factors influence an artist’s artistic
expression. His vision is also necessarily influenced by his cultural traditions and
by his training. Works of art have their context in time and space.
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SUPPLEMENTARY MATERIALS
More on art as creation, imagination, and expression:
What makes something art? (https://www.youtube.com/watch?v=vV2cc_fFgmA)
UP TALKS | Art as Product of Human Experience and Imagination
(https://www.youtube.com/watch?v=GCR4vhbikzU)
Guide question: What qualifies an “art”? Are there other sources of “art” aside from
human experience and imagination?
TASK/ACTIVITY
CROSSWORD PUZZLE
Complete the crossword puzzle of concepts from the discussion of Assumptions of Art and Art
as Creation, Imagination, and Expression.
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TOPIC 4: ART FORMS
Eleven (11) recognized Art Forms in the 21 st century (Caslib et al., 2018 pp. 18-
22; Epperson, 2019; Newhall et al., 2019).
PHOTOGRAPHY
As a means of visual communication and expression, photography has distinct
aesthetic capabilities.
The most important control is, of course, the creative photographer’s vision.
He or she chooses the vantage point and the exact moment of exposure. The
photographer perceives the essential qualities of the subject and interprets it
according to his or her judgment, taste, and involvement.
SUPPLEMENTARY MATERIALS
The different art forms in context:
Different Forms of Art We Cannot Imagine the World Without
(https://www.youtube.com/watch?v=L9uTtTTQs2I)
The Case for Performance Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=EmMTKdUAokM)
The Case for Video Art (https://www.youtube.com/watch?v=YcXpAHVAxwY)
Making Simply Beautiful Photographs | National Geographic
(https://www.youtube.com/watch?v=ZNMMPXnEeno)
What makes a poem … a poem? - Melissa Kovacs
(https://www.youtube.com/watch?v=JwhouCNq-Fc)
Experience Medieval Art and Architecture in Picturesque Brugge | National
Geographic (https://www.youtube.com/watch?v=lfrEEe7QDJk)
The Art of Cinema (https://www.youtube.com/watch?v=KB6qKg2xQ58)
How and Why We Read: Crash Course English Literature #1
(https://www.youtube.com/watch?v=MSYw502dJNY)
What Is Theater? Crash Course Theater #1 (https://www.youtube.com/watch?
v=sNWrOuwzax8)
Turning Sound Into Music—Why Do We Do It? | Short Film Showcase
(https://www.youtube.com/watch?v=ESeRaLKE7YU)
Expand your knowledge on the different art forms through these materials.
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TASK/ACTIVITY
THINKPIECE:
The practice and appreciation for art can be derived from different motivations and can
be an ode to a particular form of art. Nevertheless, the resulting work of art is an
amalgamation of the artist’s creativity, imagination, and expression. In this task, ponder
on these questions:
a. If you were an artist, what kind of artist will you be?
b. What art field/ art form will you explore? Why?
c. How can you utilize the arts to express yourself, your community, and your
relation to others and with the earth?
Write your essay in one whole sheet of paper.
TASK/ACTIVITY RUBRIC:
Content/Relevance: 10 points
Writing technicalities (narrative, grammar): 6 points
Clarity: 4 points
Total 20 points
ASSESSMENT
SELF-PORTRAIT
Channel your creativity, imagination, and expression in this task and create
something that you can acknowledge and appreciate as “art”.
Create a portrait of yourself. It can be made of any medium, drawing, painting,
sculpture, graphic design, photography—any type of visual art. You can use any art
style or elements (e.g. the addition of color, the use of other materials that cad add
aesthetic merit to your artwork, anything you think will go with the portrait you’ll
create). Portray yourself in the most creative way. Add a 5-sentences explanation of
the portrait you created.
ASSESSMENT RUBRIC:
Creativity: 20 points
Art style: 10 points
Technique: 10 points
Realism/distortion: 5 points
Narrative: 5 points
Total: 50 points
Comment:
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LESSON 2
ART: FUNCTION AND PHILOSOPHY
TOPICS
1. Functions of Art
2. Philosophical Perspectives on Art
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. understand the functions of art for the individual as well as how art is
significant for cultures and societies.; and
2. explain and discuss some of the key philosophical perspectives on art.
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communicate an idea to his audience. It can also be mere entertainment for his
intended audience. Often, the artist may not even intend to mean anything in his work.
Arts are vehicles for the artists’ expression of their feelings and ideas. Likewise,
for us, layman or non-artists, the arts also serve as a means of expression for us. Art
helps to educate our senses and sharpens our perception of colors, forms, textures,
designs, sounds, rhythms, and harmonies in our environment. Art makes us more aware
and appreciative of the things around us. Visual and auditory “literacy” through contact
with the arts can lead us to an intensified awareness of the beautiful in life. It can thus
make our existence less humdrum; it can refine and elevate our aesthetic taste.
Works of art make us aware of other ways of thinking, feeling, and imagining
that have never occurred to us before. They offer us fresh insights into nature and
human nature so that we gain a better understanding of ourselves and the world around
us. They help us improve our lives. This is especially true of literature, drama, and
cinema, which capture and vivify human experience (Ortiz et al., 1976).
ART, CULTURE, AND SOCIETY (THE SOCIAL FUNCTION)
One cannot conceive of a society without art, for art is closely related to every
aspect of social life (Ortiz et al., 1976).
Art performs a social function when:
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Influencing Social Behavior Social Description
Display and Celebration
SUPPLEMENTARY MATERIALS
More on conceptualizing the functions of art:
What is Art for? (https://www.youtube.com/watch?v=sn0bDD4gXrE)
Cases for Political Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=RfXad3HVox4)
Guide question: Will you consider art as something “political”? Or it’s just “neutral” and
unbiased?
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TASK/ACTIVITY
Identify:
1. The form of this artwork (5 points)
______________________________________________
______________________________________________
______________________________________________
______________________________________________
______________________________________________
Discuss your points in detail. Capitalize on the discussion about the functions of art.
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TOPIC 2: PHILOSOPHICAL PERSPECTIVES ON ART
Three (3) philosophers have their different takes on the nature, function, and
purpose of arts to human beings (Caslib et al., 2018 pp. 31-33).
SUPPLEMENTARY MATERIALS
More on the philosophical perspectives on art16through the discussion of aesthetics:
Aesthetics: Crash Course Philosophy #31 (https://www.youtube.com/watch?
v=gDL4Zf2yEa4)
TASK/ACTIVITY
POSITION/ARGUMENT PAPER:
Plato, Aristotle, and Kant’s philosophical take on the nature or character of art add
depth and width to our practice, study, and understanding of art not only as a discipline
but as a human endeavor as well.
Among the three philosophical perspectives on art, which philosophy you subscribe to
or agree with?
Discuss your points and/or arguments why you subscribe or agree with that
philosophical perspective. You can cite examples and do your best to support your
claims with facts. If you are going to use other resources, don’t forget to cite them (use
APA citation style) properly.
Use this opportunity to engage yourself with this philosophical discourse by agreeing to
one and disagreeing with the other two.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond paper.
(Notice to the instructor: this format serves as a parameter guide and can be adjusted to the needs and/or
conditions of the students)
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, arguments, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Citation and ethical integrity 10 points
Total 50 points
ASSESSMENT
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THINKPIECE
Write about the significant function or role of art for yourself. You can explore both
personal function of art (as an individual), social function of art (as a member of a
community, society, and culture), and physical function of art (as a human being
utilizing art in everyday life). You can cite examples, anecdotes, and/or experiences
that lead you to the conclusion that art works like this or like that in your life.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond
paper. (Notice to the instructor: this format serves as a parameter guide and can be adjusted to the
needs and/or conditions of the students)
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, arguments, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Clarity/sense of the content 10 points
Total 50 points
LESSON 3
THE STUDY OF ART
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TOPICS
1. Subject and Content of Artworks
2. Art Structure
3. Art Analysis and Art Criticism
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. understand the concepts of subject and content in works of art;
2. familiarize themselves with the different elements, medium,
technique, and principles of art; and
3. analyze and/or read works of art using different approaches and art
theories.
