Art Appreciation

2nd Semester General Education

Why study Humanities?
It is an essential part of human activity. Since time immemorial, man has engaged in
craft in order to make his life easier. Thus it is evident in the development of technology.

ART. What is art? It comes from the ancient latin word ars which means “craft or
specialized form of skill, like carpentry or smithying or surgery” (Collingwood, 1938). Thus,
art is achieved not automatically, but through a long thought process and careful planning
by an individual. But its meaning during the medieval period had been altered; any special
form of book-learning, such as grammar or logic, magic or astrology. Not until the
Renaissance period that the word had reacquired its ancient meaning. Going forward to
the 17th Century the meaning of the word was given a different interpretation. It did not
only mean craftsmanship, but the word art incorporated the idea of aesthetic and the study
of beauty.
Why study Humanities?
Finally in the 18th century, the word evolved to distinguish between the fine arts
and the useful art. The fine arts would come to mean “not delicate or highly skilled arts,
but ‘beautiful’ arts” (Collingwood, 1938). This definition developed during this century is
more akin to what is now considered art.
Humanities constitute one of the oldest and the most important means of expression
developed by man. It is present in history of man that as times passes, we were able to
develop our skills and hone our abilities, from being cave painters to using paintbrush in
order to facilitate man’s craft. Not only this, but man has been discovered to not just focus
on crafting tools in order to survive, also man has started expressing his feelings and
thoughts. Ancient evidences have been discovered that would clearly tell us that even
before the word was coined man has showcased and manifested earliest attempts at
recording man’s innermost interests, preoccupations, and thoughts.
Why study Humanities?

Human persons have long been exercising what it means to be a human

long before he was even aware of being one. The humanities stand tall in bearing
witness to this magnificent phenomenon. Any human person, then is tasked to
participate, if not totally partake in this long tradition of humanizing himself.
Assumptions of Art
Art is universal. In every country and in every generation, there is always
art. Literature has provided us key works of art. One of popular example would be the
great Greek epics entitled Illiad and Odyssey. Another would be the sanskrit pieces of
Mahabarata and Ramayana. These works, known to be written before the beginning
of recorded history, are believed to be man’s attempt at recording stories and tales
that have been passed on, known and sung throughout the years.
Oftentimes we only consider ART those that have been created long time
ago. But such is not the case because time is not a factor in determining art. “Art is
not good because it is old, but old because it is good”. Thus the appreciation of art is
not because of its age but because it is good.
Assumption of Art
The first assumption then about humanities is that art has been crafted by
all people regardless of origin, time, place, and that it stayed in because it is liked and
enjoyed by people continuously. Art will always be present because human being will
continue to express themselves and delight in these expressions.

Art is not nature. It is not a representation of reality but an interpretation of

how one perceives reality. By the fact that each and everyone of us see nature,
perceive its elements in myriad, different, yet ultimately valid ways. It is based on the
subjective experiences of nature. With this, we then can have further questions to an
art piece.
Assumption of Art

Art involves experience. We have to remember the phrase “actual doing

of something”. Thus art should not only be looked at or stared upon. It has to be
reflected upon and we have to allow ourselves to feel the emotions imbedded on
the art before us. In matters of art, the subject’s perception is of primacy. When
one says that he has an experience of something, he often means that he know
what that something is about. Lastly, one should underscore that every
experience with art is accompanied by some emotion. We have to go deeper than
just staring and arrive at experiencing.
 LESSON 2
Creativity, Imagination, and Expression
The Role of Creativity in Art Making
Creativity is basically thinking outside the box. Creativity can be used in
many ways. But in art, creativity is used in order to set one artwork apart from
another artwork. Thus , we say that when one is creatively created is is something
that we have never seen before or something that is out of the ordinary.
Yet being creative nowadays can be quite challenging. Because of the fact
that whenever we come up with something the we think is original, it may not be the
case anymore because someone may have already made an extensive research about
it, or it could have been used already by a different person. Thus, it is important that
we do an appropriate research in order to assure the originality or the legitimacy of a
specific artwork.
Art as a product of Imagination,
Imagination as a product of Art
According to Albert Einstein, knowledge is actually derived from
imagination. In fact he even said that imagination is more important than knowledge.
He then goes on to explain that this is the case because knowledge is only limited to
all we know and understand, and imagination on the other hand embraces the entire
world, and all there ever will be to know and understand.
Imagination is not constrained by the walls of the norm, but goes beyond
that. Because of this, imagination allows endless possibilities. An artwork does
necessarily need to be a real thing, but can be something that is imaginary.
In the same way that imagination produces art, art also inspires
imagination.
Art as Expression
Human emotions are unknown to man unless it is expressed.
According to George Collingwood, as an English Philosopher who is best
known for his work in aesthetics said in hi publication The Principles of Art that what
an artist does to an emotion is not induce it, but express it.
Through expression, a person is able to explore his/her own emotions.
Collingwood also further discussed that expressing emotions is different from
describing emotions. Saying that “I am angry” is merely describing that emotion.
Description classifies, while expression individualizes.
There are countless ways of expressing oneself through art. The following
list includes, but is not limited to, popular art expressions.
 ART FORMS USED TO
EXPRESS HUMAN EMOTIONS
Visual Arts

Creations that fall under this category are those that appeal to the sense
of sight and are mainly visual in nature. These are produced mainly because of
the artist’s drive to recreate something that they have seen in the way that they
perceived it.

Paintings, drawings, letterings, printing, sculptures, digital imaging

Film

Film refers to the art of putting together successions of still images in

order to create an illusion of movement. Filmmaking focuses on aesthetic,
cultural, and social value and is considered both as an art and an industry.

The art of filmmaking is so complex it has to take into account many

important elements. That is why in famous film festivals, a long list of categories
is considered to recognize excellence in the ar of filmmaking.
Performance Art

Performance art is a live art and the artist’s medium is mainly the
human body which he or she uses to perform, but also employs other kind of art
such as visual art, props, or sound.

