College of Engineering, Architecture,

and Technology
Name __________________________________________Course & Year ______________

MODULE 1 : What is art: Introduction and Assumptions

Course No. : GE 103

Course Title : Art Appreciation

Course Description: Art Appreciation is a three unit course that develops students ability to
appreciate, analyze and critic works of art through interdisciplinary and multimodal
approaches, this course equips students with a broad knowledge of the practical, historical,
Philosophical and social relevance of the arts in order to hone students’ ability to articulate
their understanding of the arts. The course also develop students competency in researching
and curating art as well as conceptualizing, mounting and evaluating art productions. The
course aim to develop student’s genuine appreciation for Philippine arts by providing them
opportunities to explore the diversity and richness and their rootedness in Filipino culture.

Total Learning Time: 3 Units (3 hours lecture per week)

Pre-requisites : None

Overview :
Art Appreciation is the knowledge and understanding of the universal and timeless
qualities that identify all great art. The more you appreciate and understand the art of
different eras, movements, styles and techniques, the better you can develop, evaluate and
improve your own artwork.
This module gives a basic understanding of how art is defined and the different ways it
functions in societies and cultures. It covers the following topics: What is Art; Art
Appreciation: Creativity, Imagination and Expression; Functions and Philosophical
Perspectives on Art; Subject and Content; Artists and Artisans; Elements and Principles of
Art; Art in Early Civilizations; Art of Emerging Europe; Caught in Between: Modern and
Contemporary Art; Soulmaking, Appropriation and Improvisation; and Art in Asia.

Learning Outcomes: After completing this module, the students should be able to:

1. Understand the role of humanities and arts in man’s attempt at fully realizing his end;
2. Clarify misconceptions of art; and
3. Characterize the assumptions of arts.

Indicative Content:

1. Why Study the Humanities?

2. Assumptions of Art
 Art is Universal

ART APPRECIATION
  Art is not nature
 Art involves experience.
What is art?
Art is something that is perennially around us. Some people may deny having to do with
the arts but it is indisputable that life presents us with many forms of and opportunities for
communion with the arts. A bank manager choosing what tie to wear together with his shirt
and shoes, a politician shuffling her music track while comfortably seated on her car looking
for her favorite song, a student marveling at the intricate designs of a medieval cathedral
during his field trip, and a market vendor cheering for her bet in a dance competition on a
noon time tv program all manifest concern for values that are undeniably, despite
tangentially, artistic.
Despite the seemingly overflowing
instances of art around people, one
still finds the need to see more and
experience more, whether
consciously or unconsciously. One
whose exposure to music is only
limited to one genre finds it lacking
not to have been exposed for. One
whose idea of cathedral is limited to
the locally available ones, finds
enormous joy in seeing other
prototypes in Europe.

Figure 1. A Medieval Cathedral

Plato had the sharpest foresight when he discussed in the symposium that beauty, the
object of any love, truly progresses. As one moves through life, one locates better, more
beautiful objects of desire. One can never be totally content with what is just before him.
Human beings are drawn toward what is good and ultimately, beautiful.
The word “art” comes from the ancient Latin “ars” which means a “craft or specialized
form of skill, like carpentry or smithying or surgery”. Art then suggested the capacity to
produce an intended result from carefully planned steps or method. When a man wants to
build a house, he plans meticulously to get to what the prototype promises and he executes
the steps to produce the said structure, then he is engaged in art. The Ancient world did not
have any conceived notion of art in the same way that we do now. To them, art only meant
using the bare hands to produce something that will be useful to one’s day-to-day life.
Ars in Medieval Latin came to mean something different. It meant “any special form of
book-learning, such as grammar or logic, magic or astrology”. It was only during the
Renaissance Period that the word reacquired a meaning that was inherent in its ancient form
of craft. Early Renaissance artist saw their activities merely as craftsmanship, devoid of a
whole lot of intonations that are attached to the word now. It was during the seventeenth
century when the problem and idea of aesthetics, the study of beauty, began to unfold
distinctly from the notion of technical workmanship, which was the original conception of the

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word “art.” It was finally in the eighteenth century when the word has evolved to distinguish
between the fine arts and the useful arts. The fine arts would come to mean “not delicate or
highly skilled arts, but beautiful arts.” This is something more akin to what is now considered
art.
Why study the humanities?
“The humanities constitute one of the oldest and most important means of expression
developed by man”. Human history has witness how man evolved not just physically but also
culturally, from cave painters to men of exquisite paintbrush users of the present. Even if one
goes back to the time before written records of man’s civilization has appeared, he can find
cases of man’s attempts of not just crafting tools to live and survive but also expressing his
feelings and thoughts.
The galloping Wild Boar found in
the cave of Altamira, Spain is one
such example. In 1879, a Spaniard
and his daughter were exploring a
cave when they saw pictures of a wild
boar, hind and bison. According to
experts, these paintings were
purported to belong to Upper
Paleolithic Age, several thousands of
years before the current era. Pre-
historic men, with their crude
instruments, already showcased and
manifested earliest attempts at
recording man’s innermost
interests, preoccupations and thoughts. Figure 2. Cave Paintings

The humanities, then, ironically, have started even before the term has been coined.
Human persons have long been exercising what it means to be a human long before he was
even aware of his being one. 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
Literature has provided key words of art. Among
the most popular ones being taught in school are the
two Greek epics, the Iliad and the Odyssey. The
Sanskrit pieces Mahabharata and Ramayana are
also staples in this field. These works purportedly
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

ART APPRECIATION
throughout the years. Art has always been timeless and universal, spanning generations and
continents through and through.
In every country and in every generation, there is always art. Oftentimes, people feel that
what is considered artistic are only those which have been made long time ago. This is a
misconception. Figure 3. Florante at Laura