CONCEPTS
Subject – the visual focus or the image that may be extracted from examining
the artwork; refers to any person, object, scene, or event described or
represented in a work of art.
Content – the meaning that is communicated by the artist or the artwork
Form – the development and configuration of the artwork—how the elements
and the medium or material are put together
In simpler terms, the subject is seen as the “what”; the content is the “why”; and
the form is the “how”.
(Caslib et al., 2018 pp. 37-38)
IDENTIFYING
IDENTIFYING SUBJECT,
SUBJECT, CONTENT,
CONTENT, ANDAND FORM
FORM
Noting the concepts above, take, for example, the reading of Michelangelo’s
famous marble sculpture, Pieta (image below). The subject of this sculpture is Mary and
Jesus (if we refer to the narrative of the Bible; this is when Jesus was brought down
from the cross). We can also identify the crucifixion of Jesus and the payment of
humanity’s sin as the subject, the symbolism of salvation, and redemption in the
Christian faith. The content can pertain to different perspectives, one would be on the
humanity of Jesus and the fact that He was born of a woman (Mary) even if he is equal
to God (the Heavenly Father), and as a mortal human being, he is subject to death.
Lastly, the form of this work of art is sculpture, and the material is a marble.
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Michelangelo. Pieta. 1498-1499. Marble. 1.74 m x 1.95 m. St. Peter's Basilica.
TYPES
TYPES OF SUBJECT
OF SUBJECT
Painting, sculpture, and other art forms can be divided into the categories of
representational (sometimes also called figurative art, although it doesn't always
contain figures), abstract, and non-representational (or non-objective) art.
Representational art describes artworks – particularly paintings and sculptures – that
are derived from real object sources, and therefore are by definition representing
something with strong visual references to the real world. Most, but not all, abstract art
is based on imagery from the real world. The most "extreme" form of abstract art is not
connected to the visible world and is known as non-representational.
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Johann Anton Eismann, Meerhaven. 17th century. Robert Delaunay, Le Premier Disque. 1913
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SUPPLEMENTARY MATERIALS
The spectrum of abstraction explained:
The Case for Abstraction | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=96hl5J47c3k)
KINDS OF SUBJECT
KINDS OF SUBJECT
For artists, where do they source the subjects of their paintings? What do they
paint? Practically everything under the sun is a raw material for the artist to draw his
subject from. Most, if not all, of the visual arts, are representations of what the artists
thought and felt about the world they lived in. Or they are representations of things the
artist imagined or dreamed about. Whatever subject an artist chooses, his choice
involves some personal statement; it shows what he considers significant or
aesthetically satisfying.
The subjects depicted in works of art, particularly the visual arts, can be grouped into
(Ortiz et al., 1976):
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CONTENT
CONTENT
Recognizing the subject is not necessarily grasping the content of a work of art.
Subject and content are two different things. While the subject refers to the objects
depicted by the artist, content refers to what the artist expresses or communicates on
the whole in his work. Sometimes it is spoken of as the “meaning” or the “theme” of
the work. The content reveals the artist’s attitude toward his subject (Caslib et al., 2018
p. 49-51).
Subject matter may acquire different levels of meaning (Caslib et al., 2018 p. 49-51).
1. Factual meaning
The literal statement or the narrative content in the work which can be directly
apprehended because the objects presented are easily recognized.
2. Conventional meaning
This refers to the special meaning that a certain object or color has for a
particular culture or group of people.
3. Subjective meaning
Any personal meaning consciously or unconsciously conveyed by the artist using
a private symbolism which stems from his association of certain objects, actions,
or colors with past experiences.
To fully grasp the content of works of art, one must learn as much as he can
about the culture of the people that produced them and maintain an open mind.
TASK/ACTIVITY
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TOPIC 2: ART STRUCTURE
Art elements are the basic components or building blocks that make up a
particular art structure. In this part, we will look at the different elements that make up
the respective practices of different art forms, such as visual arts, music, poetry, film,
and literature.
VISUAL ARTS
The elements of visual arts are color, value, line, texture, shape, form, and space. Artists
use the elements of art to express their ideas. The principles of art are the different
ways the elements can be used in a work of art: balance, emphasis, harmony, variety,
gradation, movement, rhythm, and proportion.
Curved Lines- these are lines that bend or coil. They allude
to softness, grace, flexibility, or even sensuality.
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ART ELEMENT: SHAPE AND FORM
Shape refers to two dimensions: height and width. At the same time, Form refers to
three-dimension: high, width, and depth.
Like space, texture can be either real or implied. This element in an artwork is
experienced through the sense of touch (and sight). The texture is commonly associated
with textiles.
ART PRINCIPLE: BALANCE
Balance refers to the distribution of the visual elements
because of their placement in relation to each other.
Symmetrical – used on one side is reflected on the other.
Asymmetrical – not the same (or of the same weight) on
the side, putting the heaviness.
Radial – central point in the composition
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ART PRINCIPLE: SCALE AND PROPORTION
Scale – size in relation to what is normal for the figure or object
in question.
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Pattern – the image created out of repetition
MUSIC POETRY
TIMBRE – sound quality; RHYTHM – sound quality; the
related to the type of natural rise and fall of delivering
instrument used the language
PITCH – highness or lowness of METER – stressed (longer) and
sound unstressed (shorter) syllabic
MELODY – refers to the linear pattern
(horizontal) presentation of LINE – basic unit of a poem
pitch STANZA – layers of sound or
HARMONY – vertical, it arises melody—paragraph of the prose
when pitches are combined to (poetry)
form chords RYME – the similarity of sound
RHYTHM – the pulse of music; (phoneme) of the middle or end
long or short beat, tempo, syllables of a set of successive lines
and/or meter IMAGERY – word pictures derived
DYNAMICS – refers to the from the description or narrative
loudness or quietness of music employed in the poem
TEXTURE – layers of sound or FIGURES OF SPEECH – alliteration,
melody metaphor, simile, hyperbole,
personification
FILM LITERATURE
Plot Plot
Character Character
Theme Theme
Setting/context Setting/context
Conflict & resolution Conflict & resolution
Music score or soundtrack Imagery
Visual elements related to the Point of view
cinematography
SUPPLEMENTARY MATERIALS
A quick guide to the elements and principles of visual arts:
The Elements of Art . . . Defined! (https://www.youtube.com/watch?
v=iSbm21bhXVk)
The Principles of Design . . . Defined! (https://www.youtube.com/watch?
v=k1npitnxdQs)
TASK/ACTIVITY
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Check out Hokusai’s Great Wave off Kanagawa;
listen to Erik Satie’s Gymnopédie no. 1;
read the poem “Manghuhuli Ako Ng Sinag Ng Araw” by John Enrico Torralba;
read a short story written by Haruki Murakami “On Seeing the 100% Perfect Girl
One Beautiful April Morning”; and
try to identify the different elements for the respective forms of art. There is
nothing to accomplish here, just experience these works of art and assess if you
can identify their structure and make sense of the different art elements
discussed above.
READING THE
READING IMAGE
THE IMAGE
Understanding art has to do with reading the visual work as a re-presentation of
the world, an artistic construct, and signifying practice conveying a complex of ideas,
feelings, values, attitudes, moods, and atmosphere that derive from world views and
ideologies. Since art is a vital part of our lives, we need to know and understand it better
(Ortiz et al., 1976).
Understanding a work of art may involve a great deal of research. Moreover, the
meaning of important work can grow with time, as viewing it becomes a process of
continual discovery, which is part of the pleasure art gives (Ortiz et al., 1976).
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TWO (2) INTERRELATED ASPECTS IN THE STUDY OF ART:
SPECIFICITY
Art has its particular language or vocabulary that has to do with the media,
techniques, and visual elements of art and that constitutes it as a distinct area of
knowledge and signifying practice. It is what constitutes art as a particular human
activity different from others.
