WHAT SUBJECT IS APPENDIX A

Source: Art: Perception and Appreciation, by: Ortiz, Ma. A., et. al.

When people look at a painting or a sculpture for the first time, the initial question that they usually ask is
"What is it?" or "What does it show?" Somehow, they expect to see recognizable images in these works of
art.
To a majority of people, the appeal of most works of art lies in the representation of familiar objects. Their
enjoyment of painting, sculpture, and literature comes not from their perception of the " meaning" or com-
position but from the satisfaction they get out of recognizing the subject or understanding the narrative
content.
The subject of art refers to any person, object, scene, or event described or represented in a work of art.
Some arts have subject, others do not.
The arts that have subject are called representational or objective arts. Those that do not have subject are
known as non-representational or nonobjective arts.
Representational or objective arts:
- painting,
- sculpture,
- the graphic arts,
- literature,
- theater arts
Non-representational or nonobjective arts:
- music,
- architecture,
- functional arts
The non-objective arts do not present descriptions, stories, or references to identifiable objects or symbols.
Rather, they appeal directly to the senses primarily because of the satisfying organization of their sensuous
and expressive elements. Most musical pieces are not imitations of natural sounds, but we enjoy listening to
them because the sounds have been pleasingly arranged and because they evoke certain emotional
responses in us.

WAYS OF REPRESENTING A SUBJECT APPENDIX B

There are many creative methods that artists used to present their art to the world. Their
imaginations and creativity complement their skills, styles and artistic talent. Some art works by the artists
are presented to the public through a gallery in a museum, exhibits in malls and places you do not usually
expect. The museum could have a plethora of artworks that that were painted in different time or periods
and the colorful assortment of textures and application were used to make the work exceptionally pleasing.
These artworks can be presented in different methods such as: abstract art, realism, symbolism, fauvism,
dadaism, futurism, surrealism (http://www.educ.astgal.com).

I. Abstract Art uses a visual language of form, color and line to create a composition which may exist with
a degree of independence from visual references in the world. Abstract art reduces an illusion of visible
reality. Abstraction indicates a departure from reality in depiction of imaginary in art. Both geometric
abstraction and lyrical abstraction re often totally abstract. The word means “to move away or separate’.
This art moves away from showing things as they really are.

Kinds of Abstract Art

Source: Introduction to Integrated Humanities, by: Yagyagan, Daniel, et. al.

a. Distortion. This is manifested when the subject is in misshapen condition.

Its original shape is twisted out.
 b. Elongation. This is when the shape of the object is lengthened.
There is a protraction and extension from its original form.

c. Mangling. The subject or objects which are cut lacerated or

hacked with repeated blows.

d. Cubism. This kind of abstract art represent through

the use of sphere, cylinder, cone in shape, lines and
other pictorial elements like dots, triangular and even
scratch line.

e. Abstract Expressionism. A kind of abstract art that

usually characterized with a deliberate lack of refinement in
the application of paint, strong color, light and dark shade,
uneven brush strokes and even rough texture on the kind of
the work of art.

Abstraction in the 21st century

At the beginning of the 21 st century, abstraction, abstract art, contemporary art in general continue
in several contiguous modest characterized by the idea of pluralism. The “crisis” in painting and current art
and criticism today is brought about by pluralism. There is no consensus nor there’s need to be the
representative style of the age. There is an “anything-goes” attitude that prevails and “everything-going-on”
then it is the early beginning of abstract art.

Other Forms of Abstract Art Today

 Digital art
 Computer art
  Internet art  Landscape painting
 Hard-edge painting  Appropriation
 Geometric abstraction  Hyperrealism
 Photorealism
 Lyrical abstraction
 Expressionism
 Pop art  Minimalism
 Op art  Color field painting
 Abstract expressionism  Monochrome painting
 Rangavalli  Neo-expressionism
 Doodling  Collage
 Post modern painting  Intermedia painting
 Shaped canvas painting  Assemblage painting
 Mural painting
 Graffiti
 Traditional figure painting

II. Realism Arts attempt to portray the subject as it is. The artist chooses a subject from nature, selects
changes and arranges details to express the idea he wants to bring to the audience.