Age is not a factor in determining art. An “art is not good because it is old, but old because
it is good.” In the Philippines, the works of Jose Rizal and Francisco Balagtas are not being
read because they are old. Otherwise, works of other Filipinos who have longed died would
have been required in junior high school too. The pieces mentioned are read in school and
have remained to be with us because they are good. They are liked and adored because they
meet our needs and desires. Florante at Laura, never fails to teach high school students the
beauty of love, one that is universal and pure. Ibong Adarna, another Filipino masterpiece, has
always captured the imagination of the young with its timeless lessons.
When we recite the Psalms, we feel in communion with King David as we feel, one with
him in his conversation with God. When we listen to a kundiman or perform folk dances, we
still enjoy the way our Filipino ancestors while away their time in the past. We do not
necessarily like kundiman for its original meaning. We just like it. We enjoy it. Or just as one
of the characters in the movie Bar Boys thought, kundiman makes one concentrate better.
In John Stuart Mill’s Utilitarianism (1879), enjoyment in the arts belongs to a higher good,
one that lies at the opposite end of base pleasures. Art will always be present because human
beings will always express themselves and delight in these expressions. Men will continue to
use art while art persists and never gets depleted.
Art is not nature
Paul Cezanne, a French painter, painted a scene from reality entitled “Well and Grinding
Wheel in the forest of the Chateau Noir.” The said scene is inspired by a real scene in a forest
around the Chateau Noir area near Aix in Cezanne’s native provence. Comparing the two, one
can see that Cezanne’s landscape is quite different from the original scene. Cezanne has
changed some patterns and details from the way they were actually in the photograph. What
he did is not nature. It is art. One important characteristic of art is that it is not nature. Art is
man’s expression of his reception of nature. Art is man’s way of interpreting nature. Art is not
nature. Art is made by man, whereas nature is given around us. It is in this juncture that they
can be considered opposites. What we find in nature should not be expected to be present in
art too. Movies are not meant to be direct representation of reality. They may, according to the
moviemaker’s perception of reality, be a reinterpretation or even distortion of nature.
The distinction assumes that all of us see nature, perceive its elements in myriad, different,
yet ultimately valid ways. One can
only imagine the story of the five
blind men who one day argue against
each other on what elephant looks
like. Each one of the five blind men
was holding a different part of the
elephant. The first was touching the

ART APPRECIATION
body and thus, thought the elephant was like a wall. Another was touching the beast’s ear and
was convinced that the elephant was like a fan. The rest were touching other different parts of
the elephant and concluded differently Figure 4. The Elephant and the Blind Men
based on their perceptions. Art is like each of these men’s view of the elephant. It is based on
an individual’s subjective experience of nature. It is not meant, after all, to accurately define
what the elephant is really like in nature. Artist are not expected to duplicate nature just as
even scientists with their elaborate laboratories cannot make nature.
Art involves experience
Getting this far without a satisfactory definition of art can be quite weird for some. For
most people, art does not require a full definition. Art is just experience. By experience, we
mean the “actual doing of something”. When one says that he has an experience of something,
he often means that he knows what that something is about. When one claims that he has
experienced falling in love, getting hurt, and bouncing back, he in effect claim that he knows
the endless cycle of loving. When one asserts having experienced preparing a particular
recipe, he in fact asserts knowing how the recipe is made. Knowing a thing is different from
hearing from others what the said thing is. A radio DJ dispensing advice on love when he
himself has not experienced it does not really know what he is talking about. A choreographer
who cannot execute a dance step himself is a bogus. Art is always an experience. Unlike fields
of knowledge that involve data, art is known by experiencing. A painter cannot claim to know
how to paint if he has not tried holding a brush. A sculptor cannot produce a work of art if a
chisel is foreign to him. Dudley et al. (1960) affirmed that “all art depends on experience, and
if one is to know art, he must know it not as a fact or
information but as
experience.” A work of art then cannot be abstracted
from actual doing. In order to know an artwork is, we
have to sense it, and see and hear it. To fully
appreciate our national hero’s monument, one must
go to Rizal Park and see the actual sculpture. In order
to know Beyoncé’s music, one must listen to it to
actually experience them. A famous story about
someone who adores Picasso goes something like
this: “Years ago, Gertrude Stein was asked why she
bought the pictures of the then unknown artist
Picasso. I like to look at them, said Miss Stein.” At
the end of the day, one fully gets acquainted with art
if one immerses himself into it. In the case of Picasso,
only learns about Picasso’s work by looking at it.
That is precisely what Miss Stein did.
Figure 5. Pablo Picasso

In matters of art, the subject’s perception is of primacy. One can read hundreds of reviews
about a particular movie, but at the end of the day, until he sees the movie himself, he will be
in no position to actually talk about the movie. He does not know the movie until he
experiences it. An important aspect of experiencing art is its being highly personal, individual
and subjective. In philosophical terms, perception of art is always a value judgment. It
depends on who the receiver is, his tastes, his biases, and what he has inside him. Degustibus

ART APPRECIATION
non disputandum est (Matters of taste are not matters of dispute). One cannot argue with
another person’s evaluation of art because one’s experience can never be known by another.
Finally, one should also underscore that every experience with art is accompanied by some
emotion. One either likes or dislikes, agrees or disagrees that a work of art is beautiful. Stage
play or motion picture is particularly one of those art forms that evoke strong emotions from
its audience. With experience comes emotions and feelings, after all.

 QUESTIONS FOR REFLECTION

1. If you were an artist, what kind of artist would you be?

- I am the type of person who loves to travel a lot. Every place that I go has it own beauty. I
really hope that someday I would be able to travel the world and explore some things. So if i
where to become an artist, I would like to be a photographer. Being a photographer can
simply capture what sees in an artistic approach. I started by taking pictures along with the
trips that i had and will have in the future. Every place that I have been, will not only be
stored on my mind and heart. Pictures are free and you do not need an expensive camera just
take pictures. For me it is my treasure and part of my collection that I will cherish those
highlight of my life.

2. Why is art not nature?

- For me, as a student art is not nature because of common consent people are not nature for
many purposes. In art, it is the modern tools and civilization that really make the work not
considered natural. People from cultures that are not industrial or modern are considered far
more natural than city folk.It is not entirely logical or scientific but the distinction is natural
and useful.Art begins with something that is intelligently created and goes on to list the
various functions that art can fulfill. A human being makes decisions consciously or
unconsciously and puts in energy and effort to create art whether it is a stone sculpture, a
painting, an auto body design, or an idea expressed as conceptual art.