The fact that performance art is live makes it tangible, which means it
cannot be bought or traded as a commodity.
Poetry Performance

In simple definition, poetry performance is an expression of the artist’s

emotion through words. There a lot of factors that needs to be considered in
choosing the right words in poetry. First is it should be carefully selected in
order to exhibit clarity and beauty and to stimulate strong emotions. Also, poetry
uses the word’s emotional, musical and spatial values that goes beyond its literal
meaning. These words, combined with movements, tone, volume, and intensity
of the delivery, add to the artistic value of the poem.
Architecture

Art is the pursuit and creation of beautiful things while architecture is

the making of beautiful buildings. However not all buildings are considered
architecture because of the fact that they prioritized its functionality rather than
focusing on the beauty of the building.
Dance Literary Art

Dance is a series of Artists who practice literary

arts use words - not paint,
movements that follows the
musical instruments or chisels -
rhythm of the music to express themselves and
accompaniment. communicate emotions to the
readers.
Theater Applied Arts
Theater uses live performers Applied Arts is
to present accounts or imaginary incorporating elements of style
events before a live audience. and design into everyday items
Theater art performances usually with the aim of increasing their
follow a script. Theater considers aesthetical value. Artists in this
several elements such as acting, field bring beauty, charm and
gesture, lighting, sound effects, comfort into many things that
musical score, scenery and
are useful in everyday life.
props.
 Lesson 3
Functions and Philosophical Perspectives of Art
Functions of Art
When someone speaks of the function of art, one is practically talking
about the use the object whose function is of question. An inquiry on the
function of art is an inquiry on what the art is for.
What is the Rizal monument for? Why was is erected at Rizal Park or what
then was called Luneta or Bagumbayan? Is it for pure sentimental value? Is it for
aesthetic value? Or does it send a message to those who witness it?
Some art forms are more functional than others. Architecture for
example is an art that is highly functional just like most applied arts. A building
as a work of art is obviously made for a specific purpose.
Function of Art

On the other end of the spectrum, one can only think of painting and
literature as forms of art that have least to do with purely practical values. It
focuses on the value of art in itself and not because of what it can do and benefit
us. A concrete example would be the difference between practical arts and,
painting and literature.
Different Functions of Art
Personal Functions of Art

The personal functions of art are varied and highly subjective. This
means that its functions depends on the person – the artist who created the art.
But there are times that the artist does not have a particular purpose of his/her
art.
An art may also be therapeutic. In some orphanages and home for
abandoned elders, art is used to help residents process their emotions or while
away their time. Recently the use of adult coloring books to de-stress has been
apparent too, now with a lot of designs being sold in bookstores nationwide.
These all fall under the personal functions of art.
Social Functions of Art

Art is considered to have a social function if and when it addresses a

particular collective interest as opposed to a personal interest. Political art is
very common example of an art with a social function. Art may convey message
of protest, contestation, or whatever message the artist intends his work to
carry. Often, art can also depict social conditions.
Moreover, performance art like plays or satires can also rouse emotion
and rally people toward a particular end.
Physical Functions of Art

The physical functions of art are the easiest to spot and understand. The
physical functions of art can be found in artworks that are crafted in order to
serve some physical purposes. A Japanese raku bowl that serves a physical
function in a tea ceremony is an example. Architecture, jewelry-making, and
even interior design are all forms of arts that have physical functions.
Other Functions of Art
1. Music as an art is also interesting to talk about in relation to function.
Music in its original form was principally functional. Music was used for dance and
religion. Unlike today, when one can just listen to music for the sake of music’s sake,
the ancient world saw music only as an instrument to facilitate worship and
invocation to gods. Music also was essential to dance, because music assures
synchronicity among dancers. moreover, music also guarantees that marches, in the
case of warriors, were simultaneous.
It is important to note that today music has expanded its coverage and
function. It is evident in religion, serenades, stage plays, and dances. Interestingly, a
piece of music can mean a multitude of meanings to different people, a proof that as
an art, music has gone a long way.
Other Functions of Art

2. Sculpture, in the other hand, is another functional art form that has
long existed for various purposes. Its function in the ancient times was the
same with music.
Sculptures were also made to commemorate important figures
throughout history.
3. Architecture is an art form that is multi-functional. In fact, it might
be the most prominent functional art form. Buildings are huge, expensive, and
are not easily constructed and replaced. Unlike other forms of art, buildings
take so much time to erect and destroy.
Other Functions of Art

Architecture is an avenue for a person to find the intimate connection

of function and form. In planning out an architectural structure, one has to
seriously consider the natural conditions like topography and climate of the
place of erection and the social conditions such as the purpose of the building
itself. Example of which are the houses constructed here in the Philippines.
Philosophical Perspectives
of Art
Art as an Imitation
The concept of art as imitation can be found in Plato’s famous work on
The Republic. In his discussion on the ideal republic, he discussed that art
should not be taught to the students of to the people who are undergoing
advanced training. And as well as the artists should be banned from the
republic.
In Plato’s metaphysics, he emphasized that the reality or the things that
we see are only imitations or are only copies of the eternal, the original, and the
true entities that can only be found in the World of Forms.
Plato was convinced that artists merely reinforce the belief in copies
and discourage men to reach the real entities in the World of Forms.
Art as an Imitation
Plato was deeply suspicious of arts and artists for two reasons; they appeal
to the emotion rather than the rational faculty of men, and they imitate rather than
lead on to the truth. Emotions vs. Rationality and Imitation vs. Reality.
Art forms or arts focuses mainly on the emotional aspect of man and thus
blinding man from the field of rationality. The change in the focus blinds man from
the grasp of true knowledge.
Art only focuses on the imitation and not on the search of the World of
Forms where the real truth resides. Socrates agrees with Plato when he said that art
is just an imitation of imitations, for he believed that the things that we see are only
imitations of the World of Forms.
Art as a Represention
On the part of Aristotle, being the student of Plato, he believed that his
teacher was correct but then he minimizes the disgust that Plato has with art and
artists. For Aristotle, art is a representation of reality to the World of Forms. He does
not say that art is completely useless, rather it is not antithetical to reaching
fundamental truths in the world.
For Aristotle, all kinds of art including poetry, music, dance, painting, and
sculpture, do not aim to represent reality as it is. What art endeavors to do is to
provide a vision of what might be or the myriad of possibilities in reality.
In Aristotelian world view, art serves two particular purposes. First, art
allows for the experience of pleasure. And secondly, art has the ability to teach the
audience things about life.
Art as a Disinterested Judgement