HISTORICAL CONTEXT SHAPED BY SOCIAL, ECONOMIC,
AND POLITICAL FORCES
While art has specificity, it is at the same time historically situated and shaped by
social, economic, and political forces. The study of the formal elements alone will
not lead to a full understanding of the work, in the same way that the exclusive
study of the social determinants risks collapsing the artistic into the sociological.
ARTART
ANALYSIS ANDAND
ANALYSIS ARTART
CRITICISM
CRITICISM
Terms are used interchangeably; art analysis is the process of undertaking art
criticism.
In a general conceptual take, ART CRITICISM is defined as the analysis and
evaluation of works of art. More subtly, art criticism is often tied to theory; it is
interpretive, involving the effort to understand a particular work of art from a
theoretical perspective and to establish it’s significant in the history of art.
ART ANALYSIS (as a concept) is still used to denote the study, reading, or
understanding of a work of art.
Art Criticism is responding to, interpreting meaning, and making critical
judgments about specific works of art.
Art Critics help viewers perceive, interpret, and judge artworks. They carefully
study works of art, searching for aesthetic qualities the qualities that can
increase their understanding of the works and serve as the criteria on which
their judgment is based.
AESTHETIC THEORIES
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Aesthetics theories used in art criticism:
Works of art are not only created for the functions it serves for the artist and the
audience/viewer. As a humanistic endeavor, art demands study, critique, analysis, and
understanding in hopes that what came out of these analyses will, in turn, be utilized
and applied in the process of creating artworks.
There are four key dimensions explored and accomplished in the conduct of art
analysis: description, analysis, interpretation, and judgment (Mittler, 2006 p. 86-90).
1. DESCRIPTION
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1. 2.
DESCRIPTION
ANALYSIS
Discover the unique features in the work of art. Determine the artistic style.
Answers the question, “How did the artist do it?”
How are the elements organized? What principles of design and organization
are utilized?
Analyze the figures and objects in the image.
What is the background of the subject matter or model?
3.1.
INTERPRETATION
DESCRIPTION
1.4.DESCRIPTION
JUDGMENT
Give your judgment that is based upon consideration of all the aesthetic
qualities found in the work of art, and the context and content of the artwork.
Does it have a strong aesthetic value and artistic merit?
Is the art piece important? What makes it important?
What are the issues or values presented? Is the artist effective in presenting
issues or concepts through the art piece?
Does it change your perspective about art and its role in society? How?
What are your realizations?
SUPPLEMENTARY MATERIALS
Undertaking art analysis and art criticism (examples on how to read images):
The Death of Socrates: How To Read A Painting
(https://www.youtube.com/watch?v=rKhfFBbVtFg)
Why is Vermeer's "Girl with the Pearl Earring" considered a masterpiece? - James
Earle (https://www.youtube.com/watch?v=pM_IzEAv5d4)
Why is this painting so captivating? - James Earle and Christina Bozsik
(https://www.youtube.com/watch?v=loMy3sbW64g)
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ASSESSMENT
Juan Luna. The Parisian Life. 1892. Oil on canvas. 57 cm × 79 cm. National Museum of Fine Arts, Manila
DESCRIPTION (What is in the work? Discuss the elements of art found in the artwork.
What are the materials or medium used? When, where, and by whom the work was done?
Who is the subject matter or model?)
ANALYSIS (Discover the unique features in the work of art. Determine the artistic style.
How are the elements organized? What principles of design and organization are utilized?
Analyze the figures and objects in the image. What is the background of the subject matter
or model?)
INTEPRETATION (Based on its composition, discuss its expressive quality. What are the
possible mood and/or emotion conveyed in the artwork? How are the artists and the
artwork influenced by their environment or context?)
JUDGMENT (Give your judgment that is based upon consideration of all the aesthetic
qualities found in the work of art, and the context and content of the artwork. Does it
have strong aesthetic value and artistic merit? Is the art piece important? What makes it
important? What are the issues or values presented? Is the artist effective in presenting
issues or concepts through the art piece? Does it change your perspective about art and its
role in society? How? What are your realizations?)
ASSESSMENT RUBRIC:
Format – 10
Content/analysis:
Description – 15
Analysis – 15
Interpretation – 15
Judgment – 15
Citation and ethical integrity – 10
Writing technicalities (narrative, grammar) – 10
Integration and coherence of points/ideas presented - 10
32
LESSON 4
THE PEOPLE AND THE PLACE OF ART
TOPICS
1. The People of Art
2. The Place of Art – Exhibits and Museums
3. Awards and Citations
4. Art as Commodity
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. distinguish the works of an artist and artisans;
2. understand how exhibits and museums are planned, organized, and
showcased for art enthusiasts;
3. identify national and GAMBA artists’ notable works and their
contribution to society; and
4. understand how art is a commodity.
“Art when really understood is the province of every human being. It is simply a
question of doing things, anything, well. It is not an outside, extra thing. When the artist
is alive in any person, whatever his kind of work may be, he becomes an inventive,
searching, daring, self-expressing creature. He becomes interesting to people. He
disturbs, upsets, enlightens, and he opens ways for a better understanding. Where
those who are not artists are trying to close the book he opens it, shows there are more
pages possible.” Robert Henri, The Art Spirit (1923), as cited in (Caslib et al., 2018 p.54).
Arguably, one type of knowledge that fuels the 21st century is creativity. Art and
artists had a long way in the history of mankind. The impulse to create is at the core of
human civilization, much like the influence to communicate through language (Caslib et
al., 2018 p. 56).
33
Is there a difference between art and craft? – Laura Morelli. TEDEd Youtube channel.
https://www.youtube.com/watch?v=tVdw60eCnJI
B. ARTISAN
An artisan is a craftsman, such as a carpenter,
carver, plumber, blacksmith, weaver,
embroiderer, and the like who produces
directly functional and or decorative arts.
Artisan helps us in meeting our basic needs,
such as food, clothing, dwelling, furniture, and
kitchen utensils; they craft everything that
makes our life easy. The artisan’s works are
useful, relevant, and essential in our daily life.
34
KEY ACTORS OF THE ART MARKET
We are examining the social, economic, political, and aesthetic dynamics of the
key personalities of the art world, namely, the artist, museum manager, curator, art
buyer, art collector, art dealer, and connoisseur.
ARTIST
The creator of the artwork;
Engages in pre-production, production, and post-production processes vis-à-vis their
artwork.
MUSEUM MANAGER
Manages the entire operation of a museum or an exhibit (maintenance, promotions,
audience accommodation).
CURATOR
Does the research and plans the presentation or how the artifacts/artworks will be
showcased in the museum;
The role of the curator is more of the interpretation and development of artwork(s) or
the collection(s) through establishing the significance, relationship, and relevance of
these materials—in isolation and/or as part of a wider narrative.
The curator, who is manager or overseer and usually a curator or keeper of a cultural
heritage institution (gallery, museum, library or archive) is a content specialist
charged with an institution’s collections, selecting art to be displayed in the museum,
organizing art exhibitions in galleries or public places, researching the artist and
writing catalogs and involved with the interpretation of heritage.
ART BUYER
Initially assess and survey artwork that collectors are interested in; it is their role to
oversee the sale of the artwork, on behalf of the collector who may either be too busy
or who would rather keep his identity hidden.
An art buyer is a professional who is knowledgeable in the art, who may scout talents
for an advertising agency seeking to employ an art director, or who may look for
artwork for collector or company.
ART COLLECTOR
A collector who has established himself as someone who not only appreciates art but
knows art, understands its behavior and patterns, becoming a key player in making or
breaking an artist’s career, or shaping the course of a museum’s collection (through
pledges of support and donation).
ART DEALER
The direct hand is in the distribution and circulation of the artworks through a variety
of means, such as direct sales, through galleries, and auction houses.
An art dealer is 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 keep up with the
trends in the market and are knowledgeable about the style of art that people want
to buy. They figure out how much they should pay for a piece and then estimate the
resale price. To determine the artwork’s value, the dealer inspects the objects or
paintings closely and compare the fine details with similar pieces.
CONNOISSEUR
A critic of art; knowledgeable and competent enough to pass sound judgment on a
work of art.
