Republic of the Philippines

CAPIZ STATE UNIVERSITY

PONTEVEDRA CAMPUS
Bailan, Pontevedra, 5802 Capiz
Website: www.capsu.edu.ph Email: pontevedra@capsu.edu.ph

GE 103 ART APPRECIATION

Lesson 4: Subject and Content

Learning Outcomes:
By the end of this lesson, the students should have:
A. Differentiated representational art and non-representational art;
B. Discussed the difference between an artwork’s subject and its content;
C. Identified the subject matter and content of specific examples of art; and
D. Enumerated the sources of the subjects of some of the most recognizable
works of art in Philippine art history.

In the Philippines, which is mostly a non-museum-going public, looking at art has always been a tricky
business. This is true not only for novices, but also at times, confronts the Long-time art aficionados. One of
the major hurdles that spoils an individual's engagement with an artwork is the notion that in order to
appreciate it, one must be able to extract a specific image, isolate the artist or maker's intention, and unearth
a particular meaning. Failure to do so automatically implies a failure of comprehension and therefore, failure
of the experience. This, however, refers art engagement and therefore appreciation to the very few who had
training and instruction in producing and in reading art. This should not be the case.
The primary stage of engaging with art is its perception. Looking at art is much like any instance of
taking in information or stimulus that originates from the world around us. For most art forms, the beginning
of engagement is through looking at the artwork. The eyes play a big role in mechanically making a vision
possible. However, like any tool, it is but one component. What makes the difference is the awareness in the
process of looking where subjectivity is essential in navigating through the artwork. Subjectivity is illustrated
in the way that selective perception renders one or two details more prominent than others, prompting the
viewer to focus on some details as essential or as standouts. Even the disposition or mood of the viewer, his
education, his background, and his exposure to varying contexts contribute to what information is taken in
and how they are interpreted. To herd all of these into coherence and intelligibility, the relationships of visual
details presented, the ideas and feelings that they cull, and other springs of information may be consulted.
In most cases, there are Clues that mediate between the artwork and the Viewer, allowing the viewer to
more easily comprehend what he is seeing. These clues are the three basic components of a work of art:
subject, form, and content. These components are largely inseparable from each other and usually related
to each other.
In the field of the sciences, experimentation is the key to proving a hypothesis or a larger theory. Often,
an experiment is done multiple times to further prove the reliability of an outcome. Therein, empirical or
observable data in the form of visible or tactile qualities, events or occurrence, yielding an output or by-
product must follow after a step or a series of processes. In the arts, there are also observable qualities that
the artwork holds that will point to its subject, and sometimes even to its content. In order to flesh out what
the subject of the artwork is, it is important to first look at the constituent figures that are perceivable on the
surface of the canvas or the sculpture, and the manner in which the artist chose to depict those figures. From
these, the type of subject can then be inferred.

What is a subject?
In art, the definition of the subject is referring to the main character, object, or anything else that is
presented as the main focus in the work of art. The subject can appear in the center of the piece, or in any
other part of it, but it is always the most recognizable thing in the entire work of art, regardless of its size.
This center of attention will be recognized whether it is a commonly known thing, or because it can be seen
in context alongside the rest of the work of art.
For example, in a photograph of a dog running on the beach, the dog would be the subject, because it is
the most recognizable component in the picture. In conclusion, the subject is the most recognizable part of
the work of art.
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CAPIZ STATE UNIVERSITY
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Types of Subject
One of the most iconic and recognizable paintings all over the world is the "Mona Lisa" done by Leonardo
da Vinci. Some questions are often raised regarding this artwork, like "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 the "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. Often, it is also termed
figurative art, because as the name suggests, the figures depicted are
easy to make out and decipher Despite not knowing who Mona Lisa
is, it is clear that the painting is of a woman that is realistically-
proportioned; only the upper torso is shown; a beguiling and
mysterious smile is flashed; and that the background is a landscape—
probably a view from a window. Pushing it even further, one can even
imagine a scene in which Leonardo da Vinci alternates between
Leonardo da Vinci, applying dabs of paint on the canvas and looking at the sitter in order to
“Mona Lisa” (1503). capture her features for the portrait.

On the other hand, seeing a painting that has nothing in it but continuous drips of paint or
splotches of colors either confounds the viewer or is readily trivialized as something that anyone with access
to materials can easily make. The works of Jackson Pollock, who is known for his "action paintings," are
often subjected to these remarks. Using large-scale canvasses that were usually laid out on the floor or resting
on a wall, Pollock tilted his paint can and allowed paint to drip. Assisting it with movement, he used other
implements such as hardened brushes, knives, sticks, and trowels to add detail, texture, and dimension to his
paintings. There were no clear figures that jot out from the canvas; there were only drips and splashes. This
kind of work can be subsumed under the category of non-representational. As the opposite of the previously
discussed type of subject, non-representational art is also often termed non-figurative art.

Non-representational art does not make a 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 because they are easier to recognize. Viewers find a greater
degree of comfort when what they see registers as something
familiar They then continue to process this understanding,
sometimes even becoming confident enough to share their insights
to others. It can be argued then that an artist is faced with a strong
persuasion of creating works that turns toward representational art.
However, it is not simply an issue of assumed preference; rather, it
Jackson Pollock, detail of cuts across matters relating to prevailing themes, norms, and
“Number 1A” (1948). 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. This is
essential to discuss because it introduces the fact that representational art and non-representational art is not
a clear-cut divide; rather, they exist in a spectrum. An abstract work of Pablo Picasso is a great example to
illustrate this. Although he is more known for his paintings, he also dabbled into other works including
sculptures. Cut metal that is hinged on a metal base, there is a palpable distortion of the image—whatever it
is—seems to be melting. Even without reading the title from the caption, mere seconds of looking at the
 Republic of the Philippines
CAPIZ STATE UNIVERSITY
PONTEVEDRA CAMPUS
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Website: www.capsu.edu.ph Email: pontevedra@capsu.edu.ph
combination of lines, shapes, and colors of the sculpture will point to a head of a woman. Even with the
abstraction of the image, this work is arguably representational. As a guide, an artwork, depending on the
degree of distortion or abstraction, may be judged as leaning more toward one over the other. 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 severance from the world.
A proponent of non-representational art was Russian artist Vasily Kandinsky Although his chosen
art form was paintings, he likened non-representational art to music, an art form 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

When hit with a wall or a block, the writer is often advised to look back and take from what he knows.
From there, a well and wealth of materials may be drawn. But for artists, where do they source the subjects
of their paintings? What do they paint?
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. It is perhaps easier to infer where the subject matter comes
from if the artwork is an example of representational art. From the figure(s) depicted in the artwork, there is
already a suggestion as to its inspiration. However, in discussing the sources and kinds of 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. A good starting point is, of course, the nature.
There is nothing more rudimentary than human interaction with the physical world around the artist.
Early childhood often revolves around getting to know not just the body and what it can do, but also in getting
accustomed to a multitude of sensory prompts around the artist especially those situated in his environment.
Artists throughout history have explored diverse ways of representing nature: from plants to animals; the
qualities of bodies of water and the terrain of landmasses; and even the perceivable cycles and changing of
seasons. Often, these depictions are seen as expressions of the sacred or the profane, sired by reality or
supplemented by the artist's imagination. One artist who was attuned with nature was 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 fields) 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." (Van Gogh Museum, 1882)

Other artists with a considerable number of landscapes and

seascapes are Claude Monet, Camille Pissarro, Paul Cézanne,
and JMW Turner. In the Philippines, National
Artists tot Painting Fernando Amorsolo and Fabian de la Rosa
gained prominence from their painted rural scenes such as
women in the fields gathering harvest.
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.

Vincent Van Gogh

“Die Ebene Von Auvers” (Wheat
Fields Near Auvers ) (1890).
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CAPIZ STATE UNIVERSITY
PONTEVEDRA CAMPUS
Bailan, Pontevedra, 5802 Capiz
Website: www.capsu.edu.ph Email: pontevedra@capsu.edu.ph
Greek and Roman mythology were also ripe with references: from episodes that
transport the viewer to heroic encounters of Achilles and Aeneas; warnings abou t man's
folly like the vanity of Icarus; the wit and
cunning of Odysseus; the beauty of Aphrodite
and the athleticism of Myron. 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 wail paintings or frescos and sculptural
works such as busts, statuaries, and ceramics and
Michelangelo, “Sistine Chapel” pottery, among others.
(1508-1512)
Another integral aspect of human life is
the distinct relationship with a higher controlling
power. If 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. This tradition had an
immense influence in Western civilization
especially in art. Guided by a host of styles and
techniques, various media and art forms were also
experimented with: paintings, frescos, church
architecture (over-all plan of the space, stained
glass windows, tabernacles, and altars),
sarcophagus, icons and other carvings, vestments,
Jan van Kessel, “a cockchafer beetle tapestry, illuminated manuscripts, and other
woodlice and other insects” (1650) sacred scriptures, among others.

Commissioned by Pope Julius Il, the intricate fresco that lines the Sistine Chapel was created by
Michelangelo. The immense detail and vast surface he had to cover had him working on it from 1508 to 1512.
Unlike in Islam for example, practicing Jews and Christians were allowed
to depict their God and other important biblical figures: laying visual
foundations in inculcating the faith. But perhaps the influence of this
tradition is most intriguingly manifested in the architectural marvels that
are spread out all over the world.
The formative years of church architecture can be traced in the fourth
and fifth century but different styles and plans were developed since then.
Prevailing ideas and philosophies became resources that were used by
architects to reimagine what the church should look like. For instance,
Gothic churches were characterized by three things: soaring heights
Discobolus (Roman, 2 nd (ceilings), volume (flying buttresses and ribbed vaults), and light (bright
stained glass windows, airy and pleasant interiors). Gothic style
Century AD).
architecture is often attributed as the brainchild of Abbot Suger. 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.”
 Republic of the Philippines
CAPIZ STATE UNIVERSITY
PONTEVEDRA CAMPUS
Bailan, Pontevedra, 5802 Capiz
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Proceeding from a kind of a hybrid between literature and sacred text is India’s miniature paintings. In
Central India, the kind of art that was produced was deeply noted in Vedic texts such as Upanishads, Puranas,
and other important texts like Sanskrit epics Mahabharata and Ramayana. Indian artists had a wide array of
materials to work with in showcasing not just their artistry and skill, The significance of these paintings rests
on its ability to foster devotion and the observance of a code of ethics through the visualizations of heroic
narratives. These paintings were small but were highly pictorial, stylized, and employed a good contrast of
colors. Some artists also included verse from the epics as part of the cartouche which added interest and
meaning to the paintings.
Historically significant events particularly in the affairs of humanity are abundant references for art
production. From early breakthroughs such as the discovery of fire and the overthrow of geocentric theory in
favor of a sun-centered universe, succeeding advancements brought about by discovery, innovation, and
man's incessant search for glory plotted a dynamic course of history.
An example is Goya's El Tres de Mayo which captures the death of Madrilenes, the local insurgents
during the Peninsular War. Former allies in the overrun of Portugal and France turned against Spain.
Napoleonic forces invaded Madrid without much difficulty and the painting captures the dramatic demise of
its people under a firing squad.
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: the establishment of nations and states (discovery,
conquests, and colonization), and the resulting ideologies that they breed (democracy, liberty, freedom, and
rights). These works serve 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.
In the history of art, it is important to remember that the source and kind of subjects were not merely a
product of the artist's inclination and choice. A closer examination Of the various art movements and artworks
created within those movements will indicate that notions of freedom and independence, which are presumed
to be enjoyed by artists, were not without limits or restrictions. For instance, a particular kind of subject and
the way it is visually translated may be traced in relation to the art patrons (those who commission the
artworks), the favored artistic style and canons, and more importantly, the norms and trends prevailing in the
artist's milieu.
During the Spanish colonial period in the Philippines, art was predominantly representational. During
the first century of their dominance, art came as an aid for communication—a means of propagating religion
to locals who spoke a different language. The visual arts, from paintings to early sculptures such as santos
and other votive figures and icons, were created to assist Catholic ministry. Existing art and craft traditions
persisted, with some augmented and infused with foreign influences that were not limited to the Spanish
culture through contact.
The momentum that secular (or non-religious) art later gained in the nineteenth century can also be
attributed to this contact, with the opening of the Suez Canal and the growth of export economy in agriculture.
The consequence of these developments was the rise of the middle class. With their new-found economic and
social mobility, patrons of the art were no longer limited to the clergy, but brought about a demand coming
from these wealthy ilustrado families. Of interest was the increase in demand for commissioned portraits (of
an individual or an entire family), finding it necessary to document themselves in light of their elevated status.
Wearing the most intricate and elaborate of garbs, significant adornments such as jewelry and embroidered
implements, among others, completed the intended narrative. This artistic trend cemented the distinction of
artists such as Simon Flores, Justiniano Ascuncion, and Antonio Malantic who became the foremost
portraitists of the time. Here, it is evident how during the Spanish colonial period, the subjects of artworks,
even the manner in which they are translated, were mostly dictated by the patrons who commission them for
religious and secular art.

CONTENT IN ART
What is a content?
In the world of art, the definition of content is referred to as the general meaning or intention of the
piece. It is the way to manifest the message that the artist wants to say with his work. Content is the message
given by the piece of art. It involves the subject, the techniques used to make the piece, the colors used, and
anything that was used by the artist to make a statement and give a message.
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So, in the same example mentioned before (a photograph of a dog running on the beach), the content
could be the dog’s hair moving in the air, its tongue coming out, the white sand, a warm light from the sun,
etc. It allows to give the message that the dog feels free and happy running outside. Content is the overall
meaning or message of the work of art.

Subject vs Content
Basis of Comparison Subject Content
The main object in an The meaning of the work of art
Definition
artwork
Determination Very recognizable Must be analyzed
In the work of art Is one of the parts of a work of Involves and unifies all parts
art of the artwork

As outlined in the beginning, in discussing works of art, the subject may simply be referred to as the
"what"—what is readily seen and relates to the artwork, its inspiration, and the many kinds of translation. But
apart from what is made explicit, to recognize and grasp the message of the artwork, the viewer may
sometimes need to go beyond what is visible. Why was the artwork created in the first place? When this
question is asked, we are after the meaning or message that is expressed or communicated by the artwork.
One of the foremost scholars that expounded on content analysis or how meaning is arrived at is art historian
Erwin Panofsky in his seminal work Meaning in the Visual Arts (1983): His methodology will be later
identified as Iconology through the interpretation of iconography.
To take on the challenge of understanding the content of art, it must be reiterated that there are various
levels of meaning. Perhaps the most common is what we call factual meaning. This pertains to the most
rudimentary level of meaning for it may be the identifiable or recognizable forms in the artwork and
understanding elements relate to one another. Conventional meaning, on the other hand, pertains to the
acknowledged interpretation of the artwork using motifs, signs, and other cyphers as bases of its meaning.
These conventions are established through time, strengthened by recurrent use and wide acceptance by
its viewers or audience and scholars who study them. Finally, when subjectivities are consulted, a variety of
meaning may arise when a particular work of art is read. These meanings stem from the viewer's or audience's
circumstances that come into play when engaging with art. When looking at a particular painting for example,
perception and meaning are always informed (and even colored) by a manifold of contexts: what we know;
what we learned; what we experienced; and the values we stand for. It is therefore expected that meaning
may not be singular; rather, a painting may communicate multiple meanings to its many viewers. This is what
we call subjective meaning of art.
Michelangelo's "Creation of Adam" can be read using
various levels of meaning previously discussed. There,
Adam is figured with an aged God, both of them with an
arm stretched and their respective index fingers appearing
to be fixed at an impending contact. Apart from God who is
wearing a tunic, everyone else is in the nude. God is afloat,
surrounded by drapery and figures presumed to be angels
and cherubs. Adam on the other hand is earth-bound, sitting
and reclined, positioned diagonally parallel to that of God.
From a factual perspective, Michelangelo depicted a scene
(Michelangelo's "Creation of Adam") from the Creation Story, in particular, the creation of man.
Apart from being a key element of Michelangelo's fresco at
the ceiling of the Sistine Chapel, the subject matter suggests that this is an example of biblical art.
This work is indeed iconic, and this is asserted by the conventional meanings attached to it. Here, the
specific poses of God and Adam (convex and concave postures, respectively) allude to the correspondence
of the body and the commonly held belief that man was created in the image and likeness of God. During this
time the ideals of humanism were underscored and the arts and sciences were furthered. It is therefore
understandable that the classical canons of the form of the body (ideally proportioned and muscular) are
portrayed, especially by Michelangelo who was; and foremost a sculptor. Here, the view is that the greatness
of old civilizations such as that of the Greeks and the Romans may not only be replicated, but even surpassed.
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Some art scholars noted how Michelangelo exhibited just that—an elevated artistry— dynamism and energy
of the figures in the frescoes in the Sistine chapel are unlike the work of predecessors.
An interesting overlap between the conventional and subjective meanings is the proposal gynecologist
Frank Lynn Meshberger, whose published essay appeared in the October 1990 issue of the Journal of
American Medical Association. Written was his theory that an image and a message were hidden in plain
sight: how the silhouette, the shroud and the drapery that trail behind, all seemingly align with the shape of
the human brain. According to Meshberger, the work can also be aptly called "The Endowment of Adam" for
it brought to light that as God's creation, the most important imparted to man was intellect. Like most
Renaissance artists, Michelangelo unlocked the secrets and precision of human anatomy assisting in
dissections during his time. For Meshberger, it was with his medical background and perhaps exposure to art
and history that allow him to catch the symbol, hidden in Michelangelo's work.

Summary:

There is sense of panic when one is confounded with the question, "What am I seeing?" or rather, "What
am I supposed to see?" Perhaps, addressing this stigma is the first step in inviting more Filipinos to engage
with art and have a more enduring appreciation for it.
In gaining the basics of translating the subject and content of art, it is hoped that an individual's sensitivity
and perceptiveness to art will be developed. As was discussed in the chapter, one may begin by looking at
perceivable features of the artwork.
Taking note of what is apparent will provide clues as to what the intended meaning of the artist might
be. Knowing more about the context of its creation—from the artist's inspiration, reference or source, will
prove useful in understanding the meaning of the artwork. However, one must forget that each viewer is
armed with his or her experience, background and education. These will assist in fleshing out different levels
of meaning that maybe derived from the artwork. These might not be as evident as say, the figures depicted
on the surface; however, these alternative readings contribute to the significance of the artwork.
The majority of the public are consumers and not producers of art, and so ensuring the readiness of the
public to not only successfully engage with the art, but meaningfully do so, is the primary function of art
appreciation and education. Throughout this book, it is hoped that the specialized language of art will unfold
for the learning pleasure of the students, enabling the ease and encouraging the partiality of engaging with art
through its description. analysis, interpretation, and even critique.

Quiz. Essay 10pts

1. Does Art always have a function? Why? Support your response. Provide your own answer.
2. What is the difference between representational and non-representational art?

References:
Caslib B. N. Jr., Casaul J.A.R., Garing D.C. (2018) Art Appreciation. 856 Nicanor Reyes Sr. St. Manila,
Philippines, Rex Bookstore, pp. 37-53

Sources and Content of Arts. Retrieved from https://differencebtwn.com/what-is-the- difference-between-

subject-and-content