In the third critique that Immanuel Kant wrote, the Critique of

Judgement, Kant considered the judgement of beauty, the cornerstone of art, as
something that can be universal despite its subjectivity. Kant mentioned that
the judgement of beauty, and therefore, art, is innately autonomous from
specific interests. It is the form of art that is adjudged by one who perceives art
to be beautiful or more so, sublime. Therefore, even aesthetic judgement for
Kant is a cognitive beauty.
Art as a Disinterested Judgement
Kant recognized that judgement of beauty is subjective. Kant advanced the
proposition that even subjective judgements are based on some universal criterion
for the said judgement. But then the question still arises on how could this be
possible since we are all convinced that the perception of beauty or the judgement if
beauty is ultimately subjective?
For Kant, when one judges a particular painting as beautiful, one in effect is
saying that the said painting has induced a particular feeling of satisfaction from
him and that he expects the painting to rouse the same feeling from anyone. Thus,
every human being, after perception and the free play of his faculties, should
recognize the beauty that is inherent in a work of art. So when the same person says
that something is beautiful, he does not just believe that the things is beautiful for
him, but in a sense, expects that the same thing should put everyone in awe.
Art as a Communication of Emotion

In his book What is art? (2016), Tolstoy defended the production of the
sometimes truly extravagant art, like operas, despite extreme poverty in the
world. For him are plays a huge role in communicating emotions to the
audience that the artist has previously experienced. Art then serves as a
language, a communication device that articulates feelings and emotions that
are otherwise unavailable to the audience. As language communicates
information, so does art communicate emotions. In listening to music, in
watching opera, and in reading poems, the audience is at the receiving end or
the artis communicating his feelings and emotions.
Art as a Communication of Emotion

Also, Tolstoy is fighting for the social dimensions of art. As a purveyor

of man’s feelings and thoughts, art is given a unique opportunity to serve as a
mechanism for social unity. Art is central to man’s existence because it makes
accessible feelings and emotions of people from the past and present, from one
continent to another. Thus, by being universal, art serves as a mechanism of
cohesion for everyone. So even in the present, one can commune with early
Cambodians and their struggles by visiting the Angkor Wat.
 Lesson 4
Subject and Content
Types of Subject
Who is Mona Lisa? Why was Leonardo da Vinci compelled to paint her?
But as scholars attempt to solve the true identity of the sitter, it is relevant to
note that there is a consensus that the Mona Lisa – whoever she is – is based on
a real person.
Portraits such as Mona Lisa are good examples of what is called
Representational art. These types of art have subjects that refer to objects or
events occurring in the real world. It can also be referred to as Figurative art,
because as the name suggests, the figures depicted are easy to make out and
decipher.
One can even imagine a scene in which Leonardo da Vinci alternated
between applying dabs of paint on the canvass and looking at the sitter in order
to capture her features for the portrait.
Types of Subject
A painting that has nothing in it but continuous drips of paint or
splotches either confounds the viewer or is really trivialized as something that
anyone with access to materials can easily make.
The works of Jackson Pollock are often subjected to these remarks. He
is known for his works called Action painting. Using large canvasses that were
actually laid out on the floor or resting on a wall, Pollock actually tilted his paint
can and allowed the paint to drip. He used hardened brushes, knives, sticks,
and trowels to add detail, texture, and dimensions to his paintings.
There was no clear figures that jot out from the canvass; there were
only drips and splashes.
Types of Subject
Non-representational art does not make reference to the real, world,
whether it is a person, place, thing or even a particular event. It is stripped
down to visual elements such as shapes, lines, and colors that are employed to
translate a particular feeling, emotion, and even concept.
It is in this light that representational works are often favored by
viewers because they are easier to recognize. It can be argued that an artist is
faced with a strong persuasion of creating works that veers toward
representational art. However, it is not simply an issue of assumed preference;
rather, it cuts across matters relating to prevailing themes, norms, and
practices of specific historical moments.
Non-representational Art and Abstract Art

One source of confusion is the notion that non-representational

art is the same as abstract art. These two are not a clear-cut divide,
rather they exist in a spectrum.
The Head of a Woman, Mougins by Pablo Picasso is a good
example for this. Although he is known for his paintings, this particular
work of art is actually a sculpture. The fact is that, without actually
reading the title given to the sculpture, one could immediately
recognize it to be a head of a woman. Even with the abstraction of the
image, this work is arguably representational. Abstract art is in itself a
departure from reality, but the extent of that departure determines
whether it has reached the end of the spectrum, which is non-
representationality – a complete severity from the world.
Non-representational Art and Abstract Art

On non-representational art, the proponent was Russian artist Vasily

Kandinsky. Although his chosen art form was painting, he likened non-
representational art to music, an art that he was also very keen to. He asserted
that with sounds, musicians are able to evoke imagery in their listeners or
audiences. Object-free, he alludes to the sounds and spiritual experiences that
music makes possible in his paintings. It is therefore not surprising that a lot of
his paintings are inspired by music and are titled as impression, improvisation,
and composition.
Sources and Kinds of Subject

Where do they source the subject

of their painting?
What do they paint?
Sources and Kinds of Subject

For non-representational art, a higher level of perceptiveness

and insight might be required to fully grasp the feeling, emotion, or
concept behind the work.
But for representational art, it would be easier to identify where
the subject comes from.
However in discussing the source and kinds of the subject in
artworks, it is important to note that these two are often inextricably
related. Often, even a singular source of inspiration can yield multiple
translations.
Sources and Kinds of Subject
Nature
Vincent van Gogh
- he saw art and nature as inseparable, often finding solace and
happiness in painting in it (working in the middle of unspoiled field) and
painting from it (landscapes). In a letter to his brother Theo, he wrote “…if I felt
no love for nature and my work, then I would be unhappy”

Others: Claude Monet, Camille Pissaro, Paul Cezanne, JMW Turner, and our very
own Fernando Amorsolo and Fabian de la Rosa who are both considered as National
Artists
Sources and Kinds of Subject

Breaking nature into smaller parts is Jan Van Kessel the Elder who did
numerous still lives and small-scale, highly detailed studies, and scientific
illustrations of flowers, insects, shells, fruits, garlands, and bouquets.
Sources and Kinds of Subject

Greek and Roman Mythologies

From narrations in literature, artists, on the other hand, gave faces to

Greek and Roman deities or the gods and goddesses whose fates are seemingly
as tragic as those of men. Some of the art forms they took on were wall
paintings or frescos and sculptural works such as busts, statuaries, and
ceramics and pottery, among others
Sources and Kinds of Subject

Religion
Another integral aspect of human life is the distinct relationship with a
higher controlling power. In the belief system of Greeks and Romans was
polytheism with a multitude of gods and goddesses, the Judeo-Christian
tradition stems from a belief in a lone creator of the universe or what is called
monotheism. The tradition had an immense influence in Western civilization
especially in art.
Commissioned by Pope Julie II, the intricate fresco that lines the Sistine
Chapel was created by Michelangelo.
Sources and Kinds of Subject

Religion

Gothic Style Architecture is often attributed as the brainchild of Abbot

Surger. There is a definitive sense that pointed to the feeling of awe on the part
of the believer and the perceived majesty and power of God – all of which
happened during the time when religion was at the heart of everyday life. This
echoes her belief that “art was central to religious experience”.
Sources and Kinds of Subject
Religion

Proceeding from a kind of a hybrid between literature and sacred texts

is India’s miniature paintings. In Central India, the kind of art that was
produced was deeply rooted in Vedict texts. The significance of these paintings
is not just the artistry and skill of the artists but on its ability to foster devotion
and the observance of a code of ethics through the visualization of heroic
narratives. Some artists even include verses from the epics as part of the
cartouche which added interest and meaning to the paintings.
Sources and Kinds of Subject

Historical Events
The affairs of humanity throughout the course of history are abundant
reference for art production.
History as a resource for artists in search of subjects, brings into
consideration events that are familiar and sometimes even common or shared
in world context. These works serves as documentary and commemorative
artworks that illustrate subjects such as important leaders and figures; events
as they were recorded to have happened, and representations of ideologies or
values.
Sources and Kinds of Subject

Historical Events
In the history of art, it is important to remember that the source and
kins of subjects were not merely a product of the artist’s inclination and choice.
A closer examination of the various movements and artworks created within
those movements will indicate that notions of freedom and independence,
which are presumed and enjoyed by artists, were not without limits or
restrictions.
Example of which is the control of the patrons (those who commission
the artworks) to the particular outcome of the artwork. Another one is the
transition of art during the Spanish Colonial Era.
Content of Art

Factual meaning

Conventional meaning

Subjective meaning
 Lesson 5
Artists and Artisans
Introduction
“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 other people.
He disturbs, upsets, enlightens, and he opens ways for a better understanding.
Where those who art not artists are trying to close the book he opens it, shoes
there are more pages possible.

- Robert Henri’s The Art Spirit (1923)

Introduction

The real controlling resource and the absolutely decisive factor of

production is neither capital nor land nor labor. It is knowledge. Instead of
capitalists and proletarians, the classes of the post capitalist society are the
knowledge workers and the service workers.

Artists have treaded a long history. The roots can likewise be traced in
one of the major milestones in human civilizations.

(Let us listen to Jerry Saltz)

Introduction

From the Bronze Age down to the Middle Ages in terms of how man
continued to utilize his surroundings to create varying expressions of his ideas
and feelings. Through the exploration of his immediate environs, trade, and
other experimentations, new modes, media, and technique brought to light a
wide array of artworks that initiate the wealth that can be done when the
artist’s vision is tapped, harnessed, and realized. But the identity of what we call
an ARTIST to fully emerge is the systematization and sophistication of this
world – the art world – has become.
Introduction
The impulse to create is at the core of human civilization, much like the
impulse to communicate through language.

It is affected by culture. The works produced varied from the prosaic to

those that explored a wide range of aesthetic possibilities.

The interaction with these objects was intimate in the sense that their
presence was experienced in a multitude of ways and in all the affairs of man.

there are numerous memorials, cave paintings and even those that have an
aura of mystery like the Pyramids of Giza, or have alluded comprehensions like the
Stonehenge
Artists and the Guilds
Q: Have you ever wondered why some examples of artistic and creative
productions have survived to this day?

Museums packed with numerous artifacts and interesting objects,

magnificent structures appreciated no only for their historical significance but
because of its aesthetic characteristics have become tourist destinations.

We have to take note that perhaps what made the difference was the
materials, medium, and the principles behind the process of their creation. Apart
from this we also have the emergence of technology and knowledge in managing
and conserving all of these objects and structures, enabling the retentionand the
integrity of the artwork.
Artists and the Guilds

Craftsman and builders in the past did not have sophisticated

terminologies and principles that architects and engineers abide by today. What
they had was the sense on how materials behaved, how the environment, light,
and weather patterns affected structures, and other more intuitive principles of
creation. Experimentation and luck must not also be forgotten.
Gothic cathedrals along with other structures inspired by its
architectural tenets have survived through time, no only by their sheer
durability, but more so through the articulation of the processes that they
followed.
Artists and the Guilds

There is a kind of formalization of craft education in which regulation

was set in place. Here, skills qualification was needed for an apprentice to
register under a particular craft guild.
Particularly during the thirteenth and fifteenth century, towns have
formalized groups of artisans and craftsman who took on a particular
specialization or trade: shoemakers, textile and glass workers, carpenters,
carvers, masons, armorers, and weapon-makers, among others. Here, the
commitment to work together as a collective and that the practice of artists was
not grounded on the idea of individual capacities or success is established.
Artists and the Guilds
Note: Guilds were a type of social fellowship, an association structured with
rules, customs, rights, and responsibilities. With a lifetime commitments to a
particular trade, an artisan develops immense skill and expertise in his craft.
A master artisan or craftsman would then be open to hiring apprentices
who would under his tutelage and instruction. In this guilds, artistry and
technology flourished under one roof.
This brought to light various ways of thinking about transferring
knowledge and skills by visualizing and articulating principles, processes, and
tricks of the trade both in words and in print through manuals and
oublications.
Artists and the Guilds in the Philippines

Although the timeline is a bit skewed, the culture of artisans became

prevalent in the Philippines as well, particularly during the Spanish colonial
period. Formerly done with the spirit of the communal and the everyday,
patronship changed the way art was perceived. This was both the case for
religious and secular art, wherein the existence of artisans proved to be of
immense use.
It was through mimesis and copying that artisans first learned to depict
religious images and scenes. During the propagation if the faith, Spanish friars
commissioned a lot of artisans to carve, paint, and engrave images for churches
and public sites. Each locality had a characterizing style or feature in the way
their depictions were made.
Artists and the Guilds in the Philippines
Artists and the Guilds in the Philippines
Artists and the Guilds in the Philippines
From the church, the next patrons of the arts were the new elite, the
Illustrados or the middle class, along the foreign guests who wanted souvenirs
to tale along with them.

The two important genres for painting at that time were the Tipos del
pais and Letras y figuras. The former was watercolor paintings that showcased
the different local inhabitants of the country in different garbs, and clues to
their occupation and status; while the latter combined the principle of Tipos del
pais and incorporated it as a means to illustrate the letters of one’s name or
surname.
Artists and the Guilds in the Philippines
The Artist and His Studio

It is interesting to see and learn where creativity manifests itself,

especially since and artist’s studio is an extension of the artist himself. The
studio model dates back from the Renaissance. Therein, artists flexed their
relationship with their patron as a site where negotiations and works were
made. There were those whose work stations were segmented into two, the
STUDIO and the BOTTEGA; the latter is where the work usually happened.
Apprentices studied under masters, assisting with menial tasks or the
preparation of the painting surfaces. The seventeenth century, these
demarcations became lose, eventually merging together.
The Artist and His Studio

In France, on the other hand, academics and art salons became popular
as they did not only support production of art but also the discourse around
them. Criticism and analysis were highlighted as integral aspects of art
engagement and therefore the display of the artworks through official art
salons was sought for. To be included in the exhibition was deemed an honor,
especially since it did not take a while before it was considered an arbiter of
standards and taste.
The Artist and His Studio
The beginnings of the Industrial Revolution had an interesting ramification
for artists. A compendium of events release the artists from the limitations that
affected the way in which they produced their works. These included the availability
and portability of materials (i.e., foldable easels and paint tubes) and the reliance on
the wealthy patrons to place a commission.
More painters enjoyed painting on their own behalf, creating works they
wanted to create. It was during this time that a host of styles developed side by side,
allowing artists to fully grasp the potential of artistic license, with minimal (to no)
consideration for the prevailing tastes and stylistic preferences.
It was then that artists found freedom to articulate their distinct aesthetic
way of creative production.
Other Players in the World of Art

The terrain in which the artist traverses is becoming

increasingly complex. In the last century, some of the
roles that have been existent since the beginning of art
history have been properly dealt with – ascribed with a
name – and legitimized into a sophisticated network of
relationships and exchanges. This network is what we
call the art world.
Other players in the World of Art
Note: With the complexity if the art world, players are no longer
limited to those who undertook formal instruction in either (or both)
production and/or study of art.

These roles may be broken down to working boards (board of trustees);

directors and assistant directors; managing curators; and other posts whose
interest is the management and operations of museums, galleries and other art
spaces. For special cases, there is a presence of artist manager in order to aid
artists in their career and sometimes to help in promoting themselves to the art
world as well.
Other Players in the World of Art

● The Curator – on of the most elusive roles to pin down. Generally, the role
of the curator is more of the interpretation and development of the
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 Buyers and Collectors – easiest to define. Often construed as on and the
same, but separately taken.
■ Buyers are those who initially assess and survey the 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.
Other Players in the World of Art

● The Buyers and Collectors – those who acquire artworks for a variety of
reasons. (a) appreciation and enjoyment of art; (b) for the scholarship and
education opportunity it may provide (donors of study collections); (c) for
safeguard and preservation of their posterity; (d) for investment; (e) for
communicating a way of life/lifestyle; among others.
- they found another voice as an arbiter if taste
- someone who not only appreciates art but knows art
Other Players in the World of Art

● The Art Dealers – whose direct hand is in the distribution and

circulation of the artworks through a variety of means, such as
direct sales, through galleries, and the more recent player in the
Philippines, auction houses.
- they are expected to be knowledgeable on the specialization in art
form, style, medium, or period; market trends; and even the
interrelationship of other key player in the world of art who will benefit
from the circulation and distribution of the artworks (or artists) he
promotes
Production Process

The process of creating an artwork does not necessarily follow a linear

progression. One of the things that one must accept is the fact that arts have an
anarchic dimension to it, allowing it to fully harness its creative potential. The
very reason why different styles, periods, and movements were made possible,
is because there was a form of flexibility given to artists in terms of how to
conceptualize and execute their ideas into reality. But this does not mean there
is no guiding principle that governs the general process of art production.
Production Process

The process is essentially TRIPARTITE: (1) Preproduction, (2)

Production, and (3) Postproduction.

Preproduction – it may not necessarily be fully formulated, and so some form

of exposure, research, and other approaches may be explored to get the idea
long before actually making the artwork. This process is of course the
PREPRODUCTION stage. The idea may take a while to form, or may come as
swift as a bolt of lightning.
Production Process
The process is essentially TRIPARTITE: (1) Preproduction, (2) Production,
and (3) Postproduction.

Production – the execution of the art may take a variety of forms such as painting,
sculpture, tapestry, photograph, film, a routine (dance), or a track or composition
(music). Even tricky art forms such as conceptual art, which purports to be solely
concerned with the ideas, take a variety of formats, and may even be harder to pull
off. Some artworks rely on precise and skilled execution, while others need only
intuition and a kind of judiciousness in the manipulation of materials. Materials
form one of the most crucial aspects that inform the direction, quality and the
final output itself.
Production Process
The process is essentially TRIPARTITE: (1) Preproduction, (2)
Production, and (3) Postproduction.

Postproduction – once an artwork is finished, it will then be decided on how it

will be circulated not only in the art world, but the many publics. If the artist
decides that he alone should see the work, then so be it. But most of the time, if
not always, the creation of the object requires that it be seen, heard, touched,
and/or experienced in a variety of ways. Take note, however, that approval,
enjoyment, or pleasure are not the sole reactions that an artist intends for his
work.
Production Process

The process is essentially TRIPARTITE: (1) Preproduction, (2)

Production, and (3) Postproduction.

