ART APPRECIATION PRELIM

CANVAS
What is Art: Introduction and Assumptions
In order to function in the complex human relationships in which we find ourselves, and
to understand human existence, we use variety of vantage points. When, for example,
we meet people, we usually choose several vantage points from which to perceive and
relate to them:  we can see them as organized systems of chemical components; as
bundles of interacting psychological and social experiences; as spiritual entities; a
combination of these, or something else altogether. How well we perceive and respond
requires the development of certain skills. In a sense, these vantage points and skills
are ways of “knowing” human reality or the “human condition.” Humans have organized
these ways of knowing into categories generally called science, technology, social
sciences, philosophy, humanities, and fine arts.
We may say that science seeks to examine reality; technology uses the discoveries of
science to create tools for making life better; social science studies people behave;
philosophy helps to understand the meaning of life; and humanities and fine arts try to
describe what kind of creature we are, and how we got to be this way. Specifically, the
arts try to understand the human condition by drawing upon “creative impulses” that
sometimes communicate through mysterious channels. Very often the boundaries
between science, technology, social science, philosophy, and the humanities and fine
arts are blurred. The scientist often defends as much as the artist on intuition to sense
or imagine that there is something to be discovered.
           Art is something that is perennially around us. Some people may deny having to
do with 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 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 dance competition on a noontime TV program all manifest concern for values
that are undeniably, despite tangentially, artistic.
           Despite the seemingly overflowing instances of arts 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 to more. One whose idea of cathedral is limited to the locally available ones,
finds enormous joy in seeing other prototypes in Europe. 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. This lesson is about this yearning
for the beautiful, the appreciation of the all-consuming beauty around us, and some
preliminary clarifications on assumptions that people normally hold about art.
Why Study the Humanities?
           For as long as man existed in this planet, he has cultivated the land, altered the
conditions of the fauna and the flora, in order to survive. Alongside these necessities,
man also marked his place in the world through his works. Through his bare hands,
man constructed infrastructures that tended to his needs, like his house. He sharpened
swords and spears. He employed fire in order to melt gold.
The initial meaning of the word “art” has something to do with all these craft. The word
“art” comes from the ancient Latin, ars which means a “craft or specialized form of skill,
like carpentry or blacksmithing 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 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 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 in arts, but “beautiful arts”. This is
something more akin to what is now considered art.
  “The humanities constitute one of the oldest and most important means of expression
developed by man”. Human history has witnessed 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. 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. The humanities stand tall in bearing witness to this magnificent phenomenon. Any
human person, then, is tasked to participate, if not, totally partake in this long tradition of
humanizing himself.
Assumptions of Art
Art is universal
Literature has provided key works 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
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. 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 long 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 whiled away their time in the past. We do not
necessarily like a 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.
           The first assumption then about the humanities is that art has been crafted by all
people regardless of origin, time place, and that it stayed on because it is liked and
enjoyed by people continuously. A great piece of work will never be obsolete. Some
people say that art is art for intrinsic worth. 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.
In the Philippines, it is not entirely novel to hear some consumers of local movies
remark that these movies produced locally are unrealistic. They contend that local
movies work around certain formula to the detriment of substance and faithfulness to
reality of the movies. These critical minds argue that a good movie must reflect reality
as closely as possible. Is that so?
           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 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 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 a 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 that story of the five blind men
who one day argue against each other on what an elephant looks like. Each of the live
blind men was holding a different part of the elephant. The first was touching the 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 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. Artists are not expected to duplicate nature just as even scientists
with their elaborate laboratories cannot make nature.
           Once this point has been made, a student of humanities can then ask further
questions such as: What reasons might the artist have in creating something? Why did
Andres Bonifacio write “Pag-ibig saTinubuang Lupa?” What motivation did Juan Luna
have in creating his masterpiece, the Spoliarium? In whatever work of art, one should
always ask why the artist made it. What is it that he wants to show?
Arts involve 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 claims that he know (sometimes) 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 others what the said thing is. A radio
DJ dispensing advice on love when he himself has not experienced it does not only
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 involves
data, art is known by experiencing. A painter cannot produce a work of art if a chisel is
foreign to him. Dudley, et al, affirmed that “aII art depends on experience, and if one is
to know art, he must know it not as fact or information but as experience.”
           A work of art then cannot be abstracted from actual doing, In order to know what
an artwork is, we have to sense it, see it or hear 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 Beyonce’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, one only
learns about Picasso’s work by looking at it. That is precisely what Miss Stein did.
           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 perceiver is, his tastes, his biases, and what he
has inside him. Degustisbus non disputandumest (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. A 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. Feelings and emotions are concrete proofs that the artwork has
been experiences.
Art Appreciation: Creativity, Imagination, and Expression
It takes an artist 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 now 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 out beauty and practical standards. We
are able to distinguish what is fine and beautiful from what id not and what id good
quality from poor. This gives us 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, described the
role of art as a creative work that depicts the world on a completely different light and
perspective, and the source in due to human freedom. Each artwork beholds beauty of
its own kind that the artist sees and want the 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 artist did. Because of this,
numerous artwork 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 development
his taste for things that are fine and beautiful. This allow individuals to make intelligent
choices and decision in acquitting 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 art theaters, concert halls, or
even mall that display art exhibition that are free in admission during leisure time will not
only develop an understanding of 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 further and more meaningful life.