Realism is a visual art style that depicts the actuality of what the eyes can see. Realists render everyday
characters, situations, dilemmas and objects all in verisimilitude.
Realism means “fool the eye”, a technique which creates the illusion that the objects depicted actually
exist.
Some of the Famous Realist Painters are:
 William Bliss Baker
 Rosa Bonheur
 Karl Briulloo
 Henri Cadiou
 Ford Madox Brown
 Camille Carot
 Honore Daumier
 Wilson Homer

III. Fauvism was coined from Les Fauves, the French for “the wild beast”. Fauvism was short-lived and lost
grouping in early 20th century. Modern artists work emphasized painterly qualities and strong color over
the representation or realistic values retained by Impressionism.
Fauvism can be classified as an extreme development of Van Gogh’s post-impressionism fused with
pointillism of Seurat and other Neo-impressionists, Paul Signac, in particular. The purpose of the painters
is to try to paint pictures of comfort, joy, love and pleasure that signifies psychological meaning.

(Note: This painting must be colored to appreciate the fauvism art. You may google the fauvism art in
any website.)

IV. Dadaism or dada is a cultural movement that began in Zurich, Switzerland during World War I and
peaked from 1916 to 1992. The movement primarily involves visual arts, literature, poetry, art
manifestos, art theory, theatre and graphic design.
Many Dadaists believed that the “reason” and logic of bourgeois capitalist society had led people
to war. They displaced their rejection of the ideology in artistic expression that appeared to reject logic
and embrace chaos and irrationality. Dadaist art was intended as a protest against the world of mutual
destruction. Dada in French is a child’s word for hobby horse. In French, the colloquialism c’est mon
dada means “it’s my hobby”.
V. Futurism was an art movement that originated in Italy in the early 20 th century. It was largely an Italian
phenomenon, through there were parallel movements in Russia, England and elsewhere.
The Futurist admires speed, technology, youth and violence, transportation and the industrial world and
all that represents technological triumph of humanity over nature. Futurists were passionate
nationalists.

VI. Surrealism is a cultural movement that began in the early 1920’s and is best known for visual artworks
and writing of the group members. Surrealism uses art as a weapon against evil and restrictions that
the surrealist see in society as a revolutionary movement. Surrealism is short for super realism or going
above reality.

VII. Symbolism was a late nineteenth-century art movement of French and Belgian movement. Symbolism
was basically a reaction against naturalism and realism. It was an anti-idealistic movement that
attempted to capture in its gritty particularity and to elevate the humble and the ordinary over the idea.
Symbolists believed that the art should aim to capture most absolute truths that could only be accessed
by indirect methods. Thus, they wrote in a highly metaphorical and suggestive manner, endowing
particular images or objects with symbolic meaning (Example: The Spolarium by Juan Luna, painted in
Rome from July1883-march 184). “Spolarium” came from the Roman term meaning spoils of war. The
painting won the first gold medal in Madrid exposition of Fine Arts in 1884.

KINDS OF SUBJECT APPENDIX C

The Artist and His Choice of Subject

FACTORS AFFECTING an artist's choice of subject:

1. The Medium. He cannot represent landscape in a free-standing sculpture, for instance. The nature of
the medium demands subjects that would show solidity and bulk.
2. The time in which he lives and on the patronage he gets.
During the Middle Ages, for example, almost the only subject that a European artist could depict
was religious. The Church, having great influence over practically every human activity then, employed
the arts in its work of spreading the Gospel. With the withdrawal of the Church's patronage, artists
turned more and more toward secular subjects, especially when the concern of man shifted from the
other-worldly to matters in this world.
Kinds of Subject
Source: Art: Perception and Appreciation, by: Ortiz, Ma. A., et. al.
The subjects depicted in works of art, particularly the visual arts, can be grouped into:

1. Landscapes, seascapes, and cityscapes.

Artists have always been fascinated with their physical environment. Since ancient times, landscapes and
seascapes have been the favorite subjects of Chinese and Japanese painters, who would observe nature,
meditate lengthily on its eternal qualities, and paint it in its varying moods. It is not uncommon to see on
wide screens or handscrolls Chinese brush paintings of mist-covered mountains dwarfing human figures
and animals.