Postproduction – there are many aspects that go into postproduction. These

may include allowing the artwork to set, tweaking the artwork, preparing the
artwork for transport and display, and even the promotion and inclusion of the
artwork in publications or discussions.
Medium and Technique
Medium is the mode of expression in which the concept, idea, or message
is conceived. It may be concrete or tangible. Such as paintings, sculptures,
monuments, and structures; or it may be ephemeral or something transient, such as
a track (recording of a sound), a film, or a performance. The appreciation or the
engagement with the artwork is also affected by the medium spatiotemporally.
Technique is the reason why art history is described by a seemingly
limitless example of works of art. The technique of the artwork shows the level of
familiarity with the medium being manipulated. It alludes the necessity of additional
tools or implements, or consideration of time, and the specificity of the site of
creation.
Engagement with Art
According to Anne Cline, “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.”
According to Paula Marincola, “ exhibitions are strategically located at the
nexus where artists, their work, the arts institution, and many different publics
intersect.
Aside from exhibitions, other opportunities for art engagement transpire in
the classroom (instruction); studio visits; lectures, workshops, and other events that
augment the exhibitions (programs); auction sales; art fairs, biennials, and
triennials; their influence and authority. Publications are also a good way to
introduce the artwork and opens it up for appreciation, critique, and analysis.
Awards and Citations
The two major awards given to artists in the Philippines are the Orden ng
Pambansang Alagad ng Sining (Order of National Artists) and Gawad sa Manlilikha
ng Bayan (National Living Treasure Award).
National Artists Award – is the highest national recognition given to Filipino
individuals who have made significant contributions to the development of
Philippine arts; namely, music, dance, theater, visual arts, literature, film, broadcast
arts, and architecture and allied arts.
Gawad sa Manlilikha ng Bayan – conducts the search of the finest traditional
artists of the land, adopts programs that will ensure the transfer of their skills to
others and undertakes measures to promote a genuine appreciation of and instill
pride among our people about the genius of the Manlilikha ng bayan.
 Lesson 6
Elements and Principles of Art
Elements of Art: Visual
1. Line

a line refers to a point moving at an identifiable path – it has length and

direction. It also has width. It is one-dimensional, it has the capacity to either
define the perimeters of the artwork (edges) and/or become a substantial
component of the composition. Although a line is “simple”, it has variations in
view of its orientation/direction, shape and thickness. These variations import
not only the visual elements into the artwork, but suggest meaning or message
being conveyed by the artist.
Line Qualities

● Horizontal and Vertical Lines – refers to the orientation of the line.

Horizontal lines are normally associated with rest and calm. Landscapes
often contain these elements as works like these often connote a visual
sense of being parallel to the ground. It also alludes to position of the
reclined body at rest. Vertical lines, on the other hand, connote elevation or
height, which is usually taken to mean exaltation or aspiration for action.
Together, these lines communicate stability and firmness.
Line Qualities

● Diagonal and Crooked Lines– diagonal lines convey movement and

instability, although the progression can be seen. Crooked or jagged lines,
on the other hand, are reminiscent of violence, conflict or struggle.
● Curved Lines – these are lines that bend or coil. They allude to softness,
grace, flexibility, or even sensuality.
2-3. Shape and Form

● Geometric – these shapes find origin in mathematical propositions. As such,

its translation and use are often man-made. These include shapes such as
squares, triangles, cubes, circles, spheres, and cones, among others.
● Organic – organic shapes are those readily occurring in nature, often
irregular and asymmetrical.
4. Space

Related to shapes and forms is space. It is usually inferred from a sense of

depth, whether it is real or simulated. Real space is three dimensional.

● Positive and Negative Space – usually identified with the whites space is the
negative space. The positive space, on the other hand, is the spaces where
shadow is heavily used.
● Three-dimensional Space – can be simulated through a variety of
techniques such as shading. An illusion of three-dimensionality can be
achieved in a two-dimensional work.
5. Color

Color is perhaps one of the elements that enhances the appeal of an artwork. Its
effect has range, allowing the viewer to make responses based on memory,
emotion, and instinct, among others. This element is a property of light, as it is
reflected off the object. Color is not intrinsic to an object and without light, one
cannot perceive color. Much of what we know about colors begins with notion
of a Color Theory that was first unraveled by the experiments undertaken by Sir
Isaac Newton in 1666. A ray of sunlight passing through the prism reveals an
array of colors akin to that of a rainbow.
Color

● Hue - this dimension of color gives its name. it can be subdivided into:
○ Primary colors – red, yellow, and blue
○ Secondary colors – green, orange, and violet
○ Tertiary colors – six in total, these hues are achieved when primary colors and secondary
colors are mixed.

● Value – This refers to the brightness and darkness of color. Often, this is
used by artists to create the illusion of depth and solidity, a particular mood,
communicate a feeling, or in establishing of light in the composition.
○ Light colors – taken as the source of light in the composition
○ Dark colors – the lack or even absence of light
○ Tint – lighter color than a normal value
○ Shade – darker color than a normal value
Color

● Intensity – this is the color’s brightness or dullness. It is identified as

the strength of color, whether it is vivid or muted
○ Bright and Warm colors – positive energy
○ Dull or cool colors – sedate/soothing, seriousness or calm
○ Harmonies
■ Monochromatic harmonies – use the variations of a hue
■ Complementary harmonies – involve two colors opposite each other in the color
wheel
■ Analogues harmonies – make use of two colors beside each other in the color
wheel
■ Triadic harmonies – make use of three colors from equidistant sites within the
color wheel.
6. Texture

Like space, texture can be either real or implied. This element in an artwork is
experienced through the sense of touch (and sight). This element renders the
art object tactile.

