WPPRIMARY REFERENCES:

Introduction to the Humanities: A Holistic Approach, Books Atbp., 2009, - Jesus Meno
Introduction to Art Appreciation, ! " # $ublishin%, 200&, ' Mariano Ariola
KEY TOPICS FOR EACH TERM EXAM:
$(#)IM: *+,-.A/I+-0 A-. I-/(+.,!/I+- /+ A(/, $AI-/I-10 " A(/I0/0, M,0I!
MI./#(M: 0!,)$/,(#, A(!HI/#!/,(#, $H+/+1(A$H2
#-./#(M: $#(*+(MI-1 A(/0, .A-!#, *I)M
TOPICS FOR PRELIM:
I. Objectives of Humanities:
a. Orientation to:
i. visual arts (painting, architecture, sculpture)
1. Two-imensional arts
a. !ainting, rawing, printma"ing, photograph#
2. Three-imensional arts
a. $culpture, architecture, lanscape, communit# planning, inustrial esigns, crafts li"e %
ceramics, an furniture
ii. &uitor# arts: (music, literature)
iii. !erforming arts' theatre arts (rama, ance)
b. &nal#sis of the historical perio an cultural framewor" in which such art was prouce
c. (nrich cultural heritage b# integrating the past an the present
II. CHAPTER I: THE MEANING AND IMPORTANCE OF ARTS
a. Humanities:
i. )efers to the arts % the visual arts such as architecture, painting, sculpture, music, ance, theatre or rama,
an literature.
ii. These "ins of learning are concerne with human thoughts, feelings, an relations.
b. &rt
i. Italian wor % *artis+
1. ,eans craft!a"#i$% &i'', master# of form, inventiveness an the association that e-ists between
form an ieas an between material an techni.ues.
2. The facult# of what is evise.
ii. &r#an root % *ar+
1. ,eans to join or put together
iii. /ree" wors
1. *arti0ein+: to prepare
2. *ar"is"ein+: to put together
i(. &rt, li"e love, is concerne with the communication of certain ieas an feelings b# means of sensuous meium
% color, soun, bron0e, marble, 1lm, an literature.
(. &n artist uses his genius in transforming /o-mae things into man-mae things that satisf# his nees.
1. (.g. conversion of woo into a religious image, plants into cloths
(i. !urposes in engaging art activities:
1. To e-press one+s emotions an thoughts.
2. To prouce things of beaut# (architectural % /reat !#rami of (g#pt, (i2el Tower)
). $elf- actuali0ation of passion
*. To immortali0e something
+. To inform an persuae
,. To entertain
c. THE NAT-RE% MEANING% IMPORTANCE OF ART AND ART APPRECIATION
i. TH( 3&T4)( O5 &)T
1. &rt: means of e-pression
2. In ever# age or countr#, there is alwa#s art
). True art is not imitation but creativit#.
*. &rt is the s"illful arrangement of composition of some common but signi1cant .ualities of nature such
as colors, souns, lines, movements, wors, stones, woo, etc., to e-press human feelings, emotions,
or thoughts in a perfect meaningful an enjo#able wa#.
+. * COMMON ESSENTIALS OF ART:
a. &rt must be man-mae
.. &rt must be creative not imitative
c. &rt must bene1t an satisf# man in practical life
/. &rt is e-presse through a certain meium or material b# which the artist communicates
himself to his fellows.
,. Through the artist+s wor", we get a glimpse of the thoughts, feelings an beliefs of the people in their
time an the faces in their environment that in6uence their artwor".
0. W1 !a2 .1 i"341"c1/ t5 c#a"61 54r 7a2 a"/ .1#a(i5r out of the aesthetic e-periences we
erive from the arts.
a. The# ma# transform us into highl#-culture, igni1e, an respectable human beings.
.. The arts ma# beautif# our humanit#.
c. This e-plains wh# the arts are calle humanities.
i. The# bring out the goo an the noble in us.
ii. Through the arts, we come to "now the changing image of man as he journe#s
across time, searches for the realit#, an strive to achieve the ieals that create
meaning for life.
8. ART APPRECIATION:
a. &bilit# to interpret or unerstan man-mae arts an enjo# them either through actual an
wor"-e-perience with art tools an materials or possession of these wor"s of art for one+s
amiration an satisfaction.
ii. TH( $478(9T O5 &)T
1. The subject of art is the founation of the creation of the wor" of art or an#thing that is represente in
the artwor".
2. R1$r11"tati5"a' 5r 5.91cti(1 art
a. &rtwor"s that epict something easil# recogni0e b# most people
3
.. !ainting, sculpture, graphic arts, literature, an theatre arts are generall# classi1e as
representational.
). N5":r1$r11"tati5"a' 5r "5":5.91cti(1 art ;S-<=ECTI>E?
a. &rtwor"s that have no resemblance to an# real subject
.. The# o not represent an#thing an the# are what the# are.
c. The# rather appeal irectl# to the senses primaril# because of the satisf#ing organi0ation of
their sensuous an e-pressive elements.
iii. TH( 5439TIO3$ O5 &)T
1. To 1n meaning in art, it must serve a 4ti'itaria" $4r$51 an be capable of serving the purpose for
which it was esigne.
2. &rchitecture is functional because builings an structures are alwa#s built for some special purpose.
). ,usic an :ance:
a. 4se for ritual an worship
.. $ocial an fol" entertainment
*. !ainting an sculpture
a. To narrate events
.. !ersonal e-pression of nature an its beaut#
+. MAIN F-NCTIONS OF ART:
a. &($TH(TI9 5439TIO3 ;<EA-TY?
i. Through art, man becomes conscious of the beaut# of nature.
ii. He bene1ts from his own wor" an from those one b# his fellowmen.
iii. He learns to use, love, ecorate, an preserve them for his enjo#ment an
appreciation.
i4. !;&TO
1. I:(&$ (,I3:) <$. 7O:= ($(3$($)
a. ,aterialit# (tangible) vs. immaterialit#
.. Temporar# vs. eternal
c. ,emories > alive
2. To be beautiful is to be something eternal
4. &)I$TOT;(
1. To be beautiful is to be something proportional (orer)
2. ;aw of nature > the worl has a s#stem % ever#thing is irecte towars an
en (teleological)
a. (ver#thing has a purpose an a function
.. 4TI;IT&)I&3 5439TIO3
i. ?ith the creation of the various forms of art, man now lives in comfort an
happiness.
ii. Through art, man is provie with shelter, clothing, foo, light, meicine, beautiful
surrounings, personal ornamentals, entertainment, language, transportation, an
other necessities an conveniences of life.
iii. &rt improves nature through lanscape garening, creation of superhighwa#s, an
through propagation an conservation of natural resources.
c. 94;T4)&; 5439TIO3
i. Through the printe matter, art transmits an preserves s"ills an "nowlege from
one generation to another.
ii. It burens one+s cultural bac"groun an ma"es man more civili0e an his life more
enuring an satisf#ing.
/. $O9I&; 5439TIO3
i. Through civic an graphic arts, man learns to love an help each other.
ii. International unerstaning an cooperation are fostere an nations become more
uni1e, frienl#, cooperative, helpful, an s#mpathetic.
1. (9O3O,I9 5439TIO3
i. &rt can be a lucrative job. (it can pa# well' pro1table)
ii. (.g. $teven $pielberg+s movies. 8. @. )owling+s novels
f. !O;ITI9&; 5439TIO3
i. ,urals can inculcate virtues of self-iscipline, inustr#, unit#, an cooperation.
