Professional Documents
Culture Documents
AAP101 - Unit I Lesson 1 Part 2 PDF
AAP101 - Unit I Lesson 1 Part 2 PDF
Art Appreciation is the capacity to appreciate and understand works of art and experience
a certain enjoyment in creating arts. It deals with our encounter with the artworks, the artists
and how we are affected with it.
AAP will inspire and motivate every students to be proud of “being Filipino.” Being
Filipino is a call to be human in understanding the thoughts, feelings, and aspirations
of every artists, and cultured by taking pride of our own Filipino ingenuity as
embedded in our history.
2. Studying AAP will give students the privilege to witness in reality the arts being
discussed inside the classroom.
AAP is a venue to widen our horizon in the arts. AAP will enlighten the minds of the
students in seeing the world anew. Students will have the privilege to dialogue with
the artists, and witness the significance that every artworks evoke.
The timeline of arts in history has primary importance in AAP. Knowing the different
periods greatly helps every student how the arts progress in every challenges and
innovations portrayed in time. Studying AAP will enable students gain a holistic
perspective through the knowledge of world cultures.
4. Studying AAP will open the students’ minds that they are not just learners of
art but “agents of truth, beauty, and goodness.”
Studying AAP envisions students become proactive at the end of every semester.
Students are not just listeners but active-participants in and out of classroom. Being
refined means being formed and inspired in every details and aspects of the arts.
5. Studying AAP will increase our students’ respect for cultural and individual
differences through an analytical study of achievements and contributions
shared for the common purpose of human development.
Studying AAP will give students access to communities with diverse cultures through
different academic activities or art exposures – regional centers of studies and
museum visits, festivals, concerts, theater performances, and acknowledgment of
local artists.
The Subject Matter of the Art
➢ The Subject Matter refers to what is literally depicted in the artwork. It usually
answers the following questions: What do you see? What is the image about? Can
you identify the image?
3. Animals and Plants – symbolic images and interpretations of various animals and
plants associated in visual arts (painting, sculpture, and architectures), pottery and
weaving, etc.
Water Buffalos
Felix Garzon (Man) / Francesco Riccardo Monti (Woman)
Provincial Capitol Lagoon and Park, Bacolod City
4. Places – historical wonder cities of the
world with legacies in the preservation
and promotion of culture and the arts.
Thus, highpoints of painting, urban
planning and tourist destinations.
Crucified Christ
17th Century
Ivory
58 x 53 cm
UST Museum of Arts and Sciences
Malakas at Maganda
1974
Anastacio Caedo
Vargas Museum, UP Diliman
8. Country Life – images and scenes of the daily life of
various provinces such as fiestas and festivals,
fishing, farming and harvesting, recreations and
games.
Bayanihan
1962
Carlos “Botong” Francisco
Oil on Canvas
544 cm. x 544 cm.
United Laboratories Collection
Paco Park & Cemetery (1966) San Miguel Corporation Building (1976)
Paco, Manila, Philippines Mandaluyong City, Philippines
Man-made Falls
Bato Springs Resort
San Pablo City, Laguna
11. Edifices – sacred spaces, commercial spaces and mega
structures from around the globe recognized as cosmic,
sacred and modern.
Dragonfly (triptych)
2014
Rom Villaseran
Acrylic on canvas
104.5 x 68 inches
➢ Artists have differences – taste, styles and paths – yet the beauty they pass on to
generation would stir wonder, where wonder becomes astonishment and
unspeakable joy.
➢ Artists use different styles. A style refers to how the artists employ materials, use
technique, and the manner in which a subject matter is portrayed. Style are generally
divided into two (2) branches namely: Representational or Objective and Non-
representational or Non-objective.
Every artist has his individual style of doing his artwork. He has the preference to choose
any of the following methods in presenting his/her subject:
1. Realism. It is the method of presenting subjects as they appear in real life. It
advocates Plato’s concept called mimesis, or copying nature the way it looks.
Planting Rice
1946
UCPB Collection
2. Abstractionism. It is “drawing away from realism.” It was derived from the verb
abstract meaning ‘to draw away.’ An abstractionist draws away from reality as he
creates his artwork. His product is a departure from what is present in real life.
Granadean Arabesque
1958
Ateneo Art Gallery Collection
Dimension of Fear
1965
Cultural Center of the Philippines
Collection
3. Surrealism. Surrealism is “beyond realism.” It is concerned in presenting the
subconscious reality of the artist. It projects the subject as if the subject is not part of
the reality but belongs to the world of dreams and fantasy. In surrealist paintings, the
images look nightmarish and weird.
One of the Thirteen Artists of CCP, Jaime de Guzman (1942- ), was able to channel
the anxieties of the modern man, leading him to his most celebrated works:
GomBurZa Martyrs
1970
Cultural Center of the Philippines Collection
4. Symbolism. Symbolism is presenting the subject symbolically, that is, the artist
shows his subject as it appears in real life, but he intends to let it represent
something.
Spoliarium
Juan Luna
1884
National Museum Collection
UP Oblation
Guillermo Tolentino
1958
UP Diliman Oblation Plaza
One notable Filipino expressionist and National Artist is Ang Kiukok (1931-2005)
pursued an expression imbued with nationalist fervor and sociological agenda. Some
of his works include:
Man on Fire
1980
Central Bank of the Philippines Collection
Crucifixed
1977
Ateneo Art Gallery
6. Impressionism. It is presenting the real-life subject with emphasis on the impression
left in the artist’s mind or perception, particularly the effect of light on the object used
as subject. Some examples of impressionism in the Philippines include:
Jones Bridge
1975
Emilio Aguilar Cruz’s
National Museum Collection
Tampuhan
1895
Juan Luna
Rosalinda Orosa Collection
In 1999, Pope St. John Paul II wrote “A Letter to Artists.” It is a jewel that has been tucked
away in the pocket treasury of papal writings, but it is high time it gains some attention. In it
he describes:
None can sense more deeply than you artists, ingenious creators of beauty that
you are, something of the pathos with which God at the dawn of creation looked
upon the work of his hands. A glimmer of that feeling has shone so often in your
eyes when—like the artists of every age—captivated by the hidden power of
sounds and words, colors and shapes, you have admired the work of your
inspiration, sensing in it some echo of the mystery of creation with which God,
the sole creator of all things, has wished in some way to associate you.
Being a phenomenal artist himself (just check out his poetry!), St. John Paul II understood
an artist's profound inner craving to create, to share, to spread wonder and splendor freely
to the world around them.
In God's eyes, being an authentic artist means being selfless. It means being increasingly
surrendered and remaining at the service of the Master, the giver of all talents.
Those who perceive in themselves this kind of divine spark which is the artistic vocation —
as poet, writer, sculptor, architect, musician, actor and so on—feel at the same time the
obligation not to waste this talent but to develop it, in order to put it at the service of their
neighbor and of humanity as a whole... Within the vast cultural panorama of each nation,
artists have their unique place. Obedient to their inspiration in creating works both
worthwhile and beautiful, they not only enrich the cultural heritage of each nation and of all
humanity, but they also render an exceptional social service in favor of the common good.