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 more
unique and enjoyable experience. In art, creatively is what sets apart one artwork from
another. We say something is done creatively when we have not simply copy imitate
another artist work. He does not imitate the lines, flaws, colors, and patterns, in
recreating nature. He embraces originality, puts his own flavor into 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 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 “its 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 backed with careful
research on related art to avoid such conflicts.
Art as a Product of Imagination, Imagination as a Product of Art
            Where do you think famous writers, painters, and musicians get their ideas?
Where do ideas in making creative solution begin? It all starts in the human mind. It all
begins with mind imagination.
            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 know and understand. While imagination embraces the entire world, and all there
ever will be 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.
            In artist mind sits a vast gallery of artwork. 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 if the tune on the paper, However, something imaginary does not
necessarily mean it cannot be called art. Artist use their imagination that gives birth to
reality through creation.
            In the same way that imagination produces art, art is also inspires imagination
imagine being in an empty room surrounded by blank, white walls, and floor. Would you
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 around the room to
add beauty to the surroundings. This craving and desire to be surrounded by beautiful
things dates back our early ancestors. Cave walls are surrounded by drawings and
paintings of animals they hunted; wilds boars, reindeers, and bison. Clays were molded
and stones were carved into forms that resemble men and women; burial jars were
created with intricate design on them. These creative piece were made not only
because they were functional to men, but also because beauty gave them joy.
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 disabling state by doing something, which is 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 aesthetic, 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
form describing emotions. In his example, explicitly saying “I am angry” is not an
expression of an emotion, but a mere description. There is no need in relating or
referring to a specific emotion, such as anger, in expressing one’ emotion. Description
actually destroy the idea of expression, as it classifies the emotion, making it ordinary
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 outside or external to them,
but a reflection of their inner salves.
            There are countless ways of expressing oneself through art. The following list
includes, but is 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. Artists 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
art galleries to the last movie you saw. Some mediums of visual arts include paintings,
drawings, lettering, printing, sculptures, digital imaging, and more.
Film
            Film 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 (also
known as movie camera), animation techniques, Computer-Generated imagery (CGI),
and more. Filmmaking simulates experiences or cerates one that is beyond the scope of
our imagination as it aims to deliver ideas, feeling, 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 scores, 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’s medium is mainly the human body which he
or she uses to perform, but also employs other kind of art such as visual art, props, or
sound. It usually consists of four important elements: time, where the performance took
place, the performer’s or performer’sbody, and a relationship between the audience and
the performer(s). The fact that performance art is live makes it intangible, which means
it cannot be bought or traded as a commodity, unlike the previously discussed art
expressions.
Poetry Performance
            Poetry 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 you, 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 embody the functionality the 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 Theatre 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 series of movements that follows the rhythm of the music accompaniment. It
was been an age-old debate whether dance can really be considered an art form, 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
Artist who practice literary arts use words-not paint, musical instruments, or chisels-to
express themselves and communicate emotion to the readers. However, simply
becoming a writer does not make one a literary artist. Simply constructing a succession
of sentence in a meaningful manner is not literary art. Literary art goes beyond the usual
professional, academic, journalistic, and other technical form of writing. It focuses on
writing using a unique style, not following a specific form or norm. It may include both
fiction and non-fiction such as novels, biographies and poems. Examples of famous
literary artist and their work include The Little Prince by Antoine de Saint-Exupery and
Romeo and Juliet by William Shakespeare.
 
Theater
            Theater uses live performers to present accounts or imaginary events before a
live audience. Theater art performance usually follows 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 viewers is an important
element in theater arts. Some genres of theater include drama, musical, tragedy,
comedy and improvisation.
Applied Arts
Applied arts incorporate 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 is often
compared to fine arts, 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.

PPT
Basic Assumptions of the Art
 Art has been created by all people at all times, in all countries and it lives
because its well-liked and enjoyed.
  Art involves experience; there can never be appreciation of art without
experience.
 Whatever I do today is the whole continuum of my experience. Like John Dewey
said in his book 'Art as Experience,' you can't separate experience from the work
of art. So, if I write for the symphony today, you're listening to everything that's
happened to me since I was 18 years old. -Yusef Lateef
 Art involves experience; there can never be appreciation of art without
experience.
Art and Nature
 Art is not nature; Nature is not art.
 Art is not nature. Art is made by human beings. Artists frequently find their
inspiration and subject matter in nature, and artists do use nature as a medium,
but art itself not nature.
 Art is made by human beings. and no matter how close it is to nature, it always
shows that it was made by human beings
 The function of the artist is to help us understand the nature of things, to realize
the possibilities in the world, to develop insights or enlarge imagination by
creating or revealing new subjects.
 Art is made by man;
 Art is everywhere.
 Art is man’s oldest means of expression; (Hieroglyphics)
 Art as a means of expression & communication.
 “The humanities constitute one of the oldest and most important means of
expression developed by man”. Human history has witnessed 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.
 The Galloping Wild Boar found in the cave of Altamira, Spain.