6. HI$TO)I9&;
i. &rt forms can recor historical 1gures an events
ii. (.g. sculptures of !hilippine Heroes, tombs of rulers (!#ramis of (g#pt A Taj ,ajal of
Inia)
#. )(;I/IO4$ 5439TIO3
i. &rt evolve from religion
ii. ?orship of gos in the form of ances an songs
iii. (.g. /ree" gos, mausoleum of )ome (cemeter#)
i. !H=$I9&; 5439TIO3
i. Houses an other builings are constructe to protect their occupants
ii. :ance as the best form of e-ercise
i(. GENRES OF ART
1. <I$4&; &)T$ % those forms perceive b# the e#es. The# are calle spatial arts because artwor"s
prouce uner this genre occup# space.
a. /)&!HI9 &)T$
.. !;&$TI9 &)T$
2. &4:IO-<I$4&; &)T$
a. Those forms perceive b# both ears (auio) an e#es (vieo)
.. The# are calle performing arts inasmuch as the artists rener a performance in front of an
auience
). ;IT()&)= &)T$
a. Those presente in the written moe an intene to be rea
.. These inclue:
i. !rose
1. $hort stories, novels, essa#s, an pla#s
2. &re in paragraph form % compose of sentences
ii. !oetr#
1. 3arrative poems, l#ric poems, ramatic poems
2. &re in stan0a (compose of lines)
2
(. DI>ISIONS OF ART ST-DY
1. &($TH(TI9$ O) &)T &!!)(9I&TIO3
a. The science of beaut# % stuent learns to amire the artists, value highl# i2erent wor"s of
art an appreciate the role of art in the societ#.
2. &)T HI$TO)=
a. $tuent ac.uires "nowlege of the artists, their bac"grouns, their masterpieces, an their
signi1cant contributions in various 1els of art.
). &)T !)O:49TIO3
a. $tuent learns to use his creativit# an appl# his artistic "nowlege an s"ills in proucing his
own wor"s of art.
*. &)T 9)ITI9I$,
a. $tuent learns to use his jugment in evaluating i2erent artwor"s base on criteria set.
(i. THE SCOPE OF ART
1. B /(3()&; :I,(3$IO3$ O5 &)T:
a. 5I3( &)T$ O) I3:(!(3:(3T &)T$
i. ,ae primaril# for aesthetic enjo#ment through the senses, especiall# visual an
auitor#.
ii. ,usic, painting, sculpture, architecture, literature, ancing an rama.
.. !)&9TI9&; &)T$ O) 4TI;IT&)I&3 &)T$
i. Intene for practical use or utilit# % it is the evelopment of raw materials for
utilitarian purposes.
ii. Inustrial art, applie or househol art, civic art, commercial art, graphic art,
agricultural art, business art, istributive art, an 1sher# art.
2. B 9;&$$I5I9&TIO3$ O5 >IS-AL ARTS:
a. /)&!HI9 &)T$
i. Those visual arts that have '1"6t# a"/ 7i/t# ;2 /i!1"i5"?
1. The# are escribe as 6at arts because the# are seen on 6at surfaces
ii. Inclue painting, rawing, photograph#, graphic process (printing), commercial art
(esigning of boo"s, avertisements, signs, posters an other ispla#s), mechanical
processes, in which portra#als of forms an s#mbols are recore on a t75:
/i!1"i5"a' 4rfac1.
.. !;&$TI9 &)T$
i. Those visual arts that have '1"6t#% 7i/t#% a"/ (5'4!1 ;) /i!1"i5"?
ii. Inclue all 1els of visual arts for which materials are organi0e into t#r11:
/i!1"i5"a' forms such as structural architecture, lanscape architecture,
(garens, par"s, pla#grouns, golf course, beauti1cation), cit# ph#sical planning an
interior arranging (esign of wallpaper, furniture), sculpture, crafts, inustrial esign,
ress an costume esign, an theatre esign
). 9;&$$I5I9&TIO3 O5 &)T$ &99O):I3/ TO B ,&8O) :I<I$IO3$:
a. &99O):I3/ TO !4)!O$(
i. !)&9TI9&; &)T$ O) 4$(54; &)T$
1. :irecte to prouce artifacts an utensils for the satisfaction of human
nees
2. (.g. hanicrafts, embroier#
ii. ;I7()&; &)T$
1. :irecte towar intellectual growth, such as in the stu# of philosoph#,
ps#cholog#, literature, mathematics, an sciences.
iii. 5I3( &)T$
1. 5ocuse towars creative activit# for the contemplation of the min, an
the uplift of the spirit
2. (.g. painting, sculpture, architecture
i4. ,&8O) &)T$
1. 9haracteri0e b# actual an potential e-pressiveness such as music,
poetr#, sculpture
4. ,I3O) &)T$
1. 9oncerne on practical uses an purposes
2. (.g. interior ecoration an porcelain art
.. &99O):I3/ TO ,(:I& &3: 5O),$
i. !;&$TI9 &)T$
1. :evelope through space an perceive b# the sense of sight
2. (.g. sculpture an ecorative materials
ii. !HO3(TI9 &)T$
1. :irecte towars souns an wors as meia of e-pression.
2. (.g. rama, music, literature
iii. @I3(TI9 &)T$
1. Involve the element of rh#thm
2. (.g. ance
i4. !4)( &)T$
1. Ta"e onl# one meium of e-pression li"e soun in music an color in
painting
4. ,IC(: &)T$
1. Ta"e more than one meium such as the opera which combines music,
poetr# an rama
(ii. TH( O)I/I3 O5 &)T
1. &rt is viewe as a re6ection of creative an ingenuit# an inventiveness within a culture
2. &rt starte uring the primitive time when the superstition an beliefs (worship) in the spirits are still
ver# common in ever# culture % it is s#mbolic.
(iii. &)T $T=;( 5ho6 an artist present his 6ork7 &3: FACTORS AFFECTING STYLE
1. /(O/)&!HI9&; 5&9TO)$
a. The place where the artist sta#s in6uences his wor"s
8
2. HI$TO)I9&; 5&9TO)$
a. (.g. )i0al+s 3ovels, <ictor Hugo+s ;es ,iserables epicts the 5rench )evolution, 8uan ;una+s
D$poliariumE epicts 5ilipino Oppression b# the $paniars
). $O9I&; 5&9TO)$
a. $ituations in the societ# ictate the t#pe of art form
.. (.g. ,# Husban+s ;over A !agaalaga ni ,a-imo Oliveros show present-a# realities in the
societ#
*. I:(&TIO3&; 5&9TO)$
a. Ieologies coming from great thin"ers
.. (.g. $igmun 5reu, propose ieas that have in6uence surrealist painters
c. The iea that the human bo# is the most beautiful 1gure to present as an art subject gave
rise to the school of thought calle nuism.
+. !$=9HO;O/I9&; 5&9TO)$
a. ?or"s prouce b# the artists are a2ecte b# their ps#chological ma"e-up or frame of min.
.. (.g. (war ,unch+s DThe $ic" 9hilE % an e2ect of his unfortunate chilhoo e-perience of
contracting a long illness after losing his love at an earl# age.
c. (.g. <incent <an /ogh+s painting DThe $tarr# 3ightE was believe to be complete uring his
sta# in an as#lum
,. T(9H3I9&; 5&9TO)$
a. :i2erent techni.ues are applie to ma"e one+s wor" uni.ue an i2erent from others.
