CHAPTER 2

PAINTING
OBJECTIVES:

1. Apply the principles and procedures in painting.

2. State their appreciation on painting through essay.

1. THE PROGRESS OF PAINTING

A. PRE-HISTORIC ART- The earliest art forms were by this Cro-Magnon man and the Grimaldi tribes. It was the product of
a hunting activity. Cro-Magnon art was widely diffused in France, Spain, Austria, Switzerland, and Yugoslavia. Its most
significant period is the Aurignacian (40,000 B.C) and the Magdalenian.
(14,000 -9,000 B.C).
- The subject matter of this art were animals, like bulls and bisons, Venus statuettes, which were highly stylized of
portable bone and stone; disguised magicians, priests with masks or animal hides; and signs, abstract series of dots,
squares divided into four parts, and fence-like patterns. A few paintings also made use of tools as subjects: spears,
harpoons, stc. it is a significant for many things; the animal drawings show an astounding knowledge of anatomy; the
art and although primarily dedicated to hunting, it shows a great variety of stylistic animal treatment, deep feeling in
the Venus statuettes, and sophistication of form, color, and line.
B. GREEK ART- The Greek were mixed people of Mediterranean stock and the Northern invaders. They rejected magic, of
nature. Subjecting man to a scientific study, they presented him as a three-dimensional, graceful child of nature. They perfected
the canon of beauty and technique to a level that was never attained before.

-Four periods of Greek art

1. Formative or pre-Greek period -motifs were taken from sea and nature.
2. First Greek period- influences by Egyptian
3. Golden age -complete anatomical, technical, and aesthetic mastery was achieved. A
human ideal type involved: poised, healthy, strong, with a detached expression.
4. Hellenistic period- -came after defeated of Athens by Sparta.

1.Instead, there was a heightened individualism, a tragic mood, contorted faces, and a new painting technique called
“encaustic”. In Greece, the art form was not painting but sculpture and the drama. Throughout the progress of
painting in Greece, the same subject matter persisted, young nude males, draped females. This later broadened to
include slaves, wounded soldiers and scenes from everyday life. As the art form degenerated, the serenity and
poise were replaced by violent emotion and motion.

C. ROMAN ART
- Two definite periods
1. Etruscan period
-(1000-2nd century, B.C.) it is invaded Italy from the eastern Mediterranean and introduced ancestor worship, the
catacombs, and the sarcophagi.
2. Roman period
-(2nd century-400 A.D.) the suject matter here were commemorative statues, Roman senators, equestrian
statues, sarcophagi, and designs with vine motifs.
- The art served the cult of ancestors and deified emperors, as such, its unique contribution is the deep
psychological in sight which reverence for the individual fostered. The desire to express psychological insight
in portraits led to an improved technique I the execution of eyes, mouth, and line of face.
D. MEDIEVAL ART
- Three phases of medieval art

1. Early Christian- art was symbols; the cross, the fish, the lamb, alpha and omega, triumphal wreaths, grapes, doves,
and peacocks. Later, the haloed Christ, Christ with lamb, saints and the Virgin Mary, and martyrs.
2. Byzantine art - continued the choice of subject matter of the early Christians.
1. Christ was shown as the Pantokrator (creator of all) and the Mary as the Theotokos (Mother of God).
2. It also showed no degeneration of techniques, but it was more hieratic, priestly, dogmatic, and supervised
3. Romanesque art
 - In the paintings of this period. We see certain elements of style. Prominent were the ecstatic and the excited
expression of the faces and the hidding of bodies in two-dimensional draperies of Northern fantasy with
classic, Byzantine, and far Eastern elements. The period was mystic and emotional as reflected in the ecstatic
and contorted style.
E. GOTHIC ART
- We find rediscovery of nature resulting in a calmer, more plastic style. The subject matter was a co-mingling
of the religious and the grotesque; hence, we have the Madonna's and the gargoyles together in their works.
The technique made use of jewel-like colors and rich details. The Madonna and child gaze other’s eyes in
playful mood.