● Textures in Two-dimensional Plane – texture can be implied using one

technique or a combination of other elements of art. By creating the visual
quality in the artwork, one can imagine how the surface will feel if it was
touched.
● Surface Texture – refers to the texture of the three-dimensional art object
7. Planes and Perspective
● Picture Plane – is the actual surface of the painting or drawing, where no
illusion of a third dimension exists.
● Perspectives
○ One-point perspective – often used in depicting roads, tracks, railways, or rows of trees;
this type of perspective shows parallel lines that seem to converge at a specific and lone
vanishing point, along the horizontal line.
○ Two-point perspective – pertains to a painting or drawing that makes use of two vanishing
points, which can be placed anywhere along the horizontal line. It is often used in depicting
structures such as houses or buildings in the landscape that are viewed from a specific
corner.
○ Three-point perspective – the viewer is looking at a scene from above or below. It makes
use of three vanishing points, each corresponding to each axis of the scene.
Elements of Art: Auditory
Auditory
● Rhythm – often associated to the terms beat, meter, and tempo, rhythm is the
element or music that situates it in time. It is the pulse of the music. Beat is the
basic unit of music while tempo refers to its speed. Beats can be organized into a
recognizable recurrent pattern, which is called the meter.
○ Largo – slowly and broadly
○ Andante – walking pace
○ Moderato – at moderate speed
○ Allegro - fast
○ Vivace - lively
○ Accelerando – gradually speeding up
○ Rallentado – gradually slowing down
○ Allargando – gradually slower, broadening
○ Rubato – rhythm is freely played for expressive effect
Auditory

● Dynamics – refers to loudness or quietness of music.

Classical terms are used to refer to the different levels
pertaining to this:
○ Pianissimo – very quiet
○ Piano - quiet
○ Mezzo-piano – moderately quiet
○ Mezzo-forte – moderately loud
○ Forte - loud
○ Fortissimo – very loud
Auditory
● Melody – refers to the linear presentation of pitch. By horizontal, it means that
in musical notation, it is read in succession from left to right. Pitch is the
highness or lowness of musical sound
● Harmony – harmony is vertical. It arises when pitches are combined to form
chords. When several notes are simultaneously played, it refers to a chord.
Dissonance is harsh-sounding combination while resonance is smooth-sounding
combination.
● Timbre – is often likened to the color of music. It is a quality that distinguishes a
voice or instrument from another. Dependent on the technique, the timbre may
give a certain tone or characteristic to music, much like how a painter evokes
different effects of impressions onto the canvass
Auditory
● Texture – the number of melodies, the type of layers, and their relatedness
in a composition is the texture of music. It may be:
○ Monophonic – single melodic line
○ Polyphonic – two or more melodic lines
○ Homophonic – main melody accompanied by chords

“Akin to artworks whose style, medium, and technique emphasizes some of the
elements of visual arts, a composition and genre of music may emphasize the elements
of music previously outlined. Some elements may even be
de-emphasized or omitted altogether. Like what was mentioned, these elements may be
isolated from each other. However, as visual or musical compositions, the combination
of these elements in art is what we initially engage with.”
Principles of Art
Balance

The principle of balance refers to the distribution of the

visual elements in view of their placement in relation to each
other.
There are three forms of balance:
○ Symmetrical – the elements used on one side are reflected to the other.
This offers the most stable visual sense to any artwork.
○ Asymmetrical – the elements are not the same (or of the same weight) on
each side, putting the heaviness on one side.
○ Radial – there is a central point in the composition, around which elements
and objects are distributed.
Scale and Proportion

● Scale – pertains to the size in relation to what is normal for the figure or
object in question.
● Proportion – is the size of the components, or of the objects in relation to
one another when taken as a composition or a unit. This can also refer to
values such as amounts or number of elements or objects in the
composition.
○ Natural – refers to the realistic size of the visual elements in the artwork, especially for
figurative artworks. When it is the accuracy in relation to the real world that the artist is
after, this is mow referred to as the principle of scale.
○ Exaggerated – the unusual size relations of visual elements.
○ Idealized – the size-relation of elements or objects, which achieve the most ideal size-
relations.
Emphasis and Contrast

● Emphasis – allows the attention of the viewer to a focal point(s),

accentuating or drawing attention to these elements or objects. This can be
done through the manipulation of the elements or through the assistance of
other principles, especially that of contrast.
● Contrast – is the disparity between the elements that figure into the
composition. One object may be stronger compared to other objects. This
can be done in many ways using the elements of art. For instance, space,
specifically the use of negative and positive space, is an example of contrast.
Another example is the use of complementary colors in a work of art.
Unity, Variety, and Harmony

● Unity – unless intended to be otherwise, compositions are intended to

imbue a sense of accord or completeness from the artwork. This is unity
● Variety – is the principle that aims to retain the interest by allowing patches
or areas that both excite and allow the eye to rest.
● Harmony – like what is hinted above, unity and variety is related to the
principle of harmony, in which elements or objects achieve a sense of flow
and interconnections.
Movement, Rhythm, Repetition, and Pattern

● Movement – this refers to the direction of the viewing eye as it goes through
the artwork, often guided by areas or elements that are emphasized. These
focal points can be lines, edges, shape, and color within the work of art,
among others.
● Rhythm – is created when the element is repeated, creating implied
movement. Variety of repetition helps invigorate rhythm as depicted in the
artwork.
● Repetition – refers to the recurring manner of lines, shapes, colors, and
other elements that may appear in an artwork.
● Pattern – is the image created out of repetition.
 Lesson 10
Art History
Art History

Art may be considered one of the earliest activities of man. Man could
draw long before he could write. We have no record of how man spoke
20,000 years ago, but we do know how he used drawing to communicate
certain ideas.

At the end of this module, you are expected to:

▪ Examine the History of Art from the Prehistoric Period to the
Contemporary Society.
▪ Enumerate the Styles of Art
Art History
● Baroque Art
The baroque style of architecture prevailed in Europe during the 17th
and 18th centuries and was characterized by elaborate and grotesque forms
and ornamentations. In painting, this is characterized by movement, energy
and restleness.
● Gothic Art
This style of architecture originated in the middle of the century. It is
characterized by pointed arch and ribbed vault.
● Modern Art
Modern art is characterized by contemporary styles of visual art, music
and literature. This modern art is the result of various social factors at the turn of
the century that saw the marked advancement of science and technology.
Painting

● Expressionism
characterized chiefly by heavy, often black lines that define form,
sharply contrasting often vivid colors and subjective treatment of thematic
materials.
● Surrealism
Is a style of art and literature developed principally in the 20th
century, stressing the subconscious or non-rational significance of imagery
at automatism or the exploitation of change effects, unexpected
juxtapositions and symbolic objects.
Painting

● Realism
delves on the treatment of forms, colors, space, as they appear in
actuality or ordinary visual experience. Realism is associated with social
consciousness and transformation occurring during the period.
● Realistic paintings
In which form and content try to make a moving human message
are works of artists who are highly sensitive people, feeling and living with
their society and finding art a vehicle for communicating significant human
experience that will transform human values essential to a truly humane
society.
Painting

● Impressionism
Is a style of painting developed in the last third of the 19th century,
characterized by short brisk strokes of bright colors used to recreate the
impression of light on objects.
● Cubism
Is a style of painting and sculpture developed in the early 20th
century characterized chiefly by an emphasis on the formal structure of a
work of art and the reduction of natural forms of their geometrical
equivalent.
Painting

● Abstract
Is conceived apart from any concrete realities, or specific objects.
It pertains to the formal aspect of art emphasizing lines, colors, and
generalized geometric forms.
● Renaissance Art
The period stirred enthusiasm for the philosophy and artistic values
of the ancients. The ideals of classicism balance, harmony, proportion and
intellectual order became the artistic standard of the time.
Architecture

Architecture is the art and science of

designing and building structures or large
groups of structures in keeping with
aesthetic and functional criteria.
Architecture
● Egyptian Architecture 3,200 B.C to First Century A.D
The gigantic scale which distinguishes Egyptian Architecture was
made possible not only by the materials, but also by the methods of quarrying,
transporting and raising enormous blocks of stones into position.

● Greek Architecture 350- 30 B.C

● Hellenic Period 650-323 B.C

Although temples were then the chief building type, the earliest
resembled the Aegean megaron in plan and in having timber laced, sun- dried
brick walls, stucco covered, on stone dadocs, timber embraced portals
Architecture

● Greek Architecture 350- 30 B.C

● Hellenic Period 650-323 B.C

Although temples were then the chief building type, the earliest
resembled the Aegean megaron in plan and in having timber laced, sun- dried
brick walls, stucco covered, on stone dadocs, timber embraced portals
● Hellenic Period 650-323 B.C
Greek Hellenic architecture had mostly been of a religious character,
but from the fourth century B.C onwards, public buildings multiplied in type and
number and passed into permanent form.
Architecture

● Roman Architecture 300 B.C- A.D 365

The Romans adopted the columnar and trabeated style of the
Greeks, and also developed the arch and the vault from the beginnings
made by the Etruscans. This combined use of column, beam and arch is
the keynote of the Roman style in its earliest stages.
● Romanesque Architecture
The general character of the Romanesque style is sober and
dignified, while formal massing depends on the grouping of towers and the
projection of transepts and choir.
Architecture
● Byzantine Architecture 5th Century to the Present Day
character of Byzantine Architecture, which dates from the fifth
century to the present day, determined by the novel development of the
dome to cover polygonal and square plans for churches tombs and
baptisteries
● Early Christian Architecture 313-800
On this account, although extremely interesting from an
archaeological point of view, early Christian buildings hardly have the
architectural value of a style produced by the solution of constructive
buildings
Architecture

● Islamic Architecture 7th Century to the Present Day

Architecture during the Renaissance was brought to the
construction of aristocratic residences, or palazzos, as well as churches.
Usually three stories high, they were symmetrical, with flat rusticated
façade and regular ornamentation.
Architecture
● The Early Period 1494-1589
The special character of this transitional period lies in the combination
of gothic and renaissance features to form a picturesque ensemble such as the
flying buttresses or pinnacles.
● The Classical Period 1589-1715
This period is notable for the dignity, sobriety, and masculine quality of
its foremost buildings, resulting from the subordination of plan, composition and
detail and the unity of the whole, and the charity and simplicity with which the
elements were used.
● Modern /International Architecture
The asymmetrical plan, evident only at first in domestic architecture,
the house growing organically out of its internal requirements.
 Lesson 11
Soul-making, Improvisation and Appropriation
 “In essence, art has been an instrument to
reflect the things and events that transpired
in the past so that the future generations
can have a glimpse of that past”
Soul-Making

●IT IS A FORM OF CRAFTING STORIES OR

TRANSFORMING BRIEF MOMENTS INTO IMAGES OR
SYMBOLS THUS CONNECTING WITH PEOPLE,
UNDERSTANDING CULTURE, AND EMBODYING
TOLERANCE AND PEACE.
Soul-Making

• In order for humans to make sense of language

and derive meanings from words, semantics and
grammatical rules are important elements to be
considered. Aside from this, context and
symbolism are also considered to interpret and
analyze either verbal or written works.
Soul-Making

• When it comes to art, in order for people to make

sense of the work, it would require
understanding the visual elements where art was
grounded on, especially the principles of design.
It is important to note that the audience of the
artwork must have a certain level of awareness to
the style, form, and content of the said work.
Soul - Making

● Style – refers to the distinctive handling of elements and

media associated with the work of an individual artist, a
school, a movement, or a specific culture or time period.
● Form – is what the audience sees – a finished product
put harmoniously according to the different principles of
design.
● Content – includes not only the form but also its subject
matter and underlying meanings or themes.
Improvisation

● Improvisation can be defined as doing something without

prior preparation. There is a decision to act upon
something that may not necessarily be planned. Some
would say that it is a reaction against the stiffness in the
arts during the twentieth century. There is a call for
liberation from monotony that aims to rekindle the
creative spirits of people in the arts.
Improvisation

● For some artists, infusing spontaneity and improvisation

ads up to the totality of the work of art. The
unexpectedness of the changes brought about by
improvisation makes the artwork to have a distinctive
quality that creates its individuality and identity.
Appropriation

● During the 20th century, people started raising the

question whether or not the act of deriving meaning
gives the ownership of the artwork to the viewer rather
than the artist himself. This notion paved the way for the
emergence of appropriation artists who seem to promote
the idea that the authorship relies on the viewer.
Appropriation

● The artist-apprentice relationship has been considered

by some people who go to the extreme as copying the
exact artwork of an artist and attributing it to his own.
● There seems to be a very thin demarcation line between
appropriation art and forgery. Two forms of forgery in
art: outright copies of existing artworks and pastitches.