0. !O;ITI9&; 5&9TO)$
a. $atires (criti.ue) attac"ing the situation of the government.
.. (.g. )i0al+s 3ovels
8. (9O3O,I9 5&9TO)$
a. The availabilit# of 1nancial an other resources pla#s an important role in the life of an artist
.. (.g. a 1lmma"er who is not 1nanciall# well-o2 ma# prouce a low-bugete inepenent 1lm
with not-so-"nown actors in the cast an with the use of outmoe e.uipment
c. (.g. an abstract painter ma# shift to realism if his paintings o not sell.
III. CHAPTER II: ARTIST@S MEDIA
a. ,(:I4, &3: T(9H3IF4(
i. TH( &)TI$T &3: HI$ ,(:I4,
1. ,eium:
a. enotes the means b# which an artist communicates his ieas
.. these are the materials which are use b# an artist to interpret his feelings or thoughts
c. ?hen an artist chooses his meium, he believes that this can best e-press the iea he wants
to conve#.
/. (.g. woo can be carve in great etail accoring to the talent of the sculptor.
ii. TH( &)TI$T &3: HI$ T(9H3IF4(
1. techni.ue:
a. the manner in which the artist controls' manipulates his meium to achieve the esire e2ect
.. It is the abilit# with which he ful1lls the technical re.uirements of his particular wor" of art.
b. ,(:I& O5 TH( <I$4&; &)T$
i. !&I3TI3/ % art of creating meaningful e2ects on a 6at surface b# the use of pigments
1. ?&T()9O;O)
a. 9olor is less luminous
.. Techni.ue: gouache
i. &n opa.ue watercolor painting the major e2ects of which are cause b# the
whitepaper itself
ii. This techni.ue is one b# mi-ing 0inc white with the regular watercolor paints to
tone them own giving the appearance of sobriet# suitable for ramatic purposes.
2. 5)($9O
a. This is painting on a moist plaster surface with colors groun in water or a limewater mi-ture.
.. The colors r# into plaster, an the picture becomes a part of the wall.
c. This must be one .uic"l# because it is an e-acting meium - the moment the paint is
applie to the surface, it becomes an integral part of the wall.
/. The image becomes permanentl# 1-e an almost impossible to remove.
1. (.g. ,ichelangelo+s DThe 9reation of &amE in the $istine 9hapel ceiling.
). T(,!()&
a. Its paints are mineral pigments mi-e with egg #ol" or egg white an ore.
.. The# are often use as biner ue to its 1lm forming properties an rapi r#ing rate
c. 9orrections are iGcult to ma"e: meium ries .uic"l#
/. :oes not possess the 6e-ibilit# of oil.
1. It is usuall# one in wooen panel that has been mae ver# smooth with plaster calle
DgessoE (chal" an gum)
f. One istinguishing avantage of tempera is its luminous tone % the colors being clear an
beautiful.
*. !&$T(;
a. This is a stic" of rie paste mae of pigment roun with chal" an compoune with gum
water.
.. Its colors are luminous
c. It is iGcult to preserve the 1nishe prouct in its original freshness % when the chal" rubs,
the picture loses some of its brilliance.
+. (39&4$TI9
a. One of the earl# meia use b# the (g#ptians for the painte portrait on mumm# cases.
.. This is one b# painting with wa- colors 1-e with heat.
c. !ainting with wa- prouces luster an raiance in the subject ma"ing them appear at their
best in portraits.
,. OI;
a. (-pensive an the heaviest of painting meia
.. !igments are mi-e with linsee oil an applie to the canvas
c. It is 6e-ible: artist ma# use a brush, palette "nife, or even his bare hans when appl#ing paint
in the canvas
9
/. The painting ries slowl#H it can be change an wor"e over a long perio of time.
1. !ainting one in oil is gloss# an lasts long.
0. &9)=;I9
a. Is use popularl# b# contemporar# painters because of the transparenc# an .uic"-r#ing
characteristics of watercolor an the 6e-ibilit# of oil combine.
.. This s#nthetic paint is mi-e with acr#lic emulsion as biner for coating the surface of the
artwor".
c. &cr#lic paints o not ten to brea" easil#, unli"e oil paints which turn #ellowish or ar"er over
a perio of time.
8. ,O$&I9
a. This is a picture or ecoration mae of small pieces of inlai colore stones or glass calle
Dtesserae,E which most often are cut into s.uares glue on a surface with plaster or cement.
A. $T&I3(: /;&$$
a. 9ommon in /othic catherals an churches.
.. This is mae b# combining man# small pieces of colore glass which are hel together b#
bans of lea (patchwor")
c. In large winows, the lea is reinforce b# heav# iron bars that ma"e heav# blac" lines in the
picture.
1B. T&!($T)=
a. This is a fabric consisting of a warp upon which colore threas are woven b# han to
prouce a esign, often pictorials, wall hangings an furniture covering.
11. :)&?I3/
a. Is usuall# one on paper using pencil, pen an in", or charcoal
.. It is the most funamental of all s"ills necessar# in arts
c. 9onsiere as a ver# goo training for artists because it ma"es one concentrate on the use of
line.
/. $haing can also be use to ma"e rawing more life-li"e an realistic.
i. 5or linewor", har pencil lea is applie
ii. On a granular surface, soft pencils are use because the# invite e2ects of mass an
a te-ture of gra#.
1. Inia in", which comes in li.ui form, is the favorite meium of comic strip illustrators an
cartoonists.
f. 9hinese in", comes in soli stic"s that are issolve in water before the# are use.
12. 7I$T)(
a. & brown pigment e-tracte from the soot of woo, an often use in pen an wash rawings.
1). 9)&=O3$
a. &re pigments boun b# wa- an compresse into painte stic"s use for rawing especiall#
among chilren in the elementar# graes
1*. 9H&)9O&;
a. These are carbonaceous materials obtaine b# heating woo or other organic substances in
the absence of o-#gen.
.. It is use in representing broa masses of light an shaow.
c. $oft charcoal prouces the ar"est value
/. :ar" charcoal prouces the lightest tone
1+. $I;<()!OI3T
a. The artist has a techni.ue of rawing with silver st#lus on speciall# prepare paper to
prouce a thin gra#ish line
.. !opular uring the renaissance perio
1,. !)I3T,&@I3/
a. &n#thing printe on the surface that is a irect result from uplicating process
.. /raphic image is one in blac" in" on white paper an becomes the artist+s plate.
c. One of the avantages of printma"ing is the process of ma"ing man# copies of the original
rawing.
/. I major t#pes of prints:
i. ?oocut
1. The remaining surface of the woo is being cut awa#
ii. (ngraving
1. This is the art of forming esigns b# cutting, corrosion b# acis
2. The lines of the esign are cut into a metal plate with in" an transferre
from the plate to the paper.
). The lines of an engraving are cut b# han with an instrument calle burin, a
steel tool with an obli.ue point an roune hanle for carving stone an
engraving metal.
*. (tching
a. & copper or 0inc plate is covere with a DgrounE a smooth coating
of wa- mi-e with pitch an amber.
.. The artist scratches the picture into the groun an puts the plate
in aci, which DeatsE the picture into the plate
c. The groun is scrape o2 an the plate is then use to print the
picture
iii. )elief
1. Involves cutting awa# from a bloc" of woo or linoleum the parts of the
esign that the artist wants to be seen, leaving the portion of the thir
imension
2. 9olor prints are mae b# preparing a separate bloc" for each color to be
use.
i4. Intaglio
:
1. !rinting process in which the esign or the te-t is engrave into the surface
of the place an the in" is transferre to paper from the goover.