PREHISTORIC PAINTINGS
 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.
 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. The humanities stand tall in
bearing witness to this magnificent phenomenon. Any human person, then, is
tasked to participate, if not, totally partake in this long tradition of humanizing
himself.

CANVAS WEEK 3
Functions and Philosophical Perspective on Art
THE FUNCTIONS OF ART
Art can function in many ways: As entertainment, political and social weapons, therapy,
and artifact. One functions is no more important that the others. Nor are they mutually
exclusive: a single artwork can pursue any or all of them. Nor are these the only
functions of art. Rather, they serve as indicators of how art has functioned in the past,
and can function in the present. Like the types and styles of art we will examine later in
the book, these four functions are options for the artist and depend on what the artist
wishes to do with an artwork.
Greek philosophers Aristotle claimed that every particular substance in the world has an
end, or telos in Greek, which translates into “purpose”. Every substance, defined as
formed matter, moves according to a fixed path toward 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 fulfill its function. Man, in Aristotle’s view of reality, is bound to
achieve a life of fulfillment 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. 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 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.
1. AS A THERAPY
In its therapeutic function, art can be and is used as therapy for individuals with a variety
of illnesses, both physical and mental. Role-playing, for example, is used frequently as
counseling tool in treating dysfunctional family situations. In this context, often called
psychodrama, mentally ill patients act out their personal circumstances in order to find
and cure the cause of their illness. The focus of this use of art as therapy is the
individual. However, art in a much broader context acts as a healing agent for society’s
general illnesses as well. Artworks can illustrate the failings and excesses of society in
hopes of saving us from disaster. The laughter caused by the comedy releases
endorphins, chemicals produced by the brain, which strengthen the immune system.
1. ART AS ARTIFACT
Art also functions as an artifact: A product of a particular time and place, an artwork
represents the ideas and technology of that specific time and place. As we look back
over history, we find in art striking, and in some cases, the only, tangible records of
some peoples. The insights we gain into cultures, including our own are enhanced
tremendously by such artifacts as paintings, sculptures, poems, plays, and buildings.
Artifacts connects us to our past, and o human relations sometimes as old as humanity
itself. In this text, the function of art as artifact- as an example of a particular culture-
takes on a central role. In part Two we will examine how artists reflect reality in their
artworks. That reflection has much to do with the cultural perspective in which artists
find themselves: we will go around the world to see and hear how reality in a variety of
cultures found its way into works of art. A common wisdom asserts that we cannot
comprehensively understand or experience works of art from other cultures- we cannot
grasp the nuances and subtleties of another culture’s artistic expressions unless we
have been nurtured in that culture. That wisdom is fundamentally true, but it does not
and should not discourage us from attempting to develop as sensitive and sophisticated
an awareness as our own cultural perspectives allow. Often art has a different function
in some cultures. For example, African and Native American art has more to do with
living in harmony with our controlling (super) natural forces than aesthetic appreciation. 
Part of understanding the art of various cultures is striving to understand other cultures’
own view of art. This book seeks to develop a positive response to this concern: there
are thing that we can do to come as close to these works as possible, with a resulting
satisfying and culturally enriching experience. Sensitive and sophisticated awareness is
the desired result. Although those who have not grown up in Western, Asian, African,
Islamic or Native American traditions will not have to intuitive understanding of those
who have, studying art from various times and cultures acts as an introduction to further
study and enhanced understanding. In turn this can lead to a richly satisfying. Lifelong
experience, in one sense, you can say art is a complex
    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 asks, 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 its aesthetic value? Or does it senf a message to those
who witness it? In this string of questions, the inquirer is hoping to get the function of the
piece of art in Rizal Park.
When it comes to function. different art forms come with distinctive function, 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.
They Tai Mahal, a massive mausoleum of white marbel built in Agra was constructed in
a 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 those applied
artist 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, statues. The name of the art
basically points toward the direction of the product or its function.
On the other end of the spectrum, one can only think of painting and literature as forms
of art that least do with purely practical values. When one examines and think of a
painting or a work of literature such as a poem or novel, one looks at the value of the art
in itself and not because of what it can do and benefit us. Unlike practical art (in pottery,
jewelry-making, architecture, among others) In question lies in the practical benefits one
grains form it ( a pot, a jewelry, or a house, or building). With painting and literature, one
can only look at the value of the product of art in and for itself. A poem is beautiful
regardless of its possible ramification in the society. JoyceKilmer’s“tree” 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 masterpiece of our national hero, Dr. Jose P. Rizal, the Noil MeTangere and El
Filibusterismo serve as a catechist for Filipino revolutionaries to gather strength in
rejecting the oppressive force of the Spaniards in the Philippines in the nineteenth
century. The novel accrued value and as a consequences, function. They are functional
in so far they are designed to accomplish some definite end. In the case of Rizal’s
novels, they spelled out a country’s independence They continue to be treasures even a
hundred years after their supposes functions. Roughly and broadly, the functions of art
are classified into three; personal9 public display or expression), social (celebration or
to affect collective behavior), and physical (utilitarian).
1. PERSONAL FUNCTION OF ART
            The personal functions of art are 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 for self-expression. This is the case for an artist who needs to
communicate an idea to his audience. It can also be more entertainment for his
intended audience. Often, the artist may not even intend to mean anything with his
work.