F. FRANCO-FLEMISH PAINTING
-As a result, art was detached from the church and we have the start of portable easel paintings commissioned
by individual patrons and signed by artists. Paintings now served as a display of wealth.
- The technique of oil painting was invented and replaced tempera. This ushered in a brilliant period of
creativity and patronage. The artists emerged as an individual who was permitted to sign his paintings.
G. RENAISSANCE ART
- There was a new scientific outlook on nature, man, and the universe. The subject matter of art broadened to
include all aspects of the natural world. Mythological motifs competed with sacred ones. With the revival of
classical knowledge, which is the earmark of the renaissance, sacred scenes-carry cover’s of the medieval times-
were placed within classical backgrounds.

1. Early renaissance- (14-15 centuries) centered in Siena and Florence. Ikon-like painting on gold ground
gave way to a natural study of man and nature in fresco technique. Simplicity and piety, which were the results
of the Franciscan influence, were the keynotes of this style, together with the psychological differentiation in
gesture and expression.
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2. High Renaissance- (16 century)- centered in Florence, Venice, and Rome. Pictorial space was deepened,
the sky was rendered more dramatic with dark clouds and flashes of light. Leonardo introduced chiaroscuro
and Michaelangelo dramatized the position of figures in his Famous controposto-twists.
3. mannerism- brought in unsettled moods. Landscape competed with the human figure, sometimes replacing
it. The venetian school made use of diagonal composition; the use of color was sumptuous, warm, and sensual.
Texture was emphasized by the development of oil painting by glazes, layers of thin luminous color to produce
a transparency of texture. This style influenced Spanish and Dutch art.
H. BAROQUE ART
- Ornate and fantastic, this phase implies the effect of the Protestant reformation and the renewed authority of the Latin
church. The art appealed to the emotions of the faithful. It was a period of uneasy and conflicting tendencies: sensual and
highly decorative, as in Rubens: restraint and moralizing criticism, as in Poussin; and an upsurge of religious impulse as
in Rembrandt.
I. ROCOCO ART
- The sensual Rococo with emphasis on voluptuousness; the academic rococo with emphasis on the picturesque; and
the genre Rococo with its intimate presentations of farm and country. The Rococo technique made use of soft pastel
colors, rendering the landscape smoky and hazy. The subject always occupied the center of the canvas. Important
Rococo painters are Watteau, Fragonard, Chardin, Hogarth, Gainsborought, Reynolds, and Ingres.
J. ROMANTICISM ART
--evolved an art which laid emphasis on the artist’s subjective reactions to the past, to events, landscapes, and people.
Among the Romantic painters we have Francisco Goya.Romanticism was followed briefly by Realism; then, art sought
new directions which resulted in impressionism, cubism, Prim itism, Post-impressionism, and several other
schools which sought to give new life and meaning to painting which had deteriorated after industrial Revolution.

K. 19TH CENTURY
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- The end of the 19 century seemed to be a period of great prosperity. But the artists were increasingly dissatisfied
with the aims and methods of art. It seemed that art had reached the final stage metamorphosis; it was an art that aimed
to please the average public. It was out of these conditions that the various movement came out which produced what
we now call “Modern Art.”

1. impressionism- although some consider this movement the first of the modern movements, it should be emphasized
that the Impressionist had no quarrel with the conservatives concerning the aim of art, only about the means of
achieving it. PAUL CEZANNE- “father of the Modern Art” .
 b. Impressionism- Influenced another man: Vincent Van Gogh, who experimented with the use of bright, pure colors which
he did not mix on the palette but applied to the canvas in small dots or strokes, replaying on the beholder’s eyes to see
them together. Van Gogh tell us what is in his mind –no artist before him had ever done this with such consistency and
effect. For this he is considered the father of expressionism. He did not care photographic exactness; he would exaggerate
or even change the appearance of things if this suited his aims.
- Van Gogh’s friend Paul left France for Tahiti, disillusioned with Van Gogh and with Civilization. He brought back
paintings which showed a new note. After studying the techniques of native craftsmen, he applied these to his canvas,
simplifying the outline of forms and not hesitating to use strong patches of colors.
Three main movements of modern art:
1. Cezanne’s solution ultimately led to Cubism, which began in France.
2. Van Gogh’s to expressionism, which found main expression in Germany.
3. Gauguin’s, to the various forms of primitivism.

1. A list of Significant Painters

-Any list or study of individual painters will have to start with the 15 th century when the rise of the middle class made possible
individual patronage and painters signed their works for the first time.
1. The fifteen Century
a. the Van Eyck brothers were the greatest painters of the first half of the century.
b. Roger Van Der Weyden -continued the traditions of Jan Van Eyck.
c. Hieronymus Bosch- concentrated on the macabre the superstitious, and the exaggerated.
2. Renaissance Art:
a) Giotto (1266-1336)-student of Cimabue, He introduced individual reactions in facial expression, gesture, and stance.
b) Sandro Botticelli (1447-1510)- he painted neo-platonist abstractions in the guise of classic nude.
c) Leonardo Da Vinci (1452-1519)- a universal genious who practiced every art form and every science, he is the epitome
of the “Renaissance man.”
d) Michaelangelo Buonarotti (1475-1564) -greatest stone carver since the classical period. He exalted the nudes as did
the ancient Greeks.
e) Raphael Sanzio (1483-1520) -was taught by his father and Perugino. His paintings display a great gentleness of
expression and idealization. He absorbed all the characteristics of Perugino and incorporated the chiaroscuro and
triangular composition of Leonardo.
f) Giorgione (1478-1510)- introduced the so-called Titian red and the new emphasis upon the landscape in which human
figures are incidental and serve as color areas rather than vehicles for emotions.
g) Titian (1477-1576)- his paintings display an increased movement, emotion, and sensuality. His compositions are
diagonal with much use of texture.
h) Tintoretto (1518-1594)-set compositions into deep receding space and used complex spatial arrangements illuminated
with flickering light. For this he is considered early Baroque.

3. Baroque Art
Italians:
1. Paolo Veronese (1528-1588) –along with Tintoretto, he develops a monumental style in mural painting.
2. Caravaggio (1573-1610) –was a keen student of nature who made use of live models rather than ideas.
3. Giovanni Bernini (1598-1680) –he was also an architect-sculptor who achieved in the tri-dimensional form
what other achieved in color.
The lower country.
d. Peter Paul Rubens (1577-1640)- synthesized the styles of Caravaggio and the Carracci. Stressed the heroic, the
grand, in mythological as well as religious paintings.
e. Rembrandt (1606-1669)- one of the outstanding artists of the world and the last of the religious painters, he
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assimilated the color and light and shadow effects of 16 and 17 century Venetian painters.

f. Jan Vermeer (1632-1675)- intimate observer of textures and interiors, contrasted the soft contours of his figures
with the angular elements of table, picture, and window.
q. El Greco (1547-1614)- he elongated his figures and distorted them in a flamelike impression.
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h. Diego Velasquez (1599-1660)- the most important 17 century Spanish painter.

4. Impressionism
a. Edouard Manet- although not as sensual as Giorgione, he presents an element of shock by the confrontation of
dressed men with nude women.
b. Camille Pisarro- one of the leading pioneers of Impressionism.
c. Claude Monet- mature impressionist who coined the term.
d. Edgar Degas- disciplined craftsman who preffered indoor to outdoor painting.
e. Henri Toulouse-Lautrec- skillful draftsman, sharp observer of women in dance halls

Post-impressionists
1. Paul Cezanne
2. Vincent Van Gogh
3. Paul Gauguin
The Fauves
1. Henri Matisse
The Cubists
1. Pablo Picasso
2. Juan Gris
3. Georges Braque
Non-Objectivists
1. Vasily kandinsky
2. Piet Mondrian
Miscellaneous
1. Edward Munch
2. Oskar Kokoshka
3. Marc Chargall
4. Joan Miro
5. Salvador dali
6. Willhelm de Kooning

THE MEDIA IN PAINTING

-Much truth can be gathered from the saying that the success of a work of art grows out of its materials. Physical
materials make certain demands upon aesthetic demands upon aesthetic materials. For instance, paper or crayon or
canvas have certain capacities for sensuous effects in terms of the aesthetic materials they evoke of line, color, mass,
and volume, as well as the organization of these into patterns and designs.

7. Some of the most common media are:

Pencil- there are hard pencils which, when used on smooth paper, can make the most of the wire line; there are soft
pencils which when used on a granular surface can invite effects of mass and a texture of gray.
Oriental Sumi- the flow and ease of this medium cannot be achieved by pencil. No techniques can rival sumi or india
ink for sugggesting movement along a line or for gradations of gray and accents of black and white.

Water color- is a lyric type of painting-it is normally done in a single sitting.

oil- is the heaviest of painting media. It is slow to dry and invites continuous painting. It admits a great deal of
corrections and working over.
tempera- ordinarily applied to a carefully prepared white gesso ground (chalk and gum).

REPRESENTATIVE VALUES

8. Representation is a feature which painting shares with the other arts, but the peculiarity of pictorial representation is
that it must be absolutely specific about the manner in which the appearance of things are represented. This does not
apply to abstract Art where the only values are the plastic values, those art derived from pattern and design.

9. It becomes useful, therefore, to know the basic points in representational values. These are;

a. Through-the-window realism- Van Eyck paints in this manner. Every detail is represented with care. The danger here
is that too many different objects may render the picture confused and disunified.
 b. Selective realism- functions on the principles that nobody can see every object in front of him but sees only what he
is interested in.

c. light-and-shadow realism -works on the principles that the right way to depict what the eye sees is to paint the way
that light falls on objects and is reflected to the eye.
d. Fringe realism- what is known as impressionism is a painting of the fringe without the focus. The painter paints only
what stimulates the eye.
e. focus-and-fringe realism -operates on the principle that the actual image perceived on the retina consists of a clear
image of the object focused upon in the middle of the visual field and a fringe of increased blurredness towards the
edges.
f. Dynamic realism- in contrast to the flatness that sometimes results from the last, this brings back line movement,
things resting upon each other or leaning away from each other.
g. dream-world realism- any survey of pictorial realism would be incomplete without calling attention to the world of
phantasy.

4. PERSPECTIVE

1. Perspective is defined as “the manner in which a volume is represented to the eye from a point of view in space.” in
painting, the problem of perspective is of vital importance because here, volume is to be presented on a two-
dimensional surface.

Various forms of perspective

1. Height on the picture plane -for all objects below the horizon: the higher the object in our field of vision, the farther
away it is.

B. Diminution of size-- the farther away an object in space, the smaller its image in the field of vision.

C. Overlapping -nearer objects overlap more distant objects standing behind them in the field of vision.

D. Foreshortening- the convergence of lines. most common device.

E. Aerial perspective- this is the effect of haze, mist, or atmosphere on the object.
F. Light and shade- serves both as a depth cue and as a means of organizing a whole picture
in a unity of illumination.

2. OBSERVATION
CUBISM- it brings the objects within the beholders reach. It also confirmed that objects when seen close tend
to dissolve, fragment, and multiply.

FUTURISM- it brought the artists face to face with the machine age and the magic of motion which is one of
the main roads to abstractionism.

These are the most important changes in the idea of perspective.

1. PLASTIC VALUES

-Plastic values depend upon the elements of art structure which are line, form, color, value, and texture. In art,
lines assume significant power with their mental suggestions. The straight line is necessary as the basic
framework of many forms, but it is not beautiful. It lacks softness and flexibility although it can suggest
efficiency, simplicity, strength.

-Curved lines are more subtle because they do not convey fixed ideas of direction , but they also convey the
sense of instability. Hence the varieties:

a. The restrained curve b. Exemplified in the female form.

c. The simple curve which has a more pronounced curve

d. The full curve which possesses force, and eThe compound curve

1. In general, the higher the form is, the more spiritual elevation it can suggest; the more width and base, the
more stability; and the more depth, the more the mystery.
 2. color- each color ha its own properties, and even in the most abstract of paintings, the painters employs both
the traditional as well as the allusive properties of color. There is a whole gamut of meaning in colors, and
painters use one color to balanced and enrich the other and by so doing, awaken a whole range of emotional
responses in the spectator.