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THE CREATIVE PROCESS
Robert Fritz enumerated the steps in the creative process and said that creating
is a skill that can be learned and developed. Like any other skill, we learn by practice and
hands-on experience – we can learn to create by creating. Fritz presented five stages in
the creative process.
1. Conceive the result you want to create. Creation starts at the end. We need to
have an idea of what we want to create. We need a vision – individual or
collective – that we want to realize.
2. Know what currently exists. It is difficult to create something novel and/or
original in any area of knowledge without being aware of what is being done in
that area.
3. Take action. Having a wonderful idea or vision is not enough. You have to do
something to make it real, generate criticism.
4. Develop your creativity. Every new creation gives you fresh thoughts and
knowledge of your creative process.
5. Learn the rhythms of the creative process. There are three (3) fundamental
stages in every creative process: Germination, Assimilation, and Completion.
SUPPLEMENTARY MATERIALS
The key actors of the art market in context:
The Art Market (in Four Parts): Galleries (https://www.youtube.com/watch?
v=053TUT6QUJw)
The Art Market (in Four Parts): Auctions (https://www.youtube.com/watch?
v=sN6iyccbZJI)
The Art Market (in Four Parts): Art Fairs (https://www.youtube.com/watch?
v=AKHQPX-Zr4M)
The Art Market (in Four Parts): Patrons (https://www.youtube.com/watch?
v=PXi7Kjlsz9A)
Guide question: What are the roles assumed by the key actors of the art market in these
contexts?
36
TASK/ACTIVITY
Match the artwork with its artist. Encircle the letter that corresponds to your answer
37
________________________________________________________________________
The predominant role that museums are mandated to fulfill is the display of
artworks for the education of the public and the appreciation of these objects only ,
both in isolation or as part of a collection and a wider narrative rendered by its inclusion
38
in exhibitions or informed by museum programming (i.e., lectures, workshops,
screenings, etc.) (Caslib et al., 2018 p. 69).
“Exhibitions act as the catalyst of art and ideas to the public; they represent a
way of displaying and contextualizing art that makes it relevant and accessible to
contemporary audiences. The art exhibition, by its nature, holds a mirror up to society,
reflecting its interests and concerns while at the same time challenging its ideologies
and preconceptions. Keeping art relevant to society and a diverse audience at any given
point in history is one of the main goals of the art exhibition and one of the reasons it is
so important to the history of art.” (Cline, 2012 as cited in Caslib et al., 2018 p. 70-71).
Exhibitions create an opportunity in which the different roles in the art world get
to meet, interact, and even enter into a discussion.
SUPPLEMENTARY MATERIALS
On planning, organizing, and curationg exhibits:
The Case for Museums | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=tcTqaCwBBcQ)
Curating an Exhibition (https://www.youtube.com/watch?v=yDaY6KraDW0)
Guide question: What are the steps taken by curators and museums in planning and
organizing art exhibits?
TASK/ACTIVITY
Upon knowing the details about the museum you have research on, answer this
question:
39
What do you think is the purpose of a museum? Why do you think museums are
important…
a. for people;
b. for society and culture; and
c. for the discipline and practice of arts?
Explore each aspect and discuss your points and/or arguments in detail. Include a photo
of the museum you have chosen. Do not forget to cite your references, use APA citation
style.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond paper.
(Notice to the instructor: this format serves as a parameter guide and can be adjusted to the needs and/or
conditions of the students)
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, data, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Citation and ethical integrity 10 points
Total 50 points
In order to honor artists of indigenous and traditional forms of art, the National
Commission on Culture and the Arts awards the “Manlilika ng Bayan” distinction to
“citizen engaged in any traditional art uniquely Filipino whose distinctive skills have
reached such a high level of technical and artistic excellence and have been passed on to
40
and widely practiced by the present generation in his/her community with the same
degree of technical and artistic competence” (NCCA, 2015 as cited in Caslib et al., 2018).
The Gawad sa Manlilikha ng Bayan awardees include Ginaw Bilog (Hanunoo ambahan
practitioner), Masino Intaray (Pala’wan musician), Lang Dulay (T’boli textile weaver)
among others.
Modern artists Juan Luna (left) and Felix Resurreccion Hidalgo (right) both flourished in the art scenes of Europe and the Philippines.
They practiced neoclassicism, impressionism, romanticism, realism, and history painting, among others, in most of their artworks.
To date, there are 73 National Artists (Order of National Artists) all of whom
practiced contemporary arts (the 1960s to present) in the different art forms—visual
arts (painting, sculpture, mixed media), architecture, music, dance, film, literature, and
theater. In terms of visual arts, art styles varied from abstract, realism, cubism,
romanticism, and fauvism, among others. Painters Juan Luna and Félix Resurrección
Hidalgo, on the other hand, are considered as modern Filipino artists (1860s to 1960s),
who practiced romanticism and impressionism (Luna), and neoclassicism and
impressionism (Hidalgo) during their days.
41
Some of these contemporary and national artists are:
Fernando Amorsolo (visual arts – painting)
Guillermo E. Tolentino (sculpture)
Lino Brocka (film)
Vicente Manansala (visual arts – painting)
Jose Maceda (music)
Francisca Reyes-Aquino (dance)
Virgilio Almario (literature)
Daisy Avellana (theater)
Juan Nakpil (architecture)
Benedicto Cabrera (visual arts – painting)
Kidlat Tahimik (film)
Outside the National Artist circle, many contemporary and local artists flourish in the
streets, in social media, and independent art scene. Many of their works of art lean
towards the digital medium, which becomes more accessible to Filipinos, especially to
millennials and generation z people who spend most of their time using the online
platforms. Contemporary artists utilize art to express their thoughts and ideas,
represent current social milieu, challenge socio-economic and political realities, and/or
practice art for art’s sake. These artists are continually shaping the Filipino
contemporary art scene.
SUPPLEMENTARY MATERIALS
Documentaries and clips about National Artists and GAMABA Awardees:
UNTV Life: KNC Show - National Artists of the Philippines
(https://www.youtube.com/watch?v=Qnq4hvU05qM)
National Artists Special | full video (https://www.youtube.com/watch?v=BeDtBb1-
D0s)
LOREN LEGARDA: Dayaw Season 4 Episode 2 - "Living Treasures (part 1)"
(https://www.youtube.com/watch?v=PL4H4o568X0)
LOREN LEGARDA: Dayaw Season 4 Episode 3 - "Living Treasures (part 2)"
(https://www.youtube.com/watch?v=M1nRDVTJbKg)
Gawad sa Manlilikha ng Bayan or GAMABA (https://www.youtube.com/watch?
v=7yKyVIGG7Nk)
TASK/ACTIVITY
42
In this activity, you will create an infographic, a poster, or a brochure about a local artist,
either a GAMABA awardee or a National Artist. In your infographic or brochure, include
the following details:
a. The artist’s profile (name, age, hometown/province, ethnicity, etc.) and
award/distinction.
b. The artist’s notable artwork and/or art form (provide details about their work
and art form)
c. The artist’s contribution to the discipline and practice of arts in the Philippines.
You can create your infographic/poster/brochure manually or digitally. Make sure to
add creative elements on your infographic/poster/brochure that will catch the interest
of people to read through it. You can include photographs, texts, quotations, graphics,
and colors (any creative elements).
The standard size for the medium is 8.5 x 11 inches (the size of a short bond paper). You
can use any base medium that you prefer. If you do your infographic/poster/brochure
digitally, print it later on for submission.
TASK/ACTIVITY RUBRIC:
Content/Relevance (required data): 30 points
Creative elements: 20 points
Format: 10 points
Total 60 points
43
and are sold to collectors and museums via the dealer/private art gallery system of
marketing and distribution (Walker, 1987).
Commodity as conceptualized by Karl Marx in his book, Das Kapital (1867 as cited in
Walker, 1987):
1. They are articles of utility: physical objects existing outside of us possessing
properties which satisfy human wants or needs of some sort; in short, they have
use-value.
2. They are depositories of value, that is, they can be exchanged for other
commodities considered to be of equal value, or they can be exchanged for
money; in short, they have exchange-values (has pure social reality and derives
from the human labor expended in their production).
SUPPLEMENTARY MATERIALS
Videos and articles on art as commodity:
The formula for selling a million-dollar work of art
(https://www.youtube.com/watch?v=rCT-UL2M8Gc)
44
Why Modern Art Is So Expensive | So Expensive
(https://www.youtube.com/watch?v=YooFwA7xj18)
LOOK: This ‘kaning tutong’ artwork costs P90,000
(https://news.abs-cbn.com/life/02/21/20/look-this-kaning-tutong-artwork-costs-
ASSESSMENT
REACTION PAPER
In last year’s Art Fair Philippines, the top artwork, “Dukot Survival” by Visayan artist
Manny Montelibano, cost a whooping Php 90, 000. “Dukot Survival” is an installation
45
art of preserved ‘kaning tutong’ with small plastic human figures inside encased in a
glass box. The artwork echoes social realities and perspectives.
LESSON 5
ART THROUGH TIME AND SPACE
46
TOPICS
1. Prehistoric, Egyptian, Greek and Roman Arts
2. Western Art Periods and Movements
3. Contemporary Art Movements
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. identify how art was used by prehistoric people to depict everyday
life;
2. examine the underlying historical, political, and social contexts of
the significant periods or movements; and
3. articulate the importance of art to the development of Western
culture.
Throughout man’s history, there are notable artifacts that point us to the idea of
man’s long study and practice of arts. Throughout time, the motivation for the conduct
of art varied and changed alongside social, economic, political, cultural, intellectual, and
affective changes. Presented below is a chronological presentation of Pre-historic,
Egyptian, Greek, and Roman arts, which is predominantly a history of the West and how
the Western art scene developed through time.
STONE AGE
• The unearthing of archaeological artifacts and
(14,000-2,000 BCE) remains provides modern society a glimpse of
their beliefs, practices, and activities of early
PALEOLITHIC (late years civilizations.
of the Old Stone Age) • The early people produced such materials that
MESOLITHIC (Middle reflect their attitudes and belief systems on
Stone Age)
spiritual, social, political, and economic matters.
NEOLITHIC (New Stone
Age)
• The transition from being nomads to
permanent settlers has brought changes to the
activities of man, in turn, changes to the
materials they use and the artworks they have
created—the first sign of early civilization.
47
• An attempt to record everyday life through
paintings and sculptures that depict humans,
animals, and natural habitats.
• Central to the representation of early
civilizations would be the establishing of
Venus of Willendorf, Paleolithic possible linkages among art, religion, and life.
• Egyptians recognized the integral role of the Nile River in their lives. It is
this indispensability and utility that eventually led to the belief that the
Nile is to be worshipped as a god. With this came the notion that art was
something that can be ascribed and associated with religion.
• Most of the artworks created centers on the social structure and the
ruler, which is the pharaoh, and to the gods, they believe in.
48
Tomb fresco, Middle Kingdom
King Tutankhamun, New Kingdom
49
50
Laocoön and His Sons, Hellenist Period Pergamon Altar, Hellenist Period
ANCIENT ROMAN ART
• Principle of realism in most of their
(509 BCE - 300 CE) works, highlighting the features of
human beings.
• Roman art encompasses a variety of
media including marble, painting,
mosaic, gems, silver and bronze
work, and terracotta among others.
SUPPLEMENTARY MATERIALS
101s on Prehistoric, Egyptian, Greek, and Roman arts:
Cave Art 101 | National Geographic (https://www.youtube.com/watch?
v=ZjejoT1gFOc)
Ancient Egypt 101 | National Geographic (https://www.youtube.com/watch?
v=hO1tzmi1V5g) 51
Ancient Greece 101 | National Geographic (https://www.youtube.com/watch?
v=6bDrYTXQLu8)
Ancient Rome 101 | National Geographic (https://www.youtube.com/watch?
TOPIC 2: WESTERN ART PERIODS AND MOVEMENTS
The West has numerous art periods and art movements spanning centuries of
practicing, studying, and developing the field of the arts. These periods and movements
were shaped by predominant social, economic, political, and intellectual climates or
orientations of their own times. Nevertheless, the difference in periods and movements
made the field of arts more heterogeneous and/or varied, which people who appreciate
arts enjoy even today.
52
During this period, artists valued the “individual” as a subject of arts, leaned
more towards non-religious works of art.
Heavily influenced by humanism, a shift to empower the “individual.”
Most artworks emphasized naturalism (great emphasis on the proportionality of
the human body).
Three-dimensionality in Renaissance works of art.
A revival of Roman theatrical plays.
Notable artists: Leonardo da Vinci, Michelangelo, Raphael, Donatello, Sandro
Botticelli, Jan van Eyck, Albrecht Dürer, and Caravaggio
Leonardo da Vinci. Mona Lisa. 1503.
77 cm x 53 cm. Louvre Museum
(since 1797). Portrait painting
MANNERISM (c. 1520-1600)
It has a different style and technique from Renaissance art—most artists used
colorful palettes and ornamentation in their works.
Motion and space were taken into consideration by artists like the use of
dramatic lighting and the concept of time.
Baroque music flourished through the likes of Vivaldi, Corelli, Bach, Handel, and
Monteverdi.
Notable artists: Johannes Vermeer, Caravaggio, Gian Lorenzo Bernini,
Rembrandt, Diego Velasques, and Anthony van Dyck
53
(Baroque) Diego Velazquez. Las Meninas. (Rococo) Jean-Honore Fragonard. The Swing.
1656. 3.18 m x 2.76 m. Museo Nacional del 1767. 81 cm x 64 cm. The Wallace Collection.
Prado Oil paint
54
REALISM (c. late 1800s–early 1900s)
55
Notable artists: Vincent van Gogh, Paul Cezanne, Georges Seurat, Paul Gauguin,
Camille Pissarro, and Henri Toulouse-
Vincent van Gogh. Starry Night. 1889. 73.7 cm × 92.1
Lautrec cm. The Museum of Modern Art. Oil paint
56
FAUVISM (c. 1904-1910)
57
Gino Severini, 1912, Dynamic Hieroglyphic of
the Bal Tabarin, oil on canvas with sequins,
161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of
(Caslib et al., 2018 pp. 188-126) Modern Art, New York
SUPPLEMENTARY MATERIALS
Timelines of art periods and movements:
Art Periods and Art Movements | LittleArtTalks (https://www.youtube.com/watch?
v=dfX1tvloLNA)
How Art Arrived At Jackson Pollock (https://www.youtube.com/watch?
v=Q1irNBh2qg8)
A timeline of visual art movements (https://www.youtube.com/watch?
v=zyabu9mU1bk)
Guide question: What’s the difference between art period and art movement?
In everyday language, the terms “modern” and “contemporary” are often used
interchangeably. In the context of art, however, they designate two distinct moments in
art history. There are specific definitions for both terms, and these definitions will help
us to establish an understanding of the images and themes that emerge in.
MODERN ART
Modern art dates from the late nineteenth through the early twentieth centuries
and refers to work that was entirely different from that which preceded it. This art
broke with convention, dealt with a new subject matter, focused on conceptual
concerns, and changed the position of the artist within society. Modernism began as a
trend of thought that emphasized the power of human beings to create, improve, and
reshape their environment, with the aid of scientific knowledge, technology, and
practical experimentation. Thus, in its essence, it is both progressive and optimistic.
The movement was initially an ideological reaction to the dehumanizing effects
of late-nineteenth-century industrialization. Otherworld events further inspired the
movement, including World War I (1914–1918) and World War II (1939–1945); huge
improvements in industry and technology as compared to the nineteenth century; the
rise in the power and influence of international corporations; increasing
interconnectedness across the globe in the form of cultural exchanges, transportation,
and communication; the spread of popular culture from Europe and North America
elsewhere; and the “Westernization” of many formerly traditional societies.