As 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.
1. SOCIAL FUNCTION OF ART
            Art is considered to have a social function if and when it addresses a particular
collective interest as opposed to a personal interest. Political art is 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 depict 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
give 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. In these and more,
the social function of art is apparent.
1. PHYSICAL FUNCTION 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.
1. 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 facilities worship and invocation to gods. Music also
was essential to dance because music assures synchronicity among dancers.
Moreover, music also guarantees that marches, in the case of warriors, were
simultaneous.
            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 no connection whatsoever to dance or religion. Serenade is one
example. People compose 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.
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 nit antithetical to the reaching of fundamental truths in the
world. Talking about tragedies, for example, Aristotle (1902|) in the Poetics claimed that
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.
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. Kant mentioned that judgment of beauty, and
therefore, art is innately autonomous from specific interests. It is the form of art that is
adjudged by one who perceives art to be beautiful or more so, sublime. Therefore, even
aesthetic judgment for Kant is a cognitive activity.
Art as a Communication of Emotion
            The author of War and Peace and Anna Katerina, 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’s emotions
that the artist previously experienced. Art them 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.
THE ARTS AND LIFE
Sometimes the arts are seen as being peripheral to real life- they are just frills. In part,
the difficulty many people have in seeing the arts as important in life results from a lack
of familiarity. This has perhaps been fostered by people both within the arts and the
without, who have tried to make the arts elitists, and the art gallery, museum, concern
hall, theatre, and opera house privileged institutions open only to the knowledgeable
and sophisticated. Nothing could be further from the truth. We live either the art-the
principles of artistic activity are everywhere in our lives. The use of artistic principles and
elements of composition, whether visual or aural, govern the products we buy, the
advertising we see and hear, and the attitudes we take or that others would have us
take. Use of line, form, color, and sound attracts us, calm us manipulate us to do what
others would have us do. Equally important, the artistic experience is a way of knowing
and communicating. It forms a significant part of being human.
            The arts and things related to them play an important role in making the world
around us a more interesting and habitable place. When domestic objects are
developed, practical matters like purpose and convention are taken into consideration.
For example, electrical plugs fit every wall socket in the United States. The arts also
have conventions: Western musical scales consist of precisely measured pitches that
differ from each other by an established member of vibrations per second.
           The design of the Volkswagen “Beetle” is also an example of the artistic
principles appearing in everyday life. There, repetition of form the oval reflects a
concern for unity, a fundamental characteristic of art. In the early VW, the front and rear
show a variation on this theme in the windows, headlights, hood, and bumpers. Later
models reflect the intrusion of conventions that broke down the strong unity of the
original composition. As safety standards called for the larger bumpers, the oval design
of the hood was flattened to accommodate a larger bumper. The rear window was
enlarged and squared for increased rear vision.
SUBJECT AND CONTENT
In the Philippines ‘which is predominantly a non-museum-going public, looking at art
has always been a tricky business. This is true not only for novices, but also at times,
confronts the long-time art aficionados. One of the major hurdles that spoils an
individual’s engagement with an artwork is the notion that in order to appreciate it, one
must be able to extracts specific image, isolate the artist or maker’s intention, and
unearth a particular meaning. Failure to do so automatically implies a failure of
comprehension and therefore, failure of the experience. This, however, relegates art
engagement and therefore appreciation to the very few who had training and instruction
in producing and in reading art. This should not be the case.
 
The primary stage of engaging with art is its perception. Looking at art is much like any
instance of taking in information or stimulus that originates from the world around us.
For most art forms, the beginning of engagement is through looking at the artwork. The
eyes play a big role in mechanically making a vision possible. However, like any tool, it
is but one component. What makes the difference is the awareness in the process of
looking where subjectively making a vision possible. However, like any tool, it is but one
component. What makes the difference is the awareness in the process of looking
where subjectively is essential in navigating through the artwork. Subjectively is
illustrated in the way that selective perception renders one or two details more
prominent than others, prompting the viewer to focus on some details as essential or as
standouts. Even the disposition or mood of the viewer, his education, his background,
and his exposure to varying context contribute to what information is taken in and how
they are interpreted. To herd all of these into coherence and intelligibility, the
relationships of visual details presented, the ideas and feelings that they cull, and other
springs of information may be consulted.
In most cases, there are clues that mediate between the artwork and the viewer,
allowing the viewer to more easily comprehend what he is seeing. These clues are the
three basic components of a work of art: subject, form, and content. These are largely
inseparable from each other and usually related to each other.
In this chapter, subject and content will be discussed, while form will be better examined
in Chapter 6. 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 terms, the subject is seen as the “what”; the content is the “why”; and
the form is the “how”.
In the field of the sciences, experimentation is the key to proving a hypothesis or a
larger theory. Often, an experiment is done multiple times to further prove the reliability
of an outcome. Therein, empirical or observable data in the form of visible or tactile
qualities, events or occurrence, yielding an output or by product must follow after a step
or a series of processes. In the arts, there are also observable qualities that the artwork
holds that will point to its subject, and sometimes even to its content. In order to flesh
out what the subject of the artwork is, it is important to first look at the constituent
figures that are perceivable on the surface of the canvas or the sculpture, and the
manner in which the artist chose to depict those figures. From these, the type of subject
can then be inferred.