Filipino painters, too, have captured on canvas the Philippine countryside, as well as the sea bathed in
pale moonlight or catching the reflection of the setting sun. In his works, Fernando Amorsolo romanticized
Philippine landscapes, turning the rural areas into idyllic places where agrarian problems are v irtually
unknown.

In Europe, the painting of pure landscapes without human figures was almost unheard of until the
Renaissance, when artists began to rediscover their natural environment. But for a time, though, landscapes
served only as backgrounds for figures, as in the Mona Lisa, or as settings for some religious scenes.

Modern painters seem to be more attracted to scenes in cities. Traffic jams, high-rises, and skylines
marked by uneven rooftops and television antennae have caught their fancy. Vicente Manansala, Arturo Luz,
and Mauro Malang Santos are among the Filipino painters who have done interesting cityscapes.

2. Still lifes.

Some artists love to paint groups of inanimate objects arranged in an indoor setting. While flower and
fruit arrangements are among their favorites, they also portray such objects as dishes of food on a dining
table, pots and pans on a kitchen table, or musical instruments and music sheets. They usually arrange
the objects to show particular human interests and activities.

The still lifes of Chinese and Japanese painters usually show flowers, fruits, and leaves still in their
natural setting, unplucked from the branches.

Today, artists generally are not so much interested in the realistic portrayal of the objects as they are in
the exciting arrangement and combinations of the objects' shapes and colors. The cubists deliberately flat-
tened out and simplified the forms or rearranged their parts so that a unique visual effect was achieved.
Cezanne's and Picasso's still lifes are of this nature. And so are some of Manansala's and Ang Kin Kok's.

3. Animals.

Another popular subject is animals. They have been represented by artists from almost every age and place.
In fact, the earliest known paintings are representations of animals on the walls of caves. The grace and
vigor of animals in action have attracted painters and sculptors alike and have inspired poets as well. William
Blake wrote about he symmetry and power of the tiger and the meekness of the lamb. D. H. Lawrence
celebrated the regal bearing of a golden snake in his poem, `Snake."

The carabao has been a favorite subject of Filipino artists. Romeo Tabuena's stylized carabaos have
graced Philippine Christmas cards. Napoleon Abueva's bronze and marble sculptures have captured the
strength and beauty of the animal.

The Maranaws have an animal form called the sarimanok as their proudest prestige symbol. Mounted on
a pole and given a place of prominence during festivities, it is shaped like a rooster whose long tail is made to
look like fern frond whorls. The sarimanok is a legendary bird that figured prominently in the story of
Indarapatra and Sulayman.

Animals have also been used as symbols in conventional religious art. The dove stands for the Holy Spirit
in representations of the Trinity. The fish and the lamb are symbols of Christ; the phoenix, of the Re -
surrection; and the peacock, of immortality through Christ (from the notion popularized in medieval
bestiaries that the peacock's flesh was not subject to decay).

4. Portraits.

People have always been intrigued by the human face as an index of the owner's character. As an instrument
of expression, it is capable of showing a variety of moods and feelings.

A portrait is a realistic likeness of a person in a sculpture, painting, drawing, or print. It need not be a
photographic likeness. A great portrait is a product of a selective process, the artist highlighting certain
features of his subject and de-emphasizing others. It does not have to be beautiful, but it must be truthful.
But some painters, desiring to please their patrons, usually soften the lines of experience on the faces,
thereby robbing the onlooker of the pleasure of studying the true character of the subject.
Besides the face, other things worth noticing in portraits are the subject's hands, which can be very
expressive, and his particular attire and accessories. They reveal so much of the person and his time.

Statues and busts of leaders and heroes were quite common among the Romans, but it was not until the
Renaissance that portrait painting became popular in Europe. Rulers and religious leaders sat for their
portraits or had their profiles etched in coins and medals, and the faces and figures of donors and patrons
were incorporated in paintings and sculptures with religious themes.

Portraits are also used to mark graduations, and weddings are often portraits.

Many artists did self-portraits. Their own faces provided them unlimited opportunities for character study.