Modern art reflects a tendency toward abstract and nonrepresentational
depictions of the world. Many styles of art developed during the modern period,
58
including impressionism, fauvism, cubism, expressionism, surrealism, pop art, op art, art
nouveau, and art deco.
CONTEMPORARY ART
The term “contemporary art” is generally regarded as referring to work made
between 1970 and the present. It also implies art that is made by living artists, but
essentially contemporary art is seen as something that has never been done before.
There is no unifying ideology in contemporary art, and there are no schools, periods, or
styles as are associated with modern art. However, certain trends have emerged in
contemporary works.
Contemporary art emphasizes a rejection of the commercialization of the art
world, but it is often connected to the contemporary consumer-driven society.
Contemporary art often reflects a strong social consciousness, including themes such as
feminism, multiculturalism, globalization, bioengineering, and AIDS awareness. It
incorporates the widespread use of a variety of technology-based media. Contemporary
art blurs the distinctions between painting and sculpture through the use of everyday
objects and other non-traditional media in the final product.
Also, contemporary art includes large-scale installations that emphasize the
importance of an architectural context for art. Contemporary art often makes a
connection to the future, but it parallels many developments in contemporary society.
Contemporary artworks encourages us to explore our understanding and perception of
art. This kind of art challenges, defies, and excites; it crosses boundaries and asks us to
question the meanings of “high” and “low” art. Contemporary art breeds controversy
and confronts the viewer with challenging questions. This art forces a relationship to
form among the art, the artist, and the viewer. From this relationship, works of art gain
new meaning. Contemporary art unites new technologies and materials with traditional
styles and processes. The study of contemporary art can help people think in new
directions by focusing on the process of looking at and analyzing art, and contemporary
artists hope that viewers can translate these skills into their everyday lives.
Creating
energy was at the center of op-art or optical
art (the early 1960s onward). Much like was
discussed in the lesson on elements of art
that dimension can be implied even on the
two-dimensional surface of the plane, op-art
relied on creating an illusion to inform the
experience of the artwork using color,
Bridget Riley. Movement in Squares. 1961. 123.2
x 121.2cm.pattern, andofother
The Museum perspective
Fine Arts, Houston. tricks that artists had on their sleeves.
Tempera on hardboard
60
Gutai (the 1950s-1970s) which means embodiment or concreteness, preceded the later
forms of performance and conceptual art. The goal was not only to explore the
materiality of the implements used in the performance, but also to hold a deeper desire
to make sense of the relationship that is struck between the body, the movements, and
the spirit of their interaction during the process of creation.
Gutai. Shozo Shimamoto. Holes.
1954. 892 × 699 mm. Oil paint on
paper
Other movements were informed and shaped by pop art, such as conceptualism. As
opposed to celebrating commodities as references to real life, conceptualism fought
against the idea that art is a commodity. This movement is also brought to the fore
issues brought about art institutions such as museums, galleries where works are
peddled and circulated.
SUPPLEMENTARY MATERIALS
Learning more about Contemporary Art Movements:
How to Learn About Contemporary Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=An3L7hQdkOg)
Guide question: How do we understand contemporary art and the artworks associated
with it?
ASSESSMENT
63
MODERN/CONTEMPORARY ARTWORK
The different art periods and movements have produced variety and diversity in
works of art and on how artists present the world, their experiences, and
imagination, among others. In this requirement, create a work of art inspired by any
art period or movement. You can utilize any material (it doesn’t have to be new, you
can reuse or recycle materials found in your home). You can incorporate many art
elements and principles of design. At the end, you should be able to establish that
your artwork belongs to any of the art period or movement of your choice.
The standard size for the medium is 8.5 x 11 inches (size of a short bond paper).
Include a title of your work, a proper documentation, and a 5-sentences description
of your work in relation to the art period or art movement that your artwork is
inspired by or anchored to.
ASSESSMENT RUBRIC:
Creativity: 20 points
Art style: 10 points
Technique: 10 points
Realism/distortion: 5 points
Narrative: 5 points
Total: 50 points
LESSON 6
ART IN ASIA
TOPICS
1. Culture and Art (Soulmaking, Appropriation, and Improvisation)
2. Chinese Art
3. Japanese Art
4. Philippine Art
LEARNING OUTCOMES
64
At the end of the lesson, students should be able to:
1. explain how meanings can be derived from art and discuss how
improvisation can make an artwork distinctive;
2. show and classify key influences on Chinese and Japanese arts;
TOPIC 1: CULTURE AND ART
SUPPLEMENTARY MATERIALS
Soulmaking, appropriation, and improvisation in context:
Art 101: What is appropriation? (not the cultural kind)
(https://www.youtube.com/watch?v=3CLhXyetzz0)
The Meaning of Appropriation in Art | Art Terms | LittleArtTalks
(https://www.youtube.com/watch?v=OpjzJdojNS8)
The art of improvisation | Rapid Fire Theatre | TEDxEdmonton
(https://www.youtube.com/watch?v=d3TsyT_EDBc)
Guide question: What do you think about the practice of appropriation? Does it removes
“originality” in works of art and artists or does it distorts or reshapes a sense of “creativity”
in the art scene?
66
TASK/ACTIVITY
It is not only in the West that the field and practice of art have flourished, but art styles
and practices in Asia also have equal merit and appreciation. Throughout history, art
has played an integral role to capture, record, and communicate events, activities,
traditions, and even belief systems of various groups of people.
Religious beliefs have inspired an abundance of imagery that uplifts and
comforts. Different religions such as Hinduism, Buddhism, and Islam have spread
67
through Asia, inspiring individual expressions of prescribed imagery, and as well as
different temples, sculptures, and ritual objects (Art Gallery NSW, 2019).
Aside from the impact brought by the religions in Asia, the text has also shaped
its art. One best example is calligraphy which is an early art of writing. Different scripts,
from ancient Sanskrit to contemporary ‘Chinglish’, have been valued for their aesthetic
expression as well as their content, and are synonymous with specific cultures (Art
Gallery NSW, 2019).
Respect for craft, skill, or artisanship has been maintained in different Asian
cultures. The range of media used across Asia is immense, and many have long artistic
traditions behind them. Certain materials tend to associated with the art of specific
countries because – again, often through patronage – extraordinary heights of artistry
and innovation were realized: from the lacquer of Japan; jade and porcelain for China;
and textiles for Indonesia (Art Gallery NSW, 2019).
In the West, artistic values have been shaped by the Renaissance, which put fine
art more relevant than others such as decorative art and design. On the other hand, in
Asian cultures, such hierarchies are irrelevant, which is one reason Asian galleries in
museums display objects of many kinds in many media and do not have its focus only on
fine arts. For instance, in traditional China, the principle of qi, or spirit resonance, has
determined the artistic merit of landscape painting, while in Japan the aesthetics of tea
masters has created a permanent legacy, and in India, the theory of rasa (flavor), has
been a measure of artistic merit (Art Gallery NSW, 2019).
Asian art, particularly Chinese and Japanese arts, has helped in the
establishment of their identities as people. One common thing between the two
cultures is the emphasis on religion and how man is regarded as an integral part of
society. The Philippines, on the other hand, has undergone some changes when it
comes to the art scene. From the time of the early Filipinos to contemporary times, art
has been used in a myriad of ways (Art Gallery NSW, 2019).
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History shows that China has been at the leading edge of development especially
in terms of cultural development. Inhabitants of China in the past were able to produce
primitive artisan works. Chinese art involves different art forms such as calligraphy,
painting, pottery, sculpture, bronzes, jade carving, architecture, and other fine
or decorative art forms over the centuries. One of the outstanding characteristics of
Chinese art is the extent to which it reflects the class structure that has existed at
different times in Chinese history (Art Gallery NSW, 2019).
Up to the Warring States period (475–221 BCE), the artworks for the royal and
feudal courts were produced by anonymous craftsmen. It is believed that during
the Shang and early Zhou periods the production of ritual bronzes was exclusively
regulated under the authority of the court, which could grant or withhold authorization
for production by regional workshops among the various states or others who paid
fealty to the court (Encyclopedia Britannica, 2018).