Types of Subject
One of the most iconic and recognizable paintings all over the world is the “Mona Lisa”
done by Leonardo da Vinci. Some questions are often raised regarding this artworks,
like “Who is Mona Lisa?”  “Why was Leonardo da Vinci compelled to paint her?” but as
scholars attempt to solve the true identity of the sitter, it is relevant to note that there is a
consensus that the Mona Lisa—whoever she is—is based on a real person.
Portraits such as the “Mona Lisa” are good examples pf what is called representational
art. These types of art have subjects that refer to object or events occurring in the real
world. Often, it is also termed figurative art, because as the name suggest, the figures
depicted are easy to makes out and decipher. Despite not knowing who Mona Lisa is, it
is clear that the painting is of a woman that is realistically-proportioned; only the upper
torso is shown; a beguiling and mysterious smile is flashed; and that the background is
a landscape—probably a view from a window. Pushing it even further, one can even
imagine a scene in which Leonardo da Vinci alternates between applying dabs of paint
on the canvas and looking at the sitter in order to capture her features for the portrait.
On the other hand, seeing a painting that has nothing in it but continuous drips of paint
or splotches of colors either confounds the viewer or is readily trivialized as something
that anyone with access to materials can easily make. This kind of the previously
discussed type of subject, non-representational art is also often termed non-figurative
art.
Non-representational art does not make a reference to the real world, whether it is a
person, place, thing, or even a particular event. It is stripped down to visual elements
such as shapes, lines, emotion, and even concept.
It is in this light that representational works are often favored because they are easier to
recognize. Viewers find a greater degree of comfort when what they see register as
something familiar. They then continue to process this understanding, sometimes even
becoming confident enough to share their insights to others. It can be argued then that
an artist is faced with a strong persuasion of creating works that veers toward
representational art. However, it is not prevailing themes, norms, and practices of
specific historical moments.
One source of confusion is the notion that non-representational art is the same as
abstract art. This is essential to discuss because it introduces the fact that
representational art and non-representational art is not a clear-cut divide; rather, they
exist is a spectrum. An abstract work of Pablo Picasso is a great example to illustrate
this. Although he is more known for his paintings, he also dabbled into other works
including sculptures. Cut metal that is hinged on a metal base, there is a palpable
distortion of the image—whatever it is—seems to be melting. Even without reading the
title from the caption, mere seconds of looking at the combination of lines, shapes, and
colors of the sculpture will point to a head of a woman. Even with the abstraction of the
image, this work is arguably representational. As a guide, an artwork, depending on the
degree of distortion or abstraction, may be judged as leaning more toward one over the
other. Abstract art is in itself a departure from reality, but the extent of that departure
determines whether it has reached the end of the spectrum, which is non-
representationality —a complete severance from the world.
A proponent of non-representational art was Russian artist Vasily Kandinsky. Although
his chosen art form was paintings, he likened non-representational art to music, an art
form that he was also very keen to. He asserted that with sounds, musicians are able to
evoke imaginary in their listeners or audiences. Object-free, he alludes to the sound and
spiritual experiences that music makes possible in his paintings.  It is therefore not
surprising that a lot his paintings are inspired by music and are titled as impression,
improvisation, and composition.
Sources and kinds of Subject
When hit with a wall or a block, the writer is often advised to look back and take from
what he knows. From there, a well and wealth of materials may be drawn, but for artist,
where do they source the subjects of their paintings? What do they paint?
For non-representational art, a higher level of perceptiveness and insight might be
required to fully grasp the feeling, emotion, or concept behind the work. It is perhaps
easier to infer where the subject matter comes from if the artwork is an example of
representational art. From the figure(s) depicted in the artwork, there is already a
suggestions to its inspiration.
However, in discussing the sources and kinds of subject in artworks, it is important to
note that these two are often inextricably related. Often, even a singular source of
inspiration can yield multiple translations. A good starting point is, of course, the nature.
There is nothing more rudimentary than human interaction with the physical world
around the artist. Early childhood often revolves around getting to know not just the
body and what it can do, but also in getting accustomed to a multitude of sensory
prompts around the artist. Early childhood often revolves around getting to know not just
the body and what it can do, but also in getting accustomed to a multitude of sensory
prompts around the artist especially those situated in his environment.
Artists throughout history have explored diverse ways of representing nature: from
plants to animals; the qualities of bodies of water and the terrain of landmasses; and
even then perceivable cycles and changing of seasons. Often, these depictions are
seen as expressions of the sacred or the sacred or the profane, sired by reality or
supplemented by the artist’s imagination. One artist who was attuned with nature was
Vincent van Gogh. He saw art and nature as inseparable, often finding solace and
happiness in painting in it (working in the middle of unspoiled fields) and painting from it
(landscapes).  
Other artist 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 in Jan van Kessal the Elder who did numerous still
lives and small-scale, highly detailed studies, and scientific illustrations of flowers,
insects, shell, fruits, garland, and bouquets.