3. Why is art ageless and timeless?

- The ideas or emotions expressed with art are ones that are experienced universally making
its value independent of age or time. Also, agelessness and timelessness can refer to a
classical style of art that will never go out of fashion, in that it does notutilize any wonky
trends that will only be popular for a short and specific period of time. Art is everything we
may see, feel, or use it. Also it might be in any forms, and it may be from different people
with different status in life, profession or age and it could be produced in different time or
generations. It only depends on the interest or purpose of someone to do or still do arts,
because making it must came from anyone’s hearts’ desire.

4. Why art involves experience?

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 -Art is about the creativity of a person, his or her ability to create something beautiful a
masterpiece that is also known within the areas of art. Fully expressing youreself by also
using limits as advantage to create art such as performing, visual, literary. Also it might be in
forms of entertainment or in forms of material expression like painting and sculpting. Every
art that is performed or done is from something they experience or learned. Experience is
necessary for an artist since this will his fuel to create an art. It may either in the real-life
were taught about those essential. Art can be delicate, it can be rough but overall it is
something not anyone can do. Through creativity and imagination are in all of us not much of
the population will or somehow pursue arts as the main category of their decisions.

ART APPRECIATION
 College of Engineering, Architecture,
and Technology
Name __________________________________________Course & Year ______________

MODULE 2 : Art Appreciation: Creativity, Imagination and Expression

Course No. : GE 103

Course Title : Art Appreciation

Course Description: Art Appreciation is a three unit course that develops students ability to
appreciate, analyze and critic works of art through interdisciplinary and multimodal
approaches, this course equips students with a broad knowledge of the practical, historical,
philosophical and social relevance of the arts in order to hone students ability to articulate
their understanding of the arts. The course also develop students competency in researching
and curating art as well as conceptualizing, mounting and evaluating art productions. The
course aim to develop student’s genuine appreciation for Philippine arts by providing them
opportunities to explore the diversity and richness and their rootedness in Filipino culture.

Total Learning Time: 3 Units (3 hours lecture per week)

Pre-requisites : None

Overview :
Art Appreciation is the knowledge and understanding of the universal and timeless
qualities that identify all great art. The more you appreciate and understand the art of
different eras, movements, styles and techniques, the better you can develop, evaluate and
improve your own artwork.
This module gives a basic understanding of how art is defined and the different ways it
functions in societies and cultures. It covers the following topics: What is Art; Art
Appreciation: Creativity, Imagination and Expression; Functions and Philosophical
Perspectives on Art; Subject and Content; Artists and Artisans; Elements and Principles of
Art; Art in Early Civilizations; Art of Emerging Europe; Caught in Between: Modern and
Contemporary Art; Soulmaking, Appropriation and Improvisation; and Art in Asia.

Learning Outcomes: After completing this module, the students should be able to:
1. Differentiate art from nature;
2. Characterize artistic expression based on personal experiences with art; and
3. Discuss the nature of art’s preliminary expression.

ART APPRECIATION
Indicative Content:
 Art Appreciation as a Way of Life

 The Role of Creativity in Art Making

 Art as a Product of Imagination, Imagination as a Product of Art

 Art as Expression
It takes an artist to make art. One may perceive beauty on a daily basis. However, not
every beautiful thing that can be seen or experienced may truly be called a work of art. Art is
a product of man’s creativity, imagination and expression. No matter how perfectly blended
the colors of a sunset are and no matter how extraordinarily formed mountains are, nature is
not considered art simply because it is not made by man. Not even photographs or sketches of
nature, though captured or drawn by man, are works of art, but mere recordings of the beauty
in nature. An artwork may be inspired by nature or other works of art, but an artist invents his
own forms and patterns due to what he perceives as beautiful and incorporates them in
creating his masterpiece.

Perhaps not everyone can be considered an artist, but surely, all are spectators of art. In
deciding what pair of shoes to buy, we carefully examine all possible choices within our
budget and purchase the one that satisfies our beauty and practical standards. We are able to
distinguish what is fine and beautiful from what is not and what is good quality from poor.
This gives us a role in the field of art appreciation.

Art Appreciation as a Way of Life

Jean Paul Sartre , a famous French philosopher of the twentieth century, describe the role
of art as a creative work that depicts the world in a completely different light and perspective,
and the source is due to human freedom. Each artwork beholds beauty of its own kind, the
kind that the artist sees and wants to viewers to perceive. More often than not, people are
blind to this beauty and only those who have developed a fine sense of appreciation can
experience and see the art the same way the artist did. Because of this, numerous artworks go
unnoticed, artist are not given enough credit and they miss opportunities. It sometimes takes a
lifetime before their contribution to the development of art is recognized. Hence, refining
one’s ability to appreciate art allows him to deeply understand the purpose of an artwork and
recognize the beauty it possesses.

In cultivating an appreciation of art, one should also exercise and develop his taste for
things that are fine and beautiful. This allows individuals to make intelligent choices and
decisions in acquiring necessities and luxuries, knowing what gives better value for time or
money while taking into consideration the aesthetic and practical value. This continuous
demand for aesthetically valuable things influences the development and evolution of art and
its forms. Frequenting museums, art galleries, performing arts theaters, concert halls, or even
malls that display art exhibitions that are free in admission during leisure time will not only

ART APPRECIATION
develop an understanding of the art, but will also serve as a rewarding experience. Learning
to appreciate art, no matter what vocation or profession you have, will lead to a fuller and
more meaningful life.

The Role of Creativity in Art Making

Creativity requires thinking outside the box. It is often used to solve problems that have
never occurred before, conflate function and style, and simply make life a more unique and
enjoyable experience. In art, creativity is what sets apart one artwork from another. We say
something is done creatively when we have not yet seen anything like it or when it is out of
the ordinary. A creative artist does not simply copy or imitate another artist’s work. He does
not imitate the lines, flaws, colors, and patterns in recreating nature. He embraces originality,
puts his own flavor into his work, and calls it his own creative piece.

Yet, being creative nowadays can be quite challenging. What you thought was your own
unique and creative idea may not what it seems to be after extensive research and that
someone else has coincidentally devised before the idea in another part of the world. For
instance, the campaign ad “It’s More Fun in the
Philippines” used by the Department of Tourism
(DOT) boomed popularity in 2011, but later on it
was found out that it was allegedly plagiarized
form Switzerland’s tourism slogan “It’s More Fun
in Switzerland,” back in 1951. In DOT’s defense,
former DOT Secretary Ramon Jimenez Jr.
claimed that it was “purely coincidental.” Thus,
creativity should be back with careful research on
related art to avoid such conflicts. Figure 6. “It’s More Fun in the Philippines”

Art as a Product of Imagination, Imagination as a Product of Art

German physicist Albert Einstein who had made significant and major contributions in
science and humanity demonstrated that knowledge is actually derived from imagination. He
emphasized this idea through his words:

“Imagination is more important than knowledge. For

knowledge is limited to all we now know and understand,
while imagination 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. That is why people rely on curiosity
and imagination for advancement. Through imagination, one
is able to craft something bold, something new and
something better in the hopes of creating something that will
stimulate change. Imagination allows endless possibilities.

ART APPRECIATION
 Figure 7. Albert Einstein

In an artist’s mind sits a vast gallery of artworks. An artwork does not need to be a real
thing, but can be something that is imaginary. Take for example a musician who thinks of a
tune in his head. The making of this tune in his head makes it an imaginary tune, an
imaginative creation, an imaginary art. It remains imaginary until he hums, sings or writes
down the notes of the tune on paper. However, something imaginary does not necessarily
mean it cannot be called art. Artists use their imagination that gives birth to reality through
creation.

In the same way that imagination produces art, art also inspires imagination. Imagine
being in an empty room surrounded by blank, white walls and floor. Would you be inspired
to work in such a place? Often you will find coffee shops, restaurants and libraries with
paintings hung or sculptures and other pieces of art placed around the room to add beauty to
the surroundings. This craving and desire to be surrounded by beautiful things dates back to
our early ancestors. Cave walls are surrounded by drawings and paintings of animals they
hunted: Wild boars, reindeers, and bison. Clays were molded and stones were carved into
forms that resemble men and women; burial jars were created with intricate designs on them.
These creative pieces were made not only because they were functional to men, but also
because beauty give them joy.

Figure 8. Thomas Quine, “Cave Paintings”

ART AS EXPRESSION

There may have been times when you felt something is going on within you, you try to
explain it but you do not know how. You may only be conscious about feeling this sort of
excitement, fear or agitation, but you know that just one word is not enough to describe the
nature of what you truly feel. Finally, you try to release yourself from this tormenting and

ART APPRECIATION
disabling state by doing something, which called expressing oneself. Suppose this feeling is
excitement. It is frustrating to contain such feeling, so you relieve it by expressing through
shouting or leaping in excitement. An emotion will remain unknown to a man until he
expresses it.

Robin George Collingwood, an English philosopher who is best known for his work in
aesthetics, explicated in his publication The Principles of Art (1938) that what an artist does to
an emotion is not to induce it, but express it. Through expression, he is able to explore his
own emotions and at the same time, create something beautiful out of them. Collingwood
further illustrated that expressing emotions is something different from describing emotions.
In his example, explicitly saying “I am angry” is not an expression of emotion, but a mere
description. There is no need in relating or referring to a specific emotion, such as anger, in
expressing one’s emotion. Description actually destroys the idea of expression, as it classifies
the emotion, making it ordinary and predictable. Expression, on the other hand,
individualizes. An artist has the freedom to express himself the way he wants to. Hence, there
is no specific technique in expression. This makes people’s art not a reflection of what is
outside or external to them, but a reflection of their inner selves.

There are countless ways or expressing oneself through art. The following list includes,
but not limited to, popular art expressions.

Visual Arts

Creations that fall under this category are those that appeal to the sense of sight and are
mainly visual in nature. Artist produce visual
arts driven by their desire to reproduce things
that they have seen in the way that they
perceived them. We will not be too strict on the
definition since there are other artistic
disciplines that also involve a visual aspect,
such as performance arts, theater, and applied
arts, that will be discussed in detail later on.
Visual arts is the kind of art form that the
population is most likely more exposed to, but
its variations are so diverse- they range from
sculptures that you see in galleries art to
the last movie you saw. Some mediums of
visual arts include paintings, drawings,
letterings, printing, sculptures, digital imaging,
and more. Figure 9. John La Farge, “Camellia in

Old Chinese Vase on Black Lacquer Table”

Film

ART APPRECIATION
 Films refers to the art of putting together successions of still images in order to create an
illusion of movement. Filmmaking focuses on its aesthetic, cultural and social value and is
considered as both an art and an industry. Films can be created by using one or a combination
of some or all of these techniques: motion-picture camera, animation techniques, Computer-
Generated Imagery (CGI), and more. Filmmaking simulates experiences or creates one that is
beyond the scope of our imagination as it aims to deliver ideas, feelings, or beauty to its
viewers.

The art of filmmaking is so complex it has to take into account many important elements
such as lighting, musical score, visual effects, direction and more. That is why in famous film
festivals and awards such as the Metro Manila Film Festival and Oscars, a long list of
categories is considered to recognize excellence in the art of filmmaking.

Performance Art

Performance art is a live art and the artist

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. It usually consists of four important
elements: time, where the performance took
place, the performers or performers’ body
and a relationship between the audience and
the performer(s). The fact that the
performance art is live makes it intangible,
which means it cannot be bought or trade as a
commodity, unlike the previously discussed
art expressions.
Figure 10. Performance Art

Poetry Performance

Poetry performance is an art form where the artist expresses his emotions not by using
paint, charcoal, or camera, but expresses them through words. These words are carefully
selected to exhibit clarity and beauty and to stimulate strong emotions of joy, anger, love,
sorrow and the list goes on. It uses a word’s emotional, musical and spatial values that go
beyond its literal meaning to narrate, emphasize, argue or convince. These words, combined
with movements, tone, volume and intensity of the delivery, add to the artistic value of the
poem. Some poets even make poems out of their emotions picked up from other works of art,
which in turn produce another work of art through poetry.

Architecture

As discussed, art is the pursuit and creation of beautiful things while architecture is the
making of beautiful buildings. However, not all buildings are beautiful. Some buildings only

ART APPRECIATION
embody the functionality they need, but the structure, lines, forms and colors are not
beautifully expressed. Thus, not all buildings can be considered architecture. Take for
example, the Grand Theater de Bordeaux where the functionality of the theater remains, but
the striking balance of the lines, colors and shapes completes the masterpiece Buildings
should embody these three important elements – plan, construction and design – if they wish
to merit the title architecture.

Dance

Dance is a series of movements that follows the rhythm of the music accompaniment. It
has been an age-old debate whether dance can really be considered an art form, but here we
primarily describe dance as a form of expression. Dancing is a creative form that allows
people to freely express themselves. It has no rules. You may say that choreography does not
allow this, but in art expression, dancers are not confined to set steps and rules but are free to
create and invent their own movements as long as they deem them graceful and beautiful.

Literary Art

Artists who practice literary arts used words not paint, musical instruments, or chisels- to
express themselves and communicate emotions to the readers. However, simply becoming a
writer does not make one a literary artist. Simply constructing a succession of sentences in a
meaningful manner is not literary art. Literary art goes beyond the usual professional,
academic, journalistic and other technical forms of writing. It focuses on writing using a
unique style, not following a specific format or norm. It may include both fiction and non-
fiction such us novels, biographies, and poems. Examples of famous literary artists and their
works include The Little Prince by Antoine de Saint- Exupery and Romeo and Juliet by
William Shakespeare.

Theater

Theater uses live performers to present accounts imaginary events before a live audience.
Theater art performances usually follow a script, though they should not be confused with
literary arts. Much like in filmmaking, theater also considers several elements such as acting,
gesture, lighting, sound effects, musical score, scenery and props. The combination of these
elements is what gives the strongest impression on the audience and the script thus becomes a
minor element. Similar to performance art, since theater is also a live performance, the
participation of the viewer is important element in theater arts. Some genres of theater
include drama, musical, tragedy, comedy and improvisation.

Applied Arts

Applied arts is incorporating elements of style and design to everyday items with the aim
of increasing their aesthetical value. Artists in this field bring beauty, charm and comfort into
many things that are useful in everyday life. Industrial design, interior design, fashion design,
and graphic design are considered applied arts. Applied art is often compared to fine arts,

ART APPRECIATION
where the latter is chiefly concerned on aesthetic value. Through exploration and expression
of ideas, consideration of the needs and careful choice of materials and techniques, artists are
able to combine functionality and style.

 QUESTIONS FOR REFLECTIONS

1. What art field will you explore? Why?

2. How can you utilize the arts to express yourself, your community and your relation to
others?

College of Engineering, Architecture,

and Technology
Name __________________________________________Course & Year ______________

MODULE 3 : Functions and Philosophical Perspective on Art

Course No. : GE 103

Course Title : Art Appreciation

Course Description: Art Appreciation is a three unit course that develops students ability to
appreciate, analyze and critic works of art through interdisciplinary and multimodal
approaches, this course equips students with a broad knowledge of the practical, historical,
philosophical and social relevance of the arts in order to hone students ability to articulate
their understanding of the arts. The course also develop students competency in researching
and curating art as well as conceptualizing, mounting and evaluating art productions. The
course aim to develop student’s genuine appreciation for Philippine arts by providing them
opportunities to explore the diversity and richness and their rootedness in Filipino culture.

Total Learning Time: 3 Units (3 hours lecture per week)

Pre-requisites : None

Overview :
Art Appreciation is the knowledge and understanding of the universal and timeless
qualities that identify all great art. The more you appreciate and understand the art of
different eras, movements, styles and techniques, the better you can develop, evaluate and
improve your own artwork.

ART APPRECIATION
 This module gives a basic understanding of how art is defined and the different ways it
functions in societies and cultures. It covers the following topics: What is Art; Art
Appreciation: Creativity, Imagination and Expression; Functions and Philosophical
Perspectives on Art; Subject and Content; Artists and Artisans; Elements and Principles of
Art; Art in Early Civilizations; Art of Emerging Europe; Caught in Between: Modern and
Contemporary Art; Soulmaking, Appropriation and Improvisation; and Art in Asia.

Learning Outcomes: After completing this module, the students should be able to:
1. Distinguish between directly functional and indirectly functional art;
2. Explain and discuss the basic philosophical perspectives on the art; and
3. Realize the function of some art forms in daily life.

Indicative Content:

 Why Study the Humanities

 Assumptions of Art
 Art is Universal
 Art is not nature
 Art involves experience.
Greek philosopher Aristotle claimed that every
particular substance in the world has an end, or telos in
Greek, which translates into “purpose”. Every substance,
defined as a formed matter, moves according to a fixed
path towards its aim. A seed is bound to become a full-
grown plant. A cocoon can look forward to flying high
when it morphs into a butterfly. A baby will eventually
turn into a grown man or woman. This telos, according to
Aristotle, is intricately linked with function. For a thing to
reach its purpose, it also has to fulfil its function. Man, in
Aristotle’s view of reality, is bound to achieve a life of
fulfilment and happiness, or in Greek, Eudaimonia. All
men move toward this final end. However, happiness, the
supposed end of man, is linked with his function which is
being rational. One can only be happy when he is rational.
This means that to Aristotle, plants can never be happy
because they are not rational, as well as tables and chairs.
Man’s natural end, telos, is connected with his function,
which is his rationality.

Figure 15. Aristotle

Moreover, the telos and function of a thing are both related to a thing’s identity. What
makes a table a table is the fact that it does perform its function and thereby, reaching its

ART APPRECIATION
telos. If a table does not have a surface on which we can put on our books or our plates and
glasses, then it ceases to be a table. The same goes for the human being, according to some
schools of thought, is his capacity for thinking, his supposed function. Without this function,
the human being ceases to be a human being. The telos, the function, and the “whatness” of a
thing are all interconnected.
In contemporary life, the connection between the end, the function and the “whatness” of
a thing has become closer and more interlaced, suggesting sometimes that the end is the
function and vice versa, and that they determine what kind of thing a thing is.

Functions of Art

When one speaks of function, one is practically talking about the use of the object whose
function is in question. An inquiry on the function of art is an inquiry on what art is for.
Alternatively, the answer to the question “what is it for” is the function of whatever “it” in the
question refers to. Suppose one ask, what is the Rizal monument for? Why was it erected in
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?

When it comes to function, different art forms come with distinctive functions. There is no
one to one correspondence between an art and its function. Some art forms are more
functional than others. Architecture, for example, as an art is highly functional just like most
applied arts. A building as a work of art is obviously made for a specific purpose. The Taj
Mahal, a massive mausoleum of white marble built in Agra was constructed in memory of
the favorite wife of the then emperor, Shah Jahan. On the other hand, jewelry making as an
art is known by its product. The name of the art in these applied arts is basically denoted by
its specified function. In this and other such functional arts,”…function is so important that it
has usurped the name of the art on the identification of individual works”. Other examples are
paintings, poems and statues. The name of the art basically points toward the direction of the
product or its function.

On the other spectrum, one can only think of painting and literature as forms of art that
have the least to do with purely practical values. When examines and thinks of a painting or a
work of literature such as a poem or a novel, one looks at the value of the art in itself and not
because of what it can do and benefit us. Unlike practical arts where the value of the art (in
pottery, jewelry-making, architecture, among others) in question lies in the practical benefits
one gains from it (a pot, a jewelry, or a house or building), with painting and literature, one
can only look the value of the product of art in and for itself. A poem is beautiful regardless
of its possible ramifications in the society. Joyce Kilmer’s “Trees” has maintained its
popularity through the years regardless of its application or practical benefit. This definitely
is not to say that paintings and literary works can never have any function. The two
masterpieces of our national hero, Dr. Jose Rizal, the Noli Me Tangere and El Filibusterismo
served as a catechist for Filipino revolutionaries to gather strength in rejecting the oppressive
forces of the Spaniards in the Philippines in the nineteenth century. The novels accrued value
and as a consequence, function. This function as it turns out, may be over and beyond its

ART APPRECIATION
literary worth. They are functional “in so far as they are designed to accomplish some definite
end”. In the case of Rizal’s novels, they spelled out a country’s independence. They
continued to be treasured even a hundred years after their supposed functions.

Roughly and broadly, the function of art classified into three: personal (public display or
expression), social (celebration or to affect collective behavior), and physical (utilitarian).

Personal Functions of Art

The personal functions of art varied and highly subjective. This means that its function
depend on the person-the artist who created the art. An artist may create an art out of the need
of self-expression. This is the case for an artist who needs to communicate an idea to his
audience. It can also be mere entertainment for his intended audience. Often, the artist may
not even intend to mean anything with his work.

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 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 personal interest. Political art is a 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 depicts social conditions. Photography, as
an art form, delivers this kind of function by taking photos of subjects in conditions that
people do not normally take a look at or attention to. Pictures of poverty may carry emotional
overtones that may solicit action or awareness from their audience. Moreover, performance
art like plays or satires can also rouse emotions 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 purpose. 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
function.

Other Functions of Art

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

ART APPRECIATION
because music assures synchronicity among dancers. Moreover, music also guarantees that
marches, in the case of warriors, were simultaneous.

Today, music has expanded its function and coverage. Music is listened to and made by
people for reasons that were foreign to early civilizations. There is now a lot of music that has
hymns of love to express feelings and emotions. Music is also used as a wonderful
accompaniment to stage plays and motion pictures. 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.

Sculpture, on the other hand, is another functional art form that has long existed for
various purposes. Just like music, from the early days of humanity, sculptures have been
made by man most particularly for religion. People erect status for the divine. In the Roman
Catholic world, the employment of sculptures for religious purposes has remained vital,
relevant and symbolic.

Sculptures were also made in order to commemorate important figures in history. Jose
Rizal’s monument in Rizal Park and Andres Bonifacio’s Monument in Caloocan are common
examples. In the University of the Philippines, the iconic statue Oblation by Guillermo E.
Tolentino has remained a pillar of the university and constant reminder of the need to offer
oneself up selflessly for the country. Coins are also manifestations of sculpting’s function.
Every coin in the Philippines features a relief of a famous hero or personality. Recently, the
Central Bank of the Philippines produced special, commemorative coins for certain
personalities like Pope Francis and the Jesuit, Horacio de la Costa.

Another art form that readily lends itself to multiple functions is architecture. In fact,
architecture might be the most prominent functional art form. Buildings are huge, expensive,
and are not easily constructed and replaced. Unlike other forms of art like pots, furniture,
poetry, or even paintings, buildings take so much time to erect and destroy. A lot of
investments is put into making mega structures like the pyramids of Giza, the acropolis, or
the great cathedrals of the Middle ages. One cannot simply dismiss taking into consideration
the function of a building before construction.

It is also in architecture where one can find the intimate connection of function and form.
In planning out an architecture 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. In the Philippines, climate is a huge factor in building a house.
Spanish colonial houses were designed to allow for air to circulate inside the house. Large
windows were staples then. Capiz shells were also utilized to allow for light to enter the
house even if the windows were closed. Moreover, social conditions, such as purpose, play a
huge role in architecture. To Christians, a church is primarily a place of worship and
assembly. Regular ceremonies, where members of the church are expected to come regularly,
are held inside the church.

DOES ART ALWAYS HAVE TO FUNCTIONAL?

ART APPRECIATION
 While it has been shown that most arts are functional, still there are some which are not.
The value of a work of art does not depend on function but on the work itself. The place of
Aeschylus and the poetry of Robert Frost and Edgar Allan Poe are still counted as an
examples of great works of art despite their not having a known function. In those whose
functions are ascertained, however, it is a different story. A functional object cannot be
claimed to be beautiful unless it can perform its function sufficiently. Consider a house that
cannot even protect its resident from the nasty weather outside or a spoon that spills the food
on it. Adequate performance of function partly determines the beauty of a design in these
functional art forms.

Philosophical Perspective on Art

Art as an Imitation

Plato, in his masterpiece, The Republic, particularly paints a

picture of artist as imitators and art as mere imitation. In his
description of the ideal republic, Plato advises against the
inclusion of art as a subject in the curriculum and the banning of
artists in the Republic. In Plato’s metaphysics or view of reality,
the things in this world are only copies of the original, the eternal,
and the true entities that can only be found in the World of Forms.
Human beings endeavor to reach the Forms all
throughout this life, starting with formal education in school.
From looking at “shadows in the cave,” men slowly crawl outside to behold the real entities
in the world. For example, the chair that one sits on is not a real chair. It is an imperfect copy
of the perfect “chair” in the World of Forms. Much is true for “beauty” in this world. When
one ascribes beauty to another person, he refers to an imperfect beauty that participates only
in the form of beauty in the World of Forms. Plato was convinced that artists merely reinforce
the belief in copies and discourage men to reach for the real entities in the World of Forms.

Figure 21. Plato

Plato was deeply suspicious of arts and artist for two reasons: they appeal to the emotion
rather than to the rational faculty of men and they imitate rather than lead one to reality.
Poetry and painting, the art forms that Plato was particularly concerned with, do not have any
place in the ideal state that Socrates (as the protagonist) in Plato’s dialogue envisions. First,
Plato is critical of the effects of art, specifically, poetry to the people of the ideal state. Poetry
rouses emotions and feelings and thus, clouds the rationality of people. Poetry has a capacity
to sway minds without taking into consideration the use of proper reason. As such, it leads
one further away from the cultivation of the intellect that Plato campaigned for. Likewise,
Socrates is worried that art objects represent only the things in this world, copies themselves
of reality. As such in the dialogue, Socrates claimed that art is just an imitation of imitation.

ART APPRECIATION
A painting is just an imitation of nature, which is also just an imitation of reality in the World
of Forms.

The arts then are to be banished, alongside the practitioners, so that the attitudes and
actions of the members of the Republic will not be corrupted by the influence of the arts. For
Plato, art is dangerous because it provides a petty replacement for the real entities that can
only be attained through reason.

Art as a Representation

Aristotle, Plato’s most important student in philosophy, agreed with his teacher that art is
a form of imitation. However, in contrast to the disgust that his master holds for art, Aristotle
considered art as an aid to philosophy in revealing truth. The kind of imitation that art does is
not antithetical to the reaching of fundamental truths in the world. Talking about tragedies,
for example, Aristotle (1902) in the Poetics claimed that poetry is a literary representation in
general. Akin to other art forms, poetry only admits of an attempt to represent what things
might be. 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 possibilities in reality. Unlike Plato who thought that
art is an imitation of another imitation, Aristotle conceived of art as representing possible
versions of reality.

In the Aristotelian worldview, art serves two particular purposes. It allows for the
experience of pleasure and repugnant experiences can become entertaining in art. For
example, a horrible experience can be made an object of humor in a comedy. Secondly, art
also has an ability to be instructive and teach its audience things about life; thus, it is
cognitive as well.

Art as a Disinterested Judgment

In the third critique that Immanuel Kant wrote, the “Critique of Judgment”, Kant
considered the judgment of beauty, the cornerstone of art, as something that can be universal
despite its subjectivity. It is the form of art that is adjudged by one who perceives art to be
beautiful or more so, sublime. Therefore, even aesthetic judgment for Kant is a cognitive
activity.

Kant recognized that judgment of beauty is subjective. In the process, Kant responded to
the age old question of how and in what sense can a judgment of beauty, which ordinarily is
considered to be a subjective feeling, be considered objective or universal. 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 rouse
the same feeling from anyone. There is something in the work of art that makes it capable of
inciting the same feeling of pleasure and satisfaction from any perceiver, regardless of his
condition. So when the same person says that something is beautiful, he does not just believe

ART APPRECIATION
that the thing is beautiful for him, but in a sense, expects that the same thing should put
everyone in awe.

Art as a Communication of Emotion

The author of War and Peace and Anna Karenina, Leo Tolstoy, provided another
perspective on what art is. In his book, What is Art, Tolstoy defended the production of the
sometimes truly extravagant art, like operas, despite extreme poverty in the world. For him
art plays a huge role in communication to its audience emotions that the artist previously
experienced. Art then serves as a language, a communication device that articulates feelings
and emotions that are otherwise unavailable to the audience. In the same way that language
communicates information to other people, art communicates emotions. In listening to music,
in watching an opera, and in reading poems, the audience is at the receiving end of the artist
communicating his feelings and emotions.

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. In making this possibly
latent feelings and emotions accessible to anyone in varied time and location, art serves as
mechanism of cohesion for everyone. Thus, even at present, one can commune with early
Cambodians and their struggles by visiting the Angkor Wat or can definitely feel for the early
royalties of different Korean dynasties by watching Korean dramas.

 QUESTIONS FOR REFLECTIONS

1. What art form/artwork has changed something in your life? Why?

2. Does art always have a function? Why? Support your response. Provide your own
example.
3. If an artwork ceased to have a function, will it remain an art? Why?

College of Engineering, Architecture,

and Technology
Name __________________________________________Course & Year ______________

MODULE 4 : Subject and Content

Course No. : GE 103

Course Title : Art Appreciation

Course Description: Art Appreciation is a three unit course that develops students ability to
appreciate, analyze and critic works of art through interdisciplinary and multimodal

ART APPRECIATION
approaches, this course equips students with a broad knowledge of the practical, historical,
philosophical and social relevance of the arts in order to hone students ability to articulate
their understanding of the arts. The course also develop students competency in researching
and curating art as well as conceptualizing, mounting and evaluating art productions. The
course aim to develop student’s genuine appreciation for Philippine arts by providing them
opportunities to explore the diversity and richness and their rootedness in Filipino culture.

Total Learning Time: 3 Units (3 hours lecture per week)

Pre-requisites : None

Overview :
Art Appreciation is the knowledge and understanding of the universal and timeless
qualities that identify all great art. The more you appreciate and understand the art of
different eras, movements, styles and techniques, the better you can develop, evaluate and
improve your own artwork.
This module gives a basic understanding of how art is defined and the different ways it
functions in societies and cultures. It covers the following topics: What is Art; Art
Appreciation: Creativity, Imagination and Expression; Functions and Philosophical
Perspectives on Art; Subject and Content; Artists and Artisans; Elements and Principles of
Art; Art in Early Civilizations; Art of Emerging Europe; Caught in Between: Modern and
Contemporary Art; Soulmaking, Appropriation and Improvisation; and Art in Asia.

Learning Outcomes: After completing this module, the students should be able to:
1. Differentiate representational art and non-representational art;
2. Discuss the difference between an artwork’s subject and its content;
3. Identify the subject matter and content of specific examples of art; and
4. Enumerate the sources of the subjects of some of the most recognizable works of art
in Philippine art history.

Indicative Content:
 Types of subject: Representational art, Non-representational art, and
Non-representational art and Abstract Art
 Sources and Kinds of Subject
 Content in Art
In the Philippines, which is a non-museum going public, looking at art has always been a
tricky business. One of the major hurdles that spoils 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 makers intention, and unearth a particular meaning. Failure to do so,
automatically implies a failure of comprehension and therefore, failure of the experience.

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. Subjectivity is illustrated in the way that selective perception renders one or two
details as essential or as standouts. Even the disposition or mood of the viewer, his education,

ART APPRECIATION
his background, and his exposure to varying contexts contribute to what information is taken
in and how they are interpreted.

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 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. To differentiate them briefly,
subject refers to the visual focus or the image that may be extracted from examining the
artwork, while content is the meaning that is communicated by the artist or the artwork.
Finally, the development and configuration of the artwork-how the elements and the medium
or material are put together is the form. In simpler test, the subject is seen as the “what”; the
content is the “why”; and the form is the “how.”

TYPES OF SUBJECT

One of the most iconic and recognizable painting 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 consensus that the Mona Lisa - whoever she is -
based on a real person.

Figure 25. Leonardo da Vinci, “Mona Lisa”

Representational art

Portraits such as “Mona Lisa” are good examples of what is called representational art.
These type of art has subject 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 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 applying dabs of paint on the canvas and looking at the sitter in order to
capture her features for the portrait.

Non-representational art

ART APPRECIATION
 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 remark. 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. Figure 26. Jackson Pollock, detail of “Number 1A” (1948)

There were no clear figures that jot out from the canvass; there were only drips and
splashes. Non-representational art does not make any 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.

Non-representational art and Abstract Art

One source of confusion is a notion that non-

representational art is the same as abstract art. 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 combination of lines, shapes, and colors of
the sculpture will point to a head of a woman.

Figure 27.
Pablo Picasso, “Head of a woman, Mougins”

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 reach 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

ART APPRECIATION
imagery in their listeners or audiences. 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

Artist 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 seasons. 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)

Figure 28. Vincent Van Gogh, “Die Ebene von Auvers” (Wheat Fields Near Auvers) (1890)

Other artists with a considerable number of landscapes and seascapes are Claude Monet,
Camille Pissarro, Paul Cezanne, and JMW Turner. In the Philippines, National Artist for
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.

ART APPRECIATION
Figure 29. Jan van Kessel,“A Cockchafer, Beetle, Woodlice and Other Insects, with a Sprig ofAuricula”(1650)

Greek and Roman mythology were also ripe with

references: from episodes that transport the viewer to
heroic encounters of Achilles and Aeneas; warnings
about 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 wall
paintings or frescos and sculptural works such as
busts, statuaries, and ceramics and pottery among
others.

Figure 30. Myron, “Discobolus”

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, tapestry, illuminated manuscripts and other sacred scriptures, among
others.

ART APPRECIATION
 Commissioned by Pope Julius II, 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.

Figure 31. Michelangelo, “Sistine Chapel” (1508-1512)

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 (ceilings),
volume (flying buttresses and ribbed vaults), and light (bright stained glass windows, airy and
pleasant interiors). There is 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.”

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 rooted in Vedic texts
such as Upanishads, Puranas, and other important texts like the 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 epics as part of the cartouche
which added interest and meaning to the paintings.

ART APPRECIATION
 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.

Figure 34. Francisco de Goya, “El Tres de Mayo” (1814)

An example is de 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

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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 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 the s e wealthy ilustrado
families. 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 Ascunsion
and Antonio Malantic who became the foremost portraitists of the time. Here, it is evident
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

As outlined in the beginning, in discussing work 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.

To take 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 extracted from the
identifiable or recognizable forms in the artwork and understanding how these elements relate
to one another. Conventional meaning, on the other hand, pertains to the acknowledged
interpretation of the artwork using motifs, signs, symbols and other cyphers as basis of its
meaning. These conventions are established through time, strengthen 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 context: what we
know; what we learned; what we experienced and the values we stand for. It is therefore

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expected that meaning may not be singular; rather, a painting may communicate multiple
meanings to its viewers. This is what we call subjective meaning of art.

Figure 35. Michelangelo, “Creation of Adam”

Michelangelo’s “Creation of Adam” can be read using various levels of meaning. There,
Adam is figured with an aged God, both of them with an arm stretch 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 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. 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. Here, the view is that the greatness of old civilizations such as that of the Greeks and
Romans may not only be replicated, but even surpassed. Some scholars noted how
Michelangelo exhibited just that an elevated artistry in that the dynamism and energy of the
figures in the frescoes in the Sistine Chapel are unlike the works of predecessors.

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 qualities imparted to man
was intellect. 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.

 QUESTIONS FOR REFLECTION

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1. What are the hurdles of accessing art in terms of its subject and content?
2. Where do artists source their subjects?
3. Name an example of an artwork and speculate on the content of the artwork based on its
factual, conventional and subjective meanings.

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