5. Figures.

The sculptor's chief subject has traditionally been the human body, nude or clothed. The body's form,
structure, and flexibility offer the artist a big challenge to depict it in a variety of ways, ranging from the most
idealistic, as in the classical Greek sculptures, to the most abstract, as in Henry Moore's "reclining figures."

The grace and ideal proportions of the human form were captured in religious sculpture by the ancient
Greeks. To them physical beauty was the symbol of moral and spiritual perfection; thus they portrayed
their gods and goddesses as possessing perfect human shapes. Fond of athletics, they also enjoyed
representing healthy and graceful athletes, as in the Discus Thrower.

6. Everyday life.

Artists have always shown a deep concern about life around them. Many of them have recorded in
paintings their observation of people going about their usual ways, performing their usual tasks. Among
these are representations of rice threshers, cockfighters, candle vendors, street musicians, and children at
play. These are called genre paintings. Amorsolo's Planting Rice, Laundry Women, and Batis belong to this
category.

7. History and legend.

History consists of verifiable facts, legends of unverifiable ones, although many o f them are often
accepted as true because tradition has held them so. Insofar as the ancient past is concerned, it is difficult to
tell how much of what we now know is history and how much is legend. The story of Urduja, for instance, is
shrouded in mystery.

History and legend are popular subjects of art. Juan Luna's Blood Compact, now at Malacañang. Luna's
prize-winning Spoliarium depicts a scene during the days of the early Roman Empire when gladiatorial fights
were a popular form of entertainment for the upper class.

Malakas and Maganda and Mariang Makiling are among the legendary subjects which have been
rendered in painting and sculpture by not a few Filipino artists. The Mariang Makiling theme has been
particularly exploited Francisco and his pupil, Jose V. Blanco, in their paintings.

8. Religion and mythology.

Art has always been a handmaiden of religion. Most of the world's religions have used the arts to aid in
worship, to instruct, to inspire feelings of devotion, and to impress and convert non-believers. The Christian
Church commissioned craftsmen to tell the stories about Christ and the saints in pictures, usually in mosaics,
murals, and stained-glass windows in churches. It also resorted to the presentation
of tableaux and plays to preach and teach.

Some religions expressly forbid the representation of divinity as human beings or animal forms, although
they allow the use of some signs or symbols in their place. Pictures of God, human beings, or animals are
forbidden by Judaism and Islam because people might worship the images themselves. Other religions have
taught that a god may sometimes assume human or other visible forms. Thus he is distinguished from
human beings by a halo, wings, a darker complexion, or by the use of some attributes. The ancient Egyptians
portrayed their gods as part human and part animal. The ancient African tribes gave the carved images of
their gods some human characteristics, but they distorted the gods' features. Among the Hindus, Shiva the
Destroyer is shown as a four-armed god. Buddha, on the other hand, is symbolized by his footprints, a
wheel, or a tree.

In the early Christian world, representations of divinity were also symbolic. There were precise
conventions in rendering them. The eye, the dove, the fish, the ship, and the shepherd were widely used
images. As in other religions, the serpent has been used to symbolize evil. The four Evangelists were
represented by animal forms: St. Luke, by an ox; St. John, an eagle; St. Mark, a lion; and St. Mathew, a
winged man.

Some Filipino artists have attempted to render in art not only traditional religious themes but folk beliefs
in creatures of lower mythology as well. Solomon Saprid has done statues of the tikbalang, and some
painters have rendered their own ideas about the matanda sa punso, asuwang, tianak, and mangkukulam.

9. Dreams and fantasies.

Dreams are usually vague and illogical. Artists, especially the surrealists, have tried to depict dreams, as
well as the grotesque terrors and apprehensions that lurk in the depths of the subconscious. A dream may
be of a lifelike situation; it can thus be realistically represented. Unless the artist tells us, we would not know
that his work had a basis in dreams. But if the picture suggests the strange, the irrational, and the absurd, we
would right away classify it as a fantasy or a dream picture, although the artist may not have gotten the idea
from a dream at all but from the workings of his imagination. No limits can be imposed on an artist's
imagination; it can go beyond -the -real and the possible.