Greek and Roman mythology were also ripe with references: from episodes that
transport the viewer to heroic encounters of Achilles and Aeneas; the beauty of
Aphrodite and the athleticism of Myron. From narrators in literature, artist, 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.
Another integral aspect of human life is the distinct relationship with a higher controlling
power. If the belief system of Greeks and Roman 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
manuscripts, and other sacred scriptures, among others.
Commissioned by Pope Julius II, the intricate fresco that lines Sistine Chapel was
created by Michelangelo. The immense detail and vast surface he had to cover had him
working on it from 1508 to 1512.
Unlike in Islam for example, practicing Jews and Christians were allowed to depict their
God and other important biblical figures: laying visual foundations in inculcating the
faith. But perhaps the influence of this tradition is most intriguingly manifested in the
architectural marvels that are spread out all over the world.
The formative years of church architecture can be traced in the fourth and fifth century
but different styles and plans were developed since then. Prevailing ideas and
philosophies became resources that were used by architects to re imagine 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). Gothic style architecture is
often attributed as the brainchild pf Abbot Suger. There is a definitive sense that pointed
to the feeling of awe on the part of the believer and the perceived majesty and power of
God—all of which happened during the time when religion was at the heart of everyday
life. This echoes her belief that “art was central to religious experience.
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 text such as Upanishads, Puranas, and other important text like the
Sanskrit epics Mahabharata and Ramayana. Indian artist had a wide array of materials
to work with in showcasing not just their artistry and skill. The significance of these
paintings rest on its ability to foster devotion and the observance of a code of ethics
through the visualizations of heroic narratives. These paintings were small but were
highly pictorial, stylized, and employed a good contrast of colors. Some artists also
included verse from the epic as part of the cartouche which added interest and meaning
to the paintings.
Historically significant events particularly in the affairs of humanity are abundant
reference for art production. From early breakthroughs such as the discovery of fire and
the overthrow of geocentric theory in favor of a sun-entered universe, succeeding
advancements brought about by discovery, innovation, and man’s incessant search for
glory plotted a dynamic course of history.
An example is Goya’s EL tres de Mayo which captures the death of Madrilenes, the
local insurgents during the Peninsular war. Former allies in the overrun of Portugal and
France turned against Spain. Napoleonic forces invaded Madrid without much difficulty
and the painting captures the dramatic demise of its people under a firing squad.
History as a resource for artist in search of subjects, bring into consideration events that
are familiar and sometimes even common or shared in world context: the establishment
of nations and States (discovery, conquest, and colonization). These works serve as
documentary and commemorative artworks that they breed (democracy, liberty,
freedom, and rights). These works serve as documentary 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 subject were
not merely a product of the artist’s inclination and choice. A closer examination of the
various art movements and artwork created within those movements will indicate that
nations of freedom and independence, which are presumed to be enjoyed by artist,
were not without limits or restrictions. For instance, a particular kind of subject and the
way it is visually translated may be traced in relation to the art patrons (those who
commission the artworks), the favored artistic style and cannons, and more importantly,
the norms and trends prevailing in the artist’s milieu.
During the Spanish colonial period in the Philippines, art was predominantly
representational. During the first century of their dominance, art came as an aid for
communication---a means of propagating religion to locals who spoke a different
language. The visual arts, from paintings to early sculptures such as Santos and other
votive figures and icons, were created to assist catholic ministry. Existing art and craft
traditions persisted, with some augmented and infused with foreign influences that were
not limited to the Spanish culture through contact.
The momentum that secular (or non-religious) art later gained in the nineteenth century
can also be attributed to this contact, with the opening of the Suez Canal and the growth
of export economy in agriculture. The consequence of these developments was the rise
of the middle class. With their new-found economic and social mobility, patrons of the
art were no longer limited to the clergy, but brought about a demand for coming from
these wealthy ilustrado families.  Of interest was the increase in demand for
Commissioned portraits (of an individual or an entire family), finding it necessary to
document themselves in light of their elevated status. Wearing the most intricate and
elaborate of garbs, significant adornments such as jewelry and embroidered
implements, among others, completed the Intended Narrative. This artistic trend
cemented the distinction of artistic such as Simon Flores, Justiniano Ascuncion, and
Antonio Malantic who became the foremost portraits of the time. Here, it is evident how
during the Spanish colonial period, the subjects of artworks, even the manner in which
they are translated, were mostly dictated by the patrons who commission them for
religious and secular art.
Content in art
As outlined in the beginning, in discussing works of art, the subject may simply be
referred to as the “what”---what is readily seen and relates to the artworks its inspiration,
and the many kinds of translation. But apart from what is made explicit, to recognize
and grasp the message of the artwork created in the first place? When this question is
asked, we are after the meaning or message that is expressed or communicated by the
artwork.
To take on the challenge of understanding the content of art, it must be reiterated that
there are various levels of meaning. Factual 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 bases of its meaning. These
conventions are established through time, strengthened by recurrent use and wide
acceptance by its viewers or audience and scholars who study then. 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 experience; and the values we stand
for. It is therefore expected that meaning may not be singular; rather, a painting may
communicate multiple meanings to its many viewers. This is what we call subjective
meaning of art.