2. The esign is engrave or etche into a metal plate.
). The incise line is then 1lle with in" an uner consierable pressure,
leaves a sharp impression on paper surface.
4. $tencil process
1. Involves cutting of the esign on special paper carboar or metal sheet in
such a wa# that when in" is rubbe over it, the esign is reprouce on the
surface.
2. The printing is one through a sil"screen which is mae of a 1ne sil" or
n#lon stretche tightl# over a wooen frame.
ii. $478(9T$ I3 !&I3TI3/:
1. !O)T)&IT4)(
a. !ictures of men an women collectivel#
.. (arl# use of capturing a moment before the camera came
2. &3I,&;$ &3: !;&3T$
a. Hunting an foo gathering in the ancient times
). $TI;; ;I5(
a. & painting of inanimate object place on a setting
*. 9O43T)= ;I5(
a. $cenes happening ail# in their communit#
.. (.g. 5ernano &morsolo+s D5armer,E D7arrio 5iestaE
+. ;&3:$9&!(
a. &n# lan forms
,. $(&$9&!(
a. ?ater forms
0. 9IT=$9&!(
a. <iew of a cit#
8. (<(3T
a. (.g. 8uan ;una+s D$poliariumE
A. )(;I/IO4$ IT(,$
a. )aphael $an0io+s D,aonna of the )oc"sE
iii. TH( <O9&; ,4$I9
1. Our voice is prouce b# the vibrations of the vocal chors in our voice bo-.
2. $ince the soun prouce b# these vibrations is not lou enough to be hear, resonators (lungs,
esophagus, hea an mouth cavities) are neee to increase the volume of the voice.
i(. M-SIC
1. ,usic is the art of combining souns of var#ing pitch to prouce a coherent composition that is
meloious, harmonious, intelligible, an e-pressive of ieas an emotions.
(. >OICE CLASSIFICATION
1. <oice i2ers consierabl# accoring to timbre (.ualit#) an range.
2. &s to timbre, the# are classi1e into: women+s voices an men+s voices.
a. ?omen+s voices:
i. $oprano: tone is lighter in character, less somber an fre.uentl# more 6e-ible. It is
classi1e into:
1. 9oloratura soprano: highest an lightest of all voices.
2. ,e00o-soprano: it is a meium high in tonal .ualit#
). ;#ric soprano: is less high an 6ute-li"e. It is suite to sweet songs li"e
meloies
ii. &lto or contralto % the tone is richer an fuller
.. ,en+s voices:
i. Tenor: the highest t#pe in men+s voices
ii. 7aritone: the voice is between tenor an bass
iii. 7ass: the lowest an eepest voice .ualit#
(i. INSTR-MENTAL M-SIC
1. $O3&T&
a. & long composition for solo (one) instrument, consisting of large 1cti5" ca''1/
!5(1!1"t.
.. These movements are the allegro, anante, an rono.
c. (.g. $onata in 9 ,ajor b# ?olfgang ,o0art
2. $4IT(
a. & series of musical pieces that tells a stor#.
.. & music that tells a stor# is calle program music
c. & music that oes not tell a stor# is absolute music
/. (.g. 3utcrac"er $uite b# !eter Tchai"ows"#
). $=,!HO3=
a. & sonata for the orchestra
i. Inclues all the principal instrumental t#pes.
ii. Instruments+ ranges: alto, tenor, an bass
.. ;uwig <an 7eethoven was the great musician remembere for his immortal s#mphonies
*. 9O39()TO
a. & sonata for solo an orchestra esigne to show-o2 the virtuosit# of the soloist
.. One solo instrument, a piano or a violin, is given prominence
c. $ome of the greatest concerto musicians were 7.$. 7ach an <ivali
+. 9H&,7() ,4$I9
a. ?ritten for two solo instruments (violins an 6utes) an basso continuo (low string an
"e#boar) an usuall# in several movements.
.. This is music is classi1e into sonata a camara (chamber sonata) an sonata e chiesa
(church sonata).
c. $ome composers of chamber music were <itali, 8.$. 7ach, Torelli, an !urcelli.
,. 7&3:
a. 9onsisting mainl# or e-clusivel# of win an percussion instruments
0. )O3:&;;&
a. & ban usuall# compose of stringe instruments
;
(ii. DIFFERENT M-SICAL INSTR-MENTS
1. J main t#pes:
a. Instruments which are bowe' pluc"e
i. $trings
1. <iolin, viola, violoncello, string bass
.. Instruments which are blown
i. 7rasses
1. !iccolo, 6ute, clarinet, oboe, (nglish horn, bass clarinet, bassoon,
contrabassoon
ii. ?oowins
1. Trumpet, 5rench horn, trombone, tuba
c. Instruments which are struc"
i. !ercussion
1. $nare rum, bass rum, c#mbals, triangle
(iii. PROPERTIESC ELEMENTS OF M-SICAL SO-ND
1. !itch
a. ?e mean the #i6#"1 5r '57"1 5f a t5"1 in the musical scale. &ll souns are cause b#
vibration.
.. The #5rt1r a tri"6 or column of air, the more rapil# it vibrates an the #i6#1r t#1
$itc#.
c. The '5"61r a tri"6 or column of air, the fewer the vibrations per secon an the '571r t#1
$itc#.
/. The with, thic"ness, ensit#, an tension of the vibrating bo# also a2ect the outcome.
2. :uration
a. This propert# of soun epens on the '1"6t# 5f ti!1 over which vibration is maintaine.
.. Tones are not onl# high or low but also #5rt a"/ '5"6.
). <olume or Intensit#
a. The term refers to force or percussive e2ects as a result of which the tone stri"es us as .1i"6
'54/ 5r 5ft.
.. 5orte means louH piano means soft.
i. <er# soft: pianissimo
ii. <er# lou: fortissimo
*. Tempo or rate
a. $pee of a composition
i. &llegro (fast)
ii. <ivace (livel#)
iii. ,oerato (moerate spee)
i4. &nante (moeratel# slow)
4. &agio (slower than anante)
4i. ;ento (slow)
4ii. ;argo (ver# slow)
+. Timbre or tone color
a. Fualit# of soun that ma"es it istinct from other souns
.. This is the iniviual .ualit# of the soun prouce b# other instruments.
c. This epens on how the instrument accentuates the overtones within the soun wave.
/. It is in6uence b# a number of factors such as the si0e, shape, an the proportion of the
instrument, the material of which it is mae, an the manner in which the vibration is set up.
,. )h#thm
a. The consistent pattern or succession of ientical or similar souns
.. This is illustrate b# the succession of similar souns in a song: introuction, stan0a one,
chorus, refrain, stan0a two, chorus, refrain, coa, conclusion
c. It is the variation of length an accentuation of a series of souns.
/. Its most funamental component is beat, i.e., the recurrent pulse
i. The beat is that to which we clap our hans or tap our feet.
1. The beat an the rh#thm are not the same:
i. The beat is the simple pulse foun in almost all music familiar to us while the rh#thm
is a larger concept, incluing the beat an ever#thing that happens to souns in
relation to time.
f. One wa# of measuring rh#thm is b# means of meter.
i. ,eter is the arrangement of rh#thm in 1-e, regular pattern with a uniform number
of beats in uniform measures.
ii. It is also the wa# beats are groupe an measure so that some beats receive
accent while others o not.
0. ,elo#
a. It is the series of consecutive tones that var# in pitch an uration but form a line of
iniviual signi1cance an e-pressive value
.. It is the one remembere b# a listener when he oes not "now the l#rics
c. It refers to pitches or tones soune one after another in a logical meaningful series.
/. It is also e1ne as succession of tones arrange in such a wa# as to give a musical sense.
1. ,elo# is an organi0e group of pitches strung out se.uentiall# to form a satisf#ing musical
entit#.
8. Harmon#
a. The simultaneous souning of B or more tones
.. ?hen J or more tones are soune simultaneousl#, there e-ists
i. 9oncor: if the combination or chor seems to prouce an impression of
agreeableness or resolution to the listener
ii. :iscor or issonance: if there is no combination
A. Te-ture
a. It is the number of tones e-pecte to be apprehene simultaneousl#
.. It is either monophonic (souning of a single meloic line without an accompaniment)
c. !ol#phonic (simultaneous souning of two or more meloic lines of relativel# e.ual interest)
/. Homophonic (souning of one main melo# supporte b# a suborinate one, as in the
performance of a fol" singer with guitar accompaniment)
1B. 5orm
a. It is the overall organi0ation of the composition
.. &ll the musical elements are put together to come up with the cohesive whole calle form.
<
c. (.g. 8ose !alma+s l#rics of the !hilippine 3ational &nthem entitle D;upang HinirangE were
arrange into a march b# 8ulian 5elipe
i. &ll the notes an all the other components of the song constitute its form
iD. METHODS OF ART PROD-CTION AND PRESENTATION OF S-<=ECTS
1. )(&;I$,
a. In painting, this is the attempt to portra# the subject as it is
.. To be objective as possible means t5 /1cri.1 a acc4rat1'2 a"/ #5"1t'2 as possible
what is observe through the senses.
c. If an apple is the subject, it is shown as is with either re or green color.
/. The J renaissance greats, ,ichelangelo, 7uonarroti, ;eonaro a <inci, an )aphael $an0io,
are realist painters.
1. 5ilipinos: 5ernano &morsolo, (5ather of !hilippine )ealism) % painte rural scenes.
i. In the process of selecting an presenting his material, he cannot help being
in6uence b# what he feels or thin"s.
f. To stress the ail# life of the common man, often concentrating on the sori an
isagreeable.
6. (.g. (garo )e#es+ $a ,ga @u"o ng ;iwanag an (fren &bueg+s :ilim sa 4maga
2. &7$T)&9TIO3
a. This is use when the artist becomes so intereste in one phase of a scene or a situation that
he oes not show the subject at all as an objective realit#, but onl# his iea, or his feelings
about it.
.. &bstract means Dto move awa# or to separateE % rawing awa# from realism
i. &bstract art moves awa# from showing things as the# reall# are.
ii. The painter or artist paints the picture not as it reall# loo"e.
iii. The picture is not just realistic.
i4. (.g. 9onstantin 7rancusi+s D7ir in $paceE
c. &bstract subjects can also be presente in man# wa#s li"e:
i. :istortion:
1. subject is in misshapen conition, or the regular shape is twiste out
2. e.g. apple is shown as a s.uare
ii. (longation:
1. )efers to that which is lengthene, protraction or e-tension.
2. (.g. (l /reco+s DThe )esurrection of 9hristE
iii. ,angling:
1. $howing subjects which are cut, lacerate, mutilate, or hac"e with
repeate blows.
i4. 9ubism:
1. $tresses abstract form through the use of a cone, c#liner, or sphere at the
e-pense of other pictorial elements.
2. The cubists want to show forms in their 615!1trica' #a$1.
). (.g. !aul 9e0anne, /eorge 7ra.ue, !ablo !icasso
*. Tam &ustria+s D5isherman+s 5amil#E, <icente ,anansala+s D7alut <enorsE,
D!ra#er before ,ealsE
4. &bstract e-pression
1. 9haracteri0e b# great verve, the use of large canvasses, an a /1'i.1rat1
'ac& 5f r1E"1!1"t i" t#1 a$$'icati5" 5f t#1 $ai"t.
2. $trong color, heav# impasto, uneven brush stro"es, an rough te-tures are
other t#pical characteristics.
). It eparts completel# from subject matter, from stuie precision, an from
an# "in of preconceive esign.
*. (.g. 8ac"son !olloc", 8ose 8o#a
). $=,7O;I$,
a. Is a visible sign of something invisible such as an iea or a .ualit#.
i. The artist shows his subject as it appears in real life, but he intens to let it
represent something.
.. It can be simpl# an emblem or sign li"e: K to represent percent.
c. (.g. 8uan ;una+ D$polariumE
i. &s a )oman Term, D$polariumE, referre to the spoils of war, spoils of t#rants an the
"ing.
/. /uillermo Tolentino+s DOblationE % s#mbol of acaemic freeom
*. 5&4<I$,
a. The fauves i not attempt to e-press ethical, philosophical, or ps#chological themes.
.. ,ost of these artists trie to paint pictures of comfort, jo#, an pleasure.
c. The# use e-tremel# bright colors.
i. It is optimistic realism % it is presenting the real-life subject with the use of bright
colors suggesting comfort, jo#, an pleasure.
/. To a fauve, for e-ample, a tree trun" nee not be brown. It coul be bright, re, purple, or an#
other color.
1. Important fauves: &nre :erain, )aoul :uf#, /eorge )ouault, Henr# ,atisse (DThe )e
)oomE)
+. :&:&I$, (shoc"ing realism % e-position of the evils in societ#)
a. The :aaists reacte to what the# believe were outworn traitions in art, an the evils the#
saw in societ#.
.. The# trie to shoc" an provo"e the public with outrageous pieces of writing, poetr# recitals,
an art e-hibitions.
i. )evolutioni0ing outworn traitions
c. ,uch aaic art was pla#ful an highl# e-perimental.
/. The name DaaE (5rench: Dhobb# horseE) was eliberatel# chosen because it was
nonsensical.
1. (.g. ,arcel :uchamp
,. 54T4)I$,
a. ?or"s that capture the spee an force of moern inustrial societ#.
&
.. Their paintings glori1e the mechanical energ# of moern life.
c. $ubjects inclue automobiles, motorc#cles, an railroa trains % subjects that e-press the
e-plosive vitalit# of a moern cit#.
0. $4))(&;I$, (super realism)
a. 5oune b# &nre 7reton
.. 4ses art as weapon against the evil an restrictions that surrealists see in societ#.
i. 4nli"e :aaism, it tries to reveal a new an higher realit# than that of ail# life.
c. This movement was in6uence b# the 5reuian ps#cholog# which emphasi0es the activities of
the subconscious state of the min.
/. $ubjects of this "in attempt to show what is insie man+s min as well as the appearance of
his outsie worl.
i. The surrealists claim to create forms an images not primaril# b# reason, but b#
unthin"ing impulse an blin feeling or even b# accient.
ii. 4sing these methos, the surrealists eclare that a magical worl % more beautiful
than the real one % can be create in art an literature.
iii. ,uch of the beaut# sought b# surrealism is violent an cruel.
i4. The surrealists tr# to shoc" the viewer or reaer an show what the# consier the
eeper an truer part of human nature.