During the Warring States period and the Han dynasty (206 BCE–220 CE), the
growth of a land-owning and merchant class brought new patrons. After the Han
dynasty, the concept of cultural practice emerged as the product of the leisure of the
educated gentry, many of whom were amateur practitioners of the arts
of poetry, music, calligraphy, and, eventually, painting. At this time a distinction began
to arise between the lower-class professional and the elite amateur artist. Gradually one
tradition became identified with the artists and craftsmen who worked for the court or
sold their work for profit (Encyclopedia Britannica, 2018).
In the Song dynasty (960–1279), as a medium of highly individual expression,
painting and calligraphy also became important media of exchange in a social economy
where the giving of gifts was central to the building of an interpersonal network. The
skill and expressive practice of calligraphy and painting like skills in letter, poetry or
69
music helped establish one’s status in a society of learned individuals (Encyclopedia
Britannica, 2018).
One effect of the revolutions of the 20th century was the breaking down of the
class barriers between amateur and professional. During the Cultural Revolution of
1966–76, literati art and artists were denigrated and an emphasis was placed on
anonymous, proletarian-made art like that of the Tang dynasty (618–907) and earlier
(Encyclopedia Britannica, 2018).
THE ROLE OF LINEARITY IN CHINESE ART
Painting in China is essentially a linear art. The painters of most periods were not
concerned with striving for originality or conveying a sense of reality and three-
dimensional mass through aids such as shading and perspective; rather, they focused on
using silk or paper to transmit, through the rhythmic movement of the brushstroke, an
awareness of the inner life of things (Encyclopedia Britannica, 2018).
The Chinese painter uses essentially the same materials as the calligrapher such
as brush, ink, and silk or paper and the Chinese judge his work by the same criteria they
use for the calligrapher, basically the vitality and expressiveness of the brushstroke itself
and the harmonious rhythm of the whole composition (Encyclopedia Britannica, 2018).
Zhang Zeduan. Along the River During the Qingming Festival. 1085–1145. 25.5 cm × 525 cm. Palace
Museum, Beijing. Ink and color on silk; handscroll
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The aesthetics of line in
calligraphy and painting have had a
significant influence on the other arts in
China. From the motifs that adorn
the ritual bronzes, in the flow of the
drapery over the surface
of Buddhist sculpture, and in the
decoration of lacquerware, pottery,
to cloisonné enamel (wares decorated
with the enamel of different colors
separated by strips of metal), it is the
rhythmic movement of the line,
following the natural movement of the
artist’s or craftsman’s hand, that to a Tang Dynasty copy of 新婦地黃湯帖 by Wang Xianzhi,
large extent determines the form and currently in the Taito Ward Calligraphy Museum (台東区立
書道博物館).
gives to Chinese art as a whole its
remarkable harmony and unity of style (Encyclopedia Britannica, 2018).
CHARACTERISTIC, THEMES, AND SYMBOLS OF CHINESE ART
In early times Chinese art often served as a means to submit to the will of
heaven through ritual and sacrifice. For instance, they have bronze vessels for sacrifices
to heaven and to the spirits of clan ancestors, who were believed to influence the living
for good if the rites were properly and regularly performed (Encyclopedia Britannica,
2018).
Chinese society, specifically
agricultural, has always laid a great focus on
understanding the pattern of nature and
living by it. It was believed that the world of
nature was seen as the
visible manifestation of the workings of a
higher power through the generative
interaction of the yin-yang (female-male)
dualism. As it developed, the purpose of
Chinese art turned from propitiation and
sacrifice to the expression of human
understanding of these forces, in the form
of painting of landscapes, bamboo, birds,
and flowers. This might be called Wang Xizhi watching geese; by Qian Xuan; 1235-
the metaphysical, Daoist aspect of Chinese before 1307; handscroll (ink, color and gold on
painting (Encyclopedia Britannica, 2018). paper); Metropolitan Museum of Art (New York City)
71
Particularly in early times, art also had social and moral functions. The earliest
wall paintings referred to in ancient texts depicted benevolent emperors, sages,
virtuous ministers, loyal generals, and their evil opposites as examples and warnings to
the living (Encyclopedia Britannica, 2018).
Critical to all artistic considerations was the belief that the energy and rhythm
generated in artistic practice allied the practitioner with the ultimate source of that
energy, drawn forth from earthly and heavenly sources and from the sacred Dao itself.
Calligraphy and painting, especially, could rejuvenate the artist or damage him
spiritually, according to the rightness of his practice and the character of the man
(Encyclopedia Britannica, 2018).
SUPPLEMENTARY MATERIALS
Knowing more about Chinese Art:
[Eng&Chi] 中国艺术大观 水墨意境 纪录片 Chinese Art and Painting BBC
Documentary (https://www.youtube.com/watch?v=VEfI4-lZLcc)
Arts: Ancient Chinese Art | The New York Times
(https://www.youtube.com/watch?v=WPmED0GbYUs)
How was it made? Silk Painting (https://www.youtube.com/watch?
v=C_Dn2OkwlQg)
Guide question: What do you think is unique about the Chinese works of art?
Art in Japan has undergone a series of transitions and periodization. From being
an isolated nation to that of embracing Western influences and modernization, Japan
has transitioned into a modern cultural mixing pot. It is evident how the Japanese were
able to infuse local and indigenous materials with modern Western subjects and focal
points. It has a long history as much as the culture of the country of the Rising Sun,
which starts from the beginning of human settlements, in about 10,000 BC, to the
present (Art Japanese, 2018).
72
Historically, Japan has been subject to sudden invasions of new and alien ideas
(one of the probable reasons is its geographical and cultural characteristics) followed by
long periods of contacts minimized with the outside world. Over time the Japanese have
developed the ability to absorb, imitate, and finally assimilate those elements of foreign
culture that complemented their aesthetic preferences making its art include a wide
range of styles and means of expression, from ceramics, sculpture, painting, and
calligraphy on silk and paper, the ukiyo-e woodblock prints, origami too, more recently,
manga along with a myriad of other types of artwork (Art Japanese, 2018).
Nature, specifically mountains, has been a favorite subject of Japanese art since
its earliest days. For Japanese people, nature is not a secular subject. Shinto was the
73
exclusive faith of the Japanese people before Buddhism was introduced from China in
the 6th century. At its core, Shinto is the reverence for the kami, or deities, who are
believed to reside in natural features, such as mountains, rivers, trees, and rocks. An
image of a natural scene is not just a landscape, but rather a portrait of the sacred
world, and the kami who live within it (Art Japanese, 2018).
This veneration for the natural world took on many layers of new meaning with
the introduction of Chinese styles of art – along with many other aspects of Chinese
culture – throughout the first millennium (Inside Japan, n.d.).
The first examples of complex art in Japan were produced in the centuries VII
and VIII in connection with Buddhism. But until the end of the fifteenth century, both
religious and secular art had flourished. In the state organization that emerged under
the leadership of the Tokugawa shogunate after the Onin War (1467-1477) organized
religion began to play a much less important role in people's lives, and the arts that
survived were primarily of secular expression (Inside Japan, n.d.).
SUPPLEMENTARY MATERIALS
Knowing more about Japanese Art:
Better Know the Great Wave | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=d1ufFlXIWjA)
The Art of Single Stroke Painting in Japan | National Geographic
(https://www.youtube.com/watch?v=g7H8IhGZnpM)
74
Guide question: What makes Japanese prints and visual arts so captivating?
TASK/ACTIVITY
75
Some of the traditional and/or indigenous artworks practiced by the different ethno-linguistic groups in the
country. All works of art are shaped by the belief system, social structure, the relationship of the peoples with
their environment, and their creativity among others.
PAINTING
In the last half of the 19th century, Filipino painters showed enough maturity of
concept and technique to merit critical acclaim. Towards the end of the Spanish regime,
two Filipino painters won recognition in Europe – Felix Resurreccion Hidalgo and Juan
Luna. Hidalgo’s Antigone and Luna’s Spoliarium were both acclaimed in Europe as
masterpieces of Filipino painting. In 1884, Luna won the first Gold Medal at the
Exposicion Nacional de Bellas Artes for his Spoliarium. This monumental painting shows
fallen gladiators being dragged to an unseen pile of corpses in a chamber beneath the
Roman arena. Also, Damian Domingo was recognized as the “Father of Filipino painting”
(Artes de las Filipinas, n.d.).