3.Values- sometimes called chiaroscuro, deal with the treatment of light and dark in design. They give the
impression of depth and solidity and lend form of paintings.

4.Texture- in painting deal with the tactile values and its merely suggested. It means the surface treatment of
an artistic work.

THE APPRECIATION OF PAINTING

A. color and line are of vital significance in dealing with the aesthetics painting, for these are the media of
pictorial expression. They have two functions: the representational and the symbolic.

Representational- deals with the direct appeal as expressive of some feeling or mood. Through color and line,
the painting must move the spectator.

Symbolic- operates on the law of association through an appeal to the senses.

These two functions should always act simultaneously so that the beholder is impressed by the rhythmic
quality of color and the line while he is impressed by the emotive quality of the thing represented.

b. Color and line should not evoke an emotion as much as express it. The mere evocation of emotion is the
greatest weakness of sentimental paintings. the painting must express the emotion intended by the artist.
Unless the spectator is made aware of this emotion as truly there in the canvas, the painting is not aesthetic at
all.

c. The purpose of any art is to express concrete states of the soul, not to represent mere things. Therefore,
fidelity in the representation of objects is not necessary to a good painting.

d. Painting the human body- Dewitt H. Parker say that “the human body belongs with landscape painting. For
the human figure, undraped and therefore removed from the conventional social world, is apart of nature.

OBSERVATION

2. Painters throughout the ages have differed in their area of emphasis here. Whereas the Greek use the body to celebrate
external beauty, the modern painters use the human figure to express internal tensions. They are not so concerned with
the human body as such with the use of the body to communicate something about life.

POINTS ON ABSTRACT ART AND FUTURISTIC PAINTING

1. Abstraction in art is only purification of the painter’s language.

Three qualities common to all abstract paintings:

1. Variety- the multiplicity in abstract art reflects the fact that of our time are multiple, diverse, and contradictory.

2. Subjectivity- “abstract art does not appeal to the comparative of the conscious emotions, it is the projected intuitive
expression of fundamental experience; its form is the embodiment of the author’s intuition of life, freed from the
reiteration of concrete appearance.

3. Basic philosophy- the abstract painter delves into the universals of basic form which are beneath the differences of
individual surfaces.

b. In 1914, the futurists arrived on the scene. All their revolutionary ideas sprang from their central preoccupation:
spatial dynamism. To introduced movement into painting was difficult undertaking but they achieved it. They made
their paintings move. The futurists revolt against anything static propelled them into admirable innovations, creating an
amazed stir in the world of art. But by 1930, the school had degenerated into mere imitation.

c. After more than fifty years, abstract art has shown two extreme directions: the lyricism of Kandinsky and the
classicism of Mondrian. From there is a a central tendency abstract impressionism, first represented by Robert
Delauncey.

TYPES OF PAINTING

1. OIL PAINTING

2. WATER COLOR PAINTTING

3. PASTEL PAINTING

4. ACRYLIC PAINTING

5. DIGITAL PAINTING

6. SAND PAINTING

7. TEXTURE PAINTING

8. MATTE PAINTING

1. Digital painting- software

such as corel painter, adobe
Photoshop, Art Rage, GIMP,
Krita and openCanvas give
artist a similar envoronment
to a physical painter. Canvas
painting tools: mixing
palettes, and a multitude of
color options. Examples

Sand Painting- North American, indian ceremonial art form, important among the NAVAJO and PUEBLO peoples,
using colored sands, used especially in connection with the healing ceremonies.

Examples:

Texture painting- refers to the look and feet of the canvas. It is based on the paint and its application. Such as ribbon,
metal, wood, and sand. Stimulates two different senses: sight and touch. Example
Matte Painting- representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an
environment that is not present at the filming location.

Examples:

ACTIVITY #2

Name: ______________________________________ Year & Sec:.___________________

Direction: Create your own creative painting in a 1/4 illustration board. Apply the principles and procedures in painting. Take
video of yourself while doing the task ( 50 pts.)

Note: Criteria

a) Thematic Relevance– 15%

b) Originality and Dimensions– 10%

c) Design and Creative Elements – 15%

d) Unique Visual Execution – 10%