1. (.g. 7enjamin ,eno0a
8. (C!)($$IO3I$, (emotional realism)
a. 7elieve in the necessit# of a spiritual rebirth for man in an age that was fast becoming
in6uence b# materialism
i. The emotional e-pressions in e-pressionistic paintings coul be escribe as
involving pathos, morbiit#, violence or chaos, an trage#.
ii. It sometimes portra#s efeat
.. !roponents:
i. &melia ;apeLa-7onifacio % D$epang ;ocaE
ii. !aul :umol+s % D!aglilitis ni ,ang $erapioE
iii. )euel &guila+s % D,apait sa 7aoE
A. I,!)($$IO3I$,
a. !resenting the real-life subject with emphasis on the impression left in the artist+s min,
particularl# the e2ect of light on the object use as subject.
.. (.g. an apple on a table is presente not as entirel# re, but with white areas showing the
spots where the light ra#s fall upon.
c. !ainters: 9laue ,onet, (ouar ,anet, (gar :egas, &ugust )enoir, 9amille !issarro,
<incent <an /ogh
I>. CHAPTER ): ELEMENTS OF >IS-AL AND PERFORMING ARTS
a. (;(,(3T$ O5 <I$4&; &)T$ % the meium is the ph#sical means through which we can come into contact with a wor" of
art, an the elements are its .uantities or properties.
i. ;I3( % it is a series of connecte ots.
1. :e1nition:
a. It is a springboar of an art prouct.
.. &ll wor"s classi1e uner the graphic arts an plastic arts start with lines.
c. (.g. a cloth before it becomes a ress or another garment must 1rst be rule an then cut
an later sewn.
/. ;ines are classi1e accoring to position, irection, an shapeH the# carr# meanings b#
themselves.
2. )epresents 1gures an forms
a. It has a irection an is alwa#s moving
). ,an has learne that certain emotional states alwa#s 1n e-pression through e1nite positions.
a. He associates the emotions with the lines that e1ne their accompan#ing positions.
*. Strai6#t 'i"1
a. is the basic framewor" of man# forms, but it 'ac& 5ft"1 a"/ 31Di.i'it2. It signi1es
sti2ness an inactivit#.
.. It suggests eGcienc#, simplicit#, an strength.
c. ,oves in one irection onl#: it can be
i. Hori0ontal
1. ;ines of repose an serenit#
2. The# e-press ieas if ca'!"1 an .uiescence.
). The# are foun in lanscapes, calm boies of water an in the istant
meeting of the earth an s"#
ii. <ertical
1. These are lines poise for acti5". It shows height.
2. The# suggest .a'a"c1% force, aspiration, e-altation an #namism
). The# are seen in a man staning straight, a tall tree, an statues of saint
an heroes
*. It implies an impression of ignit# an an arousal of emotional e-altation
iii. :iagonal
1. $uggests action, life, an !5(1!1"t.
2. The# give animation to an# composition in which the# appear.
). (.g. running person
+. 9urve lines
a. $uggest grace, movement, an i"ta.i'it2.
.. The# are never harsh or stern since the# are forme b# a graual change in irection.
c. (.g. mural artist 9arlos 5rancisco % D$i ,ala"as at si ,aganaE
,. 9roo"e or jagge lines
a. (-presses energ#, violence, con6ict, an tr466'1.
0. )epeating ;ines
a. These are succession of vertical (llllll), hori0ontal (>>>>>>), iagonal ('''''' or MMMMM) or curve
(99999) lines.
.. These are use to show rh#thm.
8. 9ontrasting lines
9
a. These are combination of vertical an hori0ontal lines (;;;;;;) or a combination of iagonal
lines (CCCCC) or NNNN or OOOO in opposite irections.
A. ,oi1e lines
a. These are combination of straight an curve lines PQRS or a combination of 'i"1 5f (ar2i"6
#a$1 (QOONR)
ii. COLOR:
1. :e1nition
a. It has the !5t a1t#1tic a$$1a'. It is a $r5$1rt2 5f 'i6#t. ?hen light goes out, color goes
with it.
.. The light of the sun contains all the colors of the spectrum: violet, inigo, blue, green, #ellow,
orange, an re.
i. ?hen a beam of light passes through a prism, the i2erent ra#s of color are
separate so that we are able to see an ientif# them.
ii. ?hen light stri"es a surface, some of the color ra#s are absorbe while others are
re6ecte
c. ?hite, gra#, an blac" have no color .ualit#.
2. THREE DIMENSIONS OF COLOR
a. H4(
i. It is the dimension o= color that %i4es color its name.
ii. ,O3O9H)O,&TI9: when an object has onl# one hue
iii. !O;=9H)O,&TI9: when an object has B or more hues.
i4. 9olors are classi1e into primar#, seconar#, an intermeiate.
1. ?hen we sa# that 6ower is #ellow, we are naming its hue.
2. Pri!ar2 #41: .'41% r1/% a"/ 21''57. ;<RY?
a. If these primar# hues are mi-e in e.ual parts, the seconar# hues
are prouce.
i. The# are escribe as primar# colors because the# are
the 1rst to be prouce an the rest of the colors are
prouce as a result of their combination.
.. )e: the color of Er1 a"/ .'55/. It is the warmest an most
e-citing of all colors. It stans for passion an energ#.
c. =ellow: the c5'5r 5f 'i6#t. It is the most brilliant an cheerful
color.
/. 7lue: coolest a"/ t#1 !5t tra"F4i' 5f t#1 c5'5r. It is the color
of the s"# an of eep an still water. It arouses the feelings of
peace an .uietness.
). S1c5"/ar2 #41:
a. Gr11"% 5ra"61% a"/ (i5'1t ;GO>? G t#12 ar1 $r5/4c1/ .2
c5!.i"i"6 t75 $ri!ar2 c5'5r.
.. Orange > re T #ellow
c. /reen > #ellow T blue
i. It is the color for vegetation an s#mboli0es life an
freshness.
/. <iolet > blue T re
i. It represents shaows an m#steries, eath an espair.
*. I"t1r!1/iat1 #41:
a. These are prouce b# combining one primar# color an one
seconar# color.
.. )e- violet ()<)
c. )e- orange ()O)
/. =ellow-green (=/)
1. 7lue-green (7/)
f. 7lue-violet (7<)
4. 9lassi1cation of color accoring to the color wheel:
1. &jacent
a. The ajacent colors are those colors situate ne-t to each other in
the color wheel.
.. (.g. re an re-orange, #ellow an #ellow-green, blue an blue-
violet
2. 9omplementar#
a. Those colors situate opposite each other in the color wheel.
.. (.g. re an green, blue an orange, #ellow an violet
4i. 9lassi1cation of color base on their e2ect on the visual sense:
1. ?arm hues: re, orange, an #ellow
a. The# are associate with objects li"e the sun, 1re, an other
sources of heat.
2. 9ool hues: green, blue-green, blue, an blue-violet
a. The# suggest istance. The# are calm, sober, an restful.
4ii. 9lassi1cation of color accoring to value:
1. ;ight
a. Those colors with values lower than the normal value.
.. (.g. pin" or fuchsia is a tint of re' a0ure (s"# blue) is a tint of blue
2. :ar"
a. 9olors with values higher than the normal value
.. (.g. maroon is a shae of re' nav# blue is a shae of blue
4iii. )ainbow or !rismatic 9olors
1. Those colors that form a rainbow or a prism
2. These are re, orange, #ellow, green, blue, inigo, an violet ()O=/7I<)
30
i>. 3eutral colors
1. ?hite, gra#, blac"
2. ?hite is the absence of all colors' blac" is the presence of all colors' gra# is
prouce b# combining blac" an white
.. <&;4(
i. $ometimes calle chiaroscuro, refers to the lightness or ar"ness of a color
ii. It is a .ualit# which epens on the amount of light an ar" in color
c. I3T(3$IT=
i. It is the J
r
imension of color.
ii. It refers to the brightness or ar"ness of color.
iii. It gives color strength
). 9O;O) H&),O3I($
a. )(;&T(: 9O;O) H&),O3I($
i. ,O3O9H)O,&TI9
1. ,ae up of several tones of one hue: orange, tan, brown, an other tones
from the orange famil#.
ii. &:8&9(3T O) 3(I/H7O)I3/ H&),O3=
1. B or J neighboring hues are use together
2. (.g. tones of green, #ellow, an orange
). The# have something in common because there is #ellow in green an in
orange
.. 9O3T)&$T(: 9O;O) H&),O3I($
i. 9olors which lie irectl# opposite each other
1. (.g. re an green, orange an blue, violet an #ellow
2. The# contrast with each other strongl#H therefore, the# are more iGcult to
use harmoniousl# than the relate color combinations.
*. !$=9HO;O/= O5 9O;O)$ % creates a right moo among the observers
a. 7lac": associate with blac" an gloom' eath' evil
.. ?hite: purit# an innocence
c. 7lue: heaven' s"#' sea' masculinit#
/. )e: bloo
i. $igni1es anger an provo"es fear
ii. Impels people to action: courage A fortitue
1. Orange: helps people to be assertive' foo
f. =ellow: ivinit#' eceit' egraation
6. 7rown: earth
#. /ra#: ol age' eca#' gloom
i. !in": love an feminit#
9. /reen: color of nature, promotes the feeling of well-being' life' nature
i. It implies happ# an restful association an natural abunance
&. ;&3/4&/( O5 )O$($:
i. )e: I love #ou
ii. !in": than" =ou
iii. ?hite: #ou are heavenl#
i4. 9oral (orange): spea"s of esire' enthusiasm
4. =ellow: jo# an freeom
iii. T(CT4)(
1. Te-ture is a color element that eals more irectl# with the 1"1 5f t54c#.
2. It has to o with the characteristics of surfaces which can .1 r546#% 5r !55t#% E"1 5r c5ar1%
#i"2 5r /4''% $'ai" 5r irr164'ar.
). Te-ture is best appreciate when an object is felt with the hans.
i(. $H&!(
1. 9ontributes to the 1nal form of the artwor".
2. 9ircles an pol#gons (triangles, rectangles, s.uares) are put together to ma"e up the whole object.
). (.g. 9hristmas lantern
(. !()$!(9TI<(
1. It eals with the 1H1ct 5f /ita"c1 4$5" t#1 a$$1ara"c1 5f 5.91ct, b# means of which the e#e
juges spatial relationships.
2. It enables us to perceive istance an to see the position of objects in space.
). 9lassi1cations:
a. ;inear perspective
i. It is the representation of an appearance of istance b# means of converging lines.
1. The trac"s of a railroa appear to the viewer as seeming to rise an meet in
the istance.
2. !ainters usuall# show the e2ect of space an istance b# using converging
lines an iminishing si0e.
ii. !arallel lines below e#e level seem to rise to a vanishing point in the hori0on, while
those above e#e level seeme to escen to the vanishing point.
1. 3ear objects are seen in full intensit# of color.
2. Objects appear smaller as the# recee in to the istance.
). !eople or objects, at the bac"groun of a painting seem to be shorter than
those in front.
.. &erial perspective
i. It is the representation of relative istances of objects b# graiations of tone an
color.
ii. Objects become fainter in the istance ue to the e2ect to the atmosphere.
(i. $!&9(
1. &rea or surface occupie b# the artwor".
(ii. 5O),
1. It escribes the shape or structure of an object.
2. 5orm irects the movements of the e#es.
). $ince form consists of si0e an volume, it signi1es visual weight.
33
*. Dform follows functionE % this means that the inner content of purpose or function governs the outer
appearance.
+. (.g. sculpture
,. 9;&$$I5I9&TIO3 O5 5O),$:
a. )(/4;&) 5O),$
i. &re those whose parts are relate to one another in a consistent orerl# manner
ii. The# are generall# stable an s#mmetrical
iii. (.g. platonic solis: circle triangle s.uare
.. I))(/4;&) 5O),$
i. These are those whose parts are issimilar an unrelate to one another.
ii. The# are as#mmetrical an #namic.
iii. These are regular forms from which irregular elements have been subtracte
c. 9(3T)&;IU(: 5O),$
i. It consists of a number of seconar# forms clustere to prouce a ominant, central,
an parent form.
ii. These forms share the self-centering properties of the point an circle.
iii. These forms are ieal as freestaning structures, isolate within their conte-t,
ominating a point in space, or occup#ing the center of a e1ne 1el.
/. ;I3(&) 5O),$
i. The# are arrange se.uentiall# in a row or a series of forms along a line.
1. )&:I&; 5O),$
i. The# are compositions of linear form that e-ten outwar from central form in a
raial manner.
f. /)I: 5O),$
i. These are moular forms whose relationships are regulate b# J-imensional gris.
ii. & gri is a B or more intersecting sets of regularl# space parallel lines.
iii. The s.uare gri generates a spatial networ" of reference points an lines an within
this moular framewor" an# number of form an spaces can be visuall# organi0e.
(iii. <O;4,(
1. It refers to the amount of $ac1 5cc4$i1/ i" t#r11 /i!1"i5". It refers to soliit# or thic"ness.
2. ?e perceive volume in B wa#s: b# contour lines or outlines or shapes of objects, an b# surface lights
an shaows.
>. CHAPTER *: >IS-AL STR-CT-RE OF WORKS OF ART
a. :($I/3:
i. !roper arrangement of the i2erent art elements in orer to prouce something beautiful.
ii. It ma"es objects i2er from one perception to another
>I. CHAPTER +: DE>ELOPMENT OF THE >IS-AL ARTS
a. !)(-HI$TO)I9&; !&I3TI3/ (VW, WWW 79 % XWWW 79)
i. !aintings were focuse on animal spear an other ruimentar# materials
ii. The# were rawn on caves, stones an on earth-1lle groun.
iii. The rawings or illustrations are primaril# focuse on hunting an st#listic treatment.
b. /)((@ &)T % the subject matters of painting in /reece were on #oung wie males, rape female, woune soliers,
an scenes from ever#a# life.
i. 5ormative or !re-/ree" perio: motif was sea an nature
ii. 5irst /ree" !erio: largel# (g#ptian in6uence
iii. /olen &ge (VYW-VWW 79)
i(. Hellenistic !erio (V
th
centur# % Z
st
79)
1. Heightene iniviualism, tragic moo, an contorte faces (lacaustic painting)
c. )O,&3 &)T: the art serve the cult of ancestors an e1e emperors.
i. (truscan !erio (BWWW- ZWWW 79)
1. $ubject matters of painting were on ancestor worshipH catacombs an sarcophage
ii. )oman !erio (BWWW 79 % VWW &:)
1. The subject matters of painting were commemorative statues, sarcophagi, frescoes, esigns with vine
motifs.
. ,(:I(<&; !()IO:
i. (&);= 9H)I$TI&3 &)T
1. $ubject matters of art were s#mbols: cross, 1sh, lamb, alpha an omega, triumphal wreaths, grapes,
oves, an peacoc"s an later-haloe 9hrist, saints, an the <irgin ,ar#, an mart#rs.
2. $piritual e-pression too" preceence over ph#sical beaut# an s#mbols were emphasi0e.
ii. 7=U&3TI3( &)T
1. The subject matters of painting were 9hrist as the 9reator, an ,ar#, as the ,other of /o.
iii. /OTHI9 &)T
1. The subject matters of painting were )eligious an grotes.ue (unattractive)H more calmer an plastic
st#le.
2. (.g. the picture of the ,aonna an 9hil ga0ing into each other+s e#es in pla#ful moo is an e-ample
of this st#le.
e. 5)&39O-5;(,I$H !&I3TI3/
i. !ortable easel paintings an oil paintings were utili0e.
ii. Illustrations consisting of alter pieces with general wings that open an close.
iii. 9hilren+s faces were painte li"e small aultsH spectator was even rawn into the picture.
i(. ;anscape was place within the pictures b# the open winow techni.ue where farawa# lanscape of towns,
people an river were seen.
f. )(3&I$$&39( &)T
i. (&);= )(3&I$$&39( (ZV
TH
% ZI
TH
9(3T4)=)
1. The st#les of painting are simplicit#, beaut#, gesture, an e-pression.
32
2. !ainting was on man an nature in fresco techni.ue.
ii. HI/H )(3&I$$&39( (Z[
TH
9(3T4)=)
1. !ainting st#le consists of the eepening of pictorial space, ma"ing the s"# more ramatic with ar"
clous an 6ashes of light.
2. (.g. :a <inci introuce the chiaroscuro' ,ichaelangelo ramati0e the position of 1gures in his
famous contrapuesto-twists.
iii. ,&3())I$, !()IO:
1. $ubject matter is on human 1gure with the use of oil painting an color.
2. 9olors were sumptuous, warm, an sensual.
i(. !&I3T()$ O5 THI$ TI,(:
1. /iotto, ;eonaro :a <inci, )aphael $an0io, an ,ichaelangelo
g. 7&)OF4( &)T
i. $t#le is ornate an fantastic appealing to the emotion, sensual an highl# ecorativeH with light an shaow for
ramatic e2ect.
ii. The paintings showe 1gures in iagonal, twists, an 0ig0ags.
iii. 5amous painters inclue: !aul )ubens, )embrant, (l /reco, :iego <elas.ue0, an ,urillo
h. )O9O9O &)T
i. !ainting st#le emphasi0e voluptuousness, pictures.ue an intimate presentation of farm an countr#.
ii. The art techni.ue mae use of soft pastel colors renering the lanscape smo"ing an ha0# with the subject
alwa#s in the center of the canvas.
iii. 5amous painters were: ?atteau, 5ragonar, Hogarth, )e#nols, an Ingres.
i. )O,&3TI9 &)T
i. The emphasis of painting is on the painter+s reactions to past events, lanscapes, an people.
ii. 5amous painter: 5rancisco /o#a
j. ZX
TH
9(3T4)= !&I3TI3/ (,O:()3 &)T) % art was aime to please the public
i. I,!)($$IO3I$T$
1. !aul 9e0anne was the greatest impressionist an the 5ather of ,oern &rt
ii. (C!)($$IO3I$T$
1. <incent <an /ogh was the 5ather of (-pressionism
2. He use bright, pure colors mi-e on the palette but applie to the canvas in small ots or stro"es
repl#ing on the beholer+s e#es to see them together.
iii. $I,!;I9IT= I3 &)T
1. !ainter: !aul /auguin
2. He stuie the techni.ue of craftsmen an applie these to his canvas.
>II. CHAPTER 0: DE>ELOPMENT OF >IS-AL ARTS IN THE PHILIPPINES
a. !&I3TI3/ :4)I3/ TH( $!&3I$H !()IO:
i. !ainting in churches starte in ,anila area with the priests as painter-ecorators
1. &ugustinian 5riars o2ere rawing lessons to the 5ilipinos.
2. !ainters: 8ose :ans, :amiano :omingo, 8ustiniano &suncion, &lfonso Ongpin
ii. TH( &9&:(,I&
1. $imon 5lores # ela )osa, was one of those who stuie at the &caemia
a. His subjects: religious paintings % $aint 8ohn the 7aptist, ,aonna an 9hil, 5eeing
9hic"ens
2. ;oren0o /uerrero, also stuie in the &caemia
a. ,aster of non-religious an creative paintings % D5rom the ,ar"etE
). 5elipe )o-as
a. ;anscape painter % D9hurch of &ntipoloE
*. Other painters: 5eli- ,artine0, )amon ,artine0, 8ose ,artine0, ,anuel 5lores, &nselmo (spiritu,
,anuel (spiritu, an !epe ;a0ano
+. )afael (nri.ue0: D;a ,uerte e $imon e &naE
b. ZX
TH
9(3T4)= ,&$T()$
i. 8uan ;una an 5eli- )esurreccion Hialgo
1. )eceive high honors abroa
2. 8uan ;una % $polarium, ;a ,uerte e 9leopatra, (l !ueblo # ;os )e#es, 7loo 9ompact, !ortrait of
;egaspi
). 5eli- Hialgo % stuie in the &caemia
a. !aintings: <igenes 9ristianas (-puestas, &l !opulacho, 7arca e &.ueronte, Oeipos an
&ntigone
c. !&I3TI3/ :4)I3/ TH( &,()I9&3 !()IO:
i. !ainting was a stanstill because commerce was generall# restricte uring the perio between the $panish
rule an the &ssumption of the &merican government that naturall# isable the artist 1nanciall#.
ii. 5amous painters: ,iguel Uarago0a, )afael (nri.ue0, 5abian ela )osa, Teooro 7uenaventura, 8orge !inea,
)amon !eralta, Isiro &ncheta
iii. )afael (nri.ue0 organi0e the &ssociation International e &rtistas
1. It sponsore an (-hibition on the (scolta an <icente )ivera # ,ir won two 1rst pri0es with his oil entr#
(l $ueno :orao
2. )amon !eralta with his 9abe0a e (stuio won B
n
pri0e
). 8orge !inea for his lanscape painting of the site of the 9r# of 7alintawa" won B
n
pri0e
*. 5ernano &morsolo for his entr# ;e#eno !erioico won B
n
!ri0e
i(. 5abian ela )osa
1. & realist an a lanscape painter
2. ,ari"ina )oa, Fuiet $treet, !lanting )ice
(. 8orge !inea
1. ;anscape &rtist an mastere the art of lithograph#
2. ?or"s: !la#ing 9hong"a, ;antern ,a"ers, &la#an
(i. $cenic !ainters: 8uan &belaro, )amon !eralta, Toribio &ntillon, an (milio &lvero
(ii. 5igure !ainter: Isiro &ncheta
38
. !&I3TI3/ I3 TH( ,O:()3 !()IO:
i. In ZXIZ: a galler# for the moern painting was establishe on a sie street of 9alle ,abini in (rmita.
ii. This /aller# is calle the !hilippine &rt /aller#
1. Heas of Igorots, Ifugaos, ,inanao ,oslems, 7agobos, an ,ang#ans were the favorite subjects in
their galleries.
2. !ainters: )omeo (nri.ue0 ($onata), 5ernano Uobel 8r., <ictor Ote#0a, ,anuel )origue0, Hugo =on0on,
,anansala, ;u0, 7ernaro Ocampo, ;ega0pi, (stella, an Tabuena.

39