76
After World War II, the Neo-Realist school of painting emerged, with such
notable members as Vicente Manansala, Hernando R. Ocampo, Victor Edades, Arturo
Rogerio Luz, Jose T. Joya, and others. The name of Jose Joya (1931 - 1995) is
synonymous to the best in Philippine abstract expressionist art. He produced an
excellent body of bold and lyrical works (Artes de las Filipinas, n.d.).
SCULPTURE
Bonifacion Monument
Napoleon Abueva, born in 1930, is one of the pioneering modernists in sculpture and
one of Tolentino's pupils. He used various media and his stylization bordered on the
abstract as in Allegorical Harpoon, in which the dominant horizontal thrust of the figure
evokes the vitality of primitive forms (Artes de las Filipinas, n.d.).
77
Abueva's famous work is Fredesvinda, which was included in the First ASEAN Sculpture
Symposium held in Fort Canning Hill, Singapore, from March 27 to April 26, 1981 (Artes
de las Filipinas, n.d.).
MUSIC
With the death of Nicanor Abelardo and Francisco Santiago, the two greatest
Filipino composers, Filipino music has been struggling. However, the efforts of such
musicians as Antonio J. Molina, Felipe P. Padilla de Leon, Lucio San Pedro, and others,
using folk literature and folk songs, have contributed to the revival of Filipino music
(Artes de las Filipinas, n.d.).
The Philippines is rich in sound-producing instruments, such as percussions, flutes, and
stringed instruments. Here are some examples:
Gongs. There are two types used in the
Philippines. One is the flat gong which is a
narrow-rimmed gong without central protrusion
and found exclusively in the north. The other has
a boss or central protrusion with a narrow or very
wide rim, widely used only in the southern
Philippines.
Kulintang (gong-chime)
78
Kutyapi. This is a two-stringed plucked lute, commonly found in Maganoy,
Maguindanao. It is one of the most technically demanding and difficult to master among
Filipino traditional instruments. However, kutyapi music is rich in melodic and rhythmic
sound and is deeply poetic in inspiration.
DANCE
Native dances occur in
amazing diversity throughout the
Philippines. Many of them are of
varied origins and functions. Some
are part of a tribal rite or sacrifice;
others are in native feasts and
festivals to conciliate the spirits, seek
deliverance from plague or mark
births and deaths; and still, others
have a lighter burden to carry:
flirtation or courtship, or to lighten
the tasks of planting or harvesting
Darangan Cultural Troupe Dancers
(Artes de las Filipinas, n.d.).
METALWORKS
This is generally inlay in silver and
gold or black. Brass is much used for
common things, such as bowls and trays,
ladders, weapons, gongs, and other musical
79
instruments. Best examples of these are the weapons and household utensils of
Muslims (Artes de las Filipinas, n.d.).
SARI-MANOK
It is the legendary bird or artificial
cock that has become an important
symbol of Maranaw art. It is depicted as
a fowl with wings and feathered tail,
holding a fish on its beak or talons. The
head is profusely decorated with scroll,
leaf, and spiral motifs (Artes de las
Filipinas, n.d.).
SAMAL MAT
The traditional mats in the country show the artistry and the exquisite skills of
the native weavers. One example is the Samal mat which is considered design-wise as
one of the most interesting traditions in the whole country. The Samals are Muslims
occupying the bigger islands in Tawi-Tawi and are generally engaged in trade and
agriculture. The Samal mat uses the leaves of the pandanus plant which grows
abundantly in the area. It has four general patterns: (1) stripes; (2) multicolored
squares; (3) a checkered pattern of white and other colors; and (4) a zigzag pattern
(Artes de las Filipinas, n.d.).
SUPPLEMENTARY MATERIALS
Knowing more about Philippine Arts:
TUKLAS: Sining Saysay - Philippine History in Art
(https://www.youtube.com/watch?v=ZN75VyLipIU)
What's The Big Idea? Mid-century modern art and the Philippine Art Gallery
(https://www.youtube.com/watch?v=OHVER68AFa4)
Important Philippine Art (https://www.youtube.com/watch?v=TxFrdm251HI)
Guide question: How can you say that a particular work of art is a Philippine art? What are
the themes or motifs commonly found in these works of art?
TASK/ACTIVITY
81
3. How can we protect the integrity of our traditional/indigenous works of arts and
artists in light of the commercialization of traditional art practices?
Write your answers in one whole sheet of paper. Explain your points and your ideas in
detail. Your answer in each number should not be lower than 150 words.
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 10 points
Writing technicalities (narrative, grammar): 6 points
Format 4 points
20 points for each number (60 points in
total)
ASSESSMENT
82
REFERENCES
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https://www.artgallery.nsw.gov.au/discover-art/learn-more/asian-
art/introduction-to-asian-art/
Art Japanese. (2018). Brief history of Japanese art. Retrieved from
https://www.artjapanese.com/brief-history-of-japanese-art.php
Artes de las Filipinas. (n.d.). THE ART AND THOUGHT OF RAUL ARELLANO. Retrieved
from http://www.artesdelasfilipinas.com/archives/32/
Artes de las Filipinas. (n.d.). Philippine Arts and Culture. Retrieved from
http://www.ph.net/htdocs/education/arts.htm
Barrett, T. (1994). Criticizing Art: Understanding the Contemporary. Mountain View,
California: Mayfield Publishing Company.
Bascara, L. R., and Avillanoza, A. T. (2006). Humanities and the Digital Arts. First Edition.
Manila: Rex Bookstore, Inc. ISBN 978-971-23-4628-6
Caslib, B. N. Jr., Garing, D. C., and Casaul, J. A. R. (2018). Art Appreciation. First Edition.
Manila: Rex Book Store
Encyclopedia Britannica. (2018). Chinese art. Retrieved from
https://www.britannica.com/art/Chinese-art
Epperson, G. (2019). Music. Encyclopaedia Britannica, Inc. Retrieved from
https://www.britannica.com/art/music
Geocities. (2020) The subjects of art and the methods of presenting them. Retrieved
(July 2020) from
http://www.geocities.ws/vitasophia_bookcenter/humanities2.pdf.
Guillermo, A. (2001). Images to Meaning: Essays on Philippine Art. Quezon City: Ateneo
de Manila University Press.
Inside Japan (n.d.). Guide to Traditional Japanese Art. Retrieved from
https://www.insidejapantours.com/blog/2018/09/11/guide-traditional-
japanese-art/
Jadulco, L. (2019). Soulmaking, Appropriation, and Improvisation. Retrieved from
https://www.scribd.com/presentation/408835585/Art-App-06-Soulmaking-
Appropriation-and-Improvisation-pptx
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Kleiner, F. S. (2013). Gardner’s Art through the Ages: A Concise Global History. 3rd
Edition. Boston, MA: Wadsworth, Cengage Learning
Mittler, G. A. (2006). Art in Focus. USA: Glencoe/McGraw-Hill
Newhall, B., Gernsheim, H.E.R., Grundberg, A., and Rosenblum, N. (2019). History of
photography. Encyclopaedia Britannica, Inc. Retrieved from
https://www.britannica.com/technology/photography
Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., and Pilar, S. A. (1976). Art:
Perception and Appreciation. University of the East. ISBN 971-11-0933-6
Pavo, R. R. (2017). Art as Prophetic Imagination: A Look at R.G. Collingwood’s The
Principles of Art. ARETE, 5(1). Retrieved from
http://ejournals.ph/form/cite.php?id=13776
Pilar, S. A. (1976). Art: Perception and Appreciation. University of the East.
ISBN 971-11-0933-6
Walker, J. (1987). Art Works as Commodity. Circa, (32), 26-30. DOI: 10.2307/25557167
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