Michelangelo’s “Creation of Adam” can be read using various levels of meaning
previously discussed. There, Adam is figured with an aged God, both of them with an
arm stretched and their respective index fingers appearing to be fixed at an Impending
contact. Apart from God who is wearing a tunic, everyone else is in the nude. God is
afloat, surrounded by drapery and figures presumed to be angels and cherubs. Adam
on the other hand is earth-bound, sitting and reclined, positioned diagonally parallel to
that of God. From a factual perspective, Michelangelo depicted a scene 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 suggest
that this is an example of biblical art.
This work is indeed iconic, and this is asserted by the conventional meanings attached
to it. Here, the specific poses of God and Adam (convex and concave postures,
respectively) allude to the correspondence of the body and the commonly held that man
was created in the image and likeness of God. During this time the ideas of humanism
were underscored and the art and sciences were furthered. It is therefore
understandable that the classical canons of the form of the body (ideally proportioned
and muscular) are portrayed, especially by Michelangelo who was first and foremost a
sculptor. Here, the view is that the greatness of old civilizations such as that of the
Greeks and the Romans may not only be replicated, but even surpassed. Some art
scholars noted how Michelangelo exhibited just that—an elevated artistry---in that the
dynamism and energy of the figures in the Sistine chapel are unlike the works of
predecessors.
An interesting overlap between the conventional and subjective meanings is the
proposal from gynecologist Frank Lynn Meshberger, whose published essay appeared
in the October 1990 issue of the Journal of American Medical Association. Written was
his theory that an image and a message were hidden in plain sight: how the silhouette
of God, the shroud and the drapery that trail behind, all seemingly align with the shape
of the human brain. According to Meshberger, the work can also be aptly called “The
Endowment of Adam “for it brought to light that as God’s creation, the most important
qualities imparted to man was intellect. Like most Renaissance artist, Michelangelo
unlocked the secrets and precision of human anatomy assisting in dissections during
his time. For Meshberger, it was with his medical background and perhaps exposure to
art and history that allow him to catch the symbol, hidden in Michelangelo’s work.

FUNCTIONS AND EXPRESSIONS OF ART (FUNCTIONS OF ART AND PHILOSPHY)

POPULAR ART EXPRESSIONS
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 art galleries
to the last movie you saw. Some mediums of visual arts include paintings, drawings,
lettering, printing, sculptures, digital imaging, and more.
FILM 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.
Performance art is a live art and the artist’s medium is mainly the human body which
he or she uses to perform, but also employs other kind of art such as visual art, props,
or sound.
Poetry Performance Poetry is an art form where the artist expresses his emotions not
by using paint, charcoal, or camera, but expresses them through words.
Architecture is the art of designing and constructing buildings and other types of
structures. It is often referred to as the “mother of the arts” because it houses, serves as
background for, or occurs in relation to other fields of art. Materials used include stone,
concrete, brick, wood, steel, glass, and plaster.
Dance is series of movements that follows the rhythm of the music accompaniment.
Dance (French dancier,) generally refers to human movement either used as a form of
expression or presented in a social, spiritual or performance setting.
Choreography is the art of making dances, and the person who does this is called a
choreographer.
Literary art goes beyond the usual professional, academic, journalistic, and other
technical form of writing. It focuses on writing using a unique style, not following a
specific form or norm. It may include both fiction and non-fiction such as novels,
biographies and poems.
Theater uses live performers to present accounts or imaginary events before a live
audience. Theater art performance usually follows a script, though they should not be
confused with literary arts.
Applied arts incorporate 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.
THE FUNCTIONS OF ART
A. AS A THERAPY In its therapeutic function, art can be and is used as therapy for
individuals with a variety of illnesses, both physical and mental.
B. ART AS ARTIFACT Art also functions as an artifact: A product of a particular time
and place, an artwork represents the ideas and technology of that specific time and
place. As we look back over history, we find in art striking, and in some cases, the only,
tangible records of some peoples. The insights we gain into cultures, including our own
are enhanced tremendously by such artifacts as paintings, sculptures, poems, plays,
and buildings.
C. PERSONAL FUNCTION OF ART The personal functions of art are varied and highly
subjective. This means that its function depend on the person- the artist who created
the art.
Personal Function
Artwork that is created to express the feelings and emotions of the artist.
Examples: self portraits, paintings that describe a emotional time in the artist life.
D. SOCIAL FUNCTION OF ART art is considered to have a social function if and when
it addresses a particular collective interest as opposed to a personal interest. Political
art is 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.
E. PHYSICAL FUNCTION 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.
F. 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 facilities worship and
invocation to gods. Music also was essential to dance because music assures
synchronicity among dancers.
Other Functions of Art: Art as a Representation, Art as a Disinterested Judgment, Art
as a Communication of Emotion
SUBJECT AND CONTENT
Subject refers to the visual focus or the image that may be extracted from examining
the artwork. (what?)
Content is the meaning that is communicated by the artist or the artwork. (why?)
TYPES OF SUBJECT
Representational art these types of art have subjects that refer to object or events
occurring in the real world. Often, it is also termed figurative art, because as the name
suggest, the figures depicted are easy to makes out and decipher. (e.g. Monalisa)
Non-Representational art This art does not make a reference to the real world,
whether it is a person, place, thing, or even a particular event. It is stripped down to
visual elements such as shapes, lines, emotion, and even concept. (e.g. Jackson Pollock,
detail of “Number 1A”)

Sources of Subjects: Nature (Vincent van Gogh "Die Ebene von Auvers"), Sacred
Oriental Texts (“Shah Jahan Receiving Dara Shikoh”), History (Battle of Waterloo),
Greek and Roman Mythology (“Discobolus” – Greek original by the sculptor Myron of
450-440 BC), Judeo-Christian Tradition (“Sistine Chapel” – Michelangelo and “Interior
of Westminster”), Other works of art.
Kinds of Subject: History, Landscape, Still life, Cityscape, Seascape, Animals, Figures,
Mythology, Nature, Myth, Dreams, Fantasies
Content in Art: Level of Meaning
  Factual 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
bases of its meaning. These conventions are established through time,
strengthened by recurrent use and wide acceptance by its viewers or audience
and scholars who study then.
 When subjectivities (subjective) 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. (e.g.
“Creation of Adam” by Michelangelo at Sistine Chapel)

WEEK 4 CANVAS
Artist vs Artisan
The words artist and artisan are often very confusing for most people although there is a
key difference between the two words. An artist is a person who performs any of the
creative arts. This can range from painting (Links to an external site.) to music (Links to
an external site.). An artisan, on the other hand, is a skilled worker who makes things by
hand. The mere definition of the two words can be rather confusing because both
involve the creation of something. The key difference is that while the product or
output of an artisan has a clear functional value, this may not be the cased for an
artist. The output can be an expression of the beauty of art itself without having any
functional value. Through this article, let us examine the differences between an artist
and an artisan.
Who is an Artist?
An artist is a person who performs any of the creative arts. This captures all forms of
art. For an example, a person who paints can be referred to as an artist. In the modern
world, the term artist is also used for musicians as well. This is why people often tend to
hear the words ‘young artist,’ through media to refer to emerging musicians. Here it is
important to highlight that the term artist is not only attributed for those who create art as
an occupation, but also for those who are skilled in a particular activity such
as drawing (Links to an external site.), designing, composing, etc.
The specialty of an artist is that he is able to create art for the sake of art itself without
needing any ulterior motives. Some artists create their works of art for the satisfaction of
the society in which they live. In this case, they have to confine to the societal demands
and limitations. However, there are also others who go beyond the social restrictions
and create art for the pleasure of creating. It is believed that through art the artist can
create a change in society. This is because art appeals to all senses of people.
Who is an Artisan?
An artisan is a skilled worker who makes things by hand. This includes various objects
ranging from jewelry to furniture. An artisan should not be confused with an artist
because there is a clear difference in the things that they create. An artisan is able to
produce something that has a functional value; although it should not be limited to its
use value alone. However, it must be stressed that there are cases where the objects
created by an artisan has only decorative value.
Most artisans have the skill of adding aesthetic (Links to an external site.) value to the
objects that they create. This transcends the object from a mere object of utility. This is
why most handmade objects are much more expensive than mass-produced objects.
What’s the difference between an artist and an artisan? This unnecessarily sensitive
question is equivalent to the issue of what constitutes art and what is designated as
craft.
In both cases, the former word essentially refers to the making of tangible or intangible
products as an expression of creativity and imagination for purely aesthetic reasons. An
artisan, meanwhile, though spurred by the same impulses, produces crafts, which,
though they may be acquired only for decoration, are designed to be practical.
Therefore, though some tension between artist and artisan — between producers of art
and designers of crafts — may exist because of a perceived differential in their relative
cultural status, the technical definitions are just that: precise distinctions not in quality or
artistic achievement but in function.
The word for the creator of art is the gender-neutral term artist. (The French form of the
word, artiste, came to apply more broadly to creative professionals, especially
performers, though it also has a pejorative sense of “pretentious artist.”) By extension,
one talented in any endeavor — even a con artist — may earn the term.
By contrast, makers of crafts have gender-specific labels
— craftsman and craftswoman — but though craftsperson is the natural neutral term,
many such practitioners prefer to be called artisans. (The Latin ancestor of this term
is artire, which means “to instruct in the arts.”)
Other words that ultimately derive from the Latin word ars (“art”) include artifact, which
comes from the Italian word artifatto and ultimately from the Latin
terms arte and factum (meaning “thing made”), originally having primarily an
archaeological sense but now referring to anything left behind or remaining, and artifice,
which originally meant workmanship but, from a secondary sense of “cunning,” came to
refer to deceit or trickery. (However, artificer remains a synonym for artisan, although it
can also refer to one who contrives or makes things or ideas.) Artificial, the adjectival
form of artifice, broadly refers to anything not produced in nature.
Artful once referred exclusively to artistic skill but later primarily came to mean
“dexterous, wily”; in that sense, the term is best known in the moniker of the Artful
Dodger, an adroit young pickpocket in Charles Dickens’s novel Oliver Twist. The
antonym, artless, likewise was originally a reference to a lack of talent but now usually
refers to clumsiness in word or deed.
Arty and artsy both describe artists, but the terms have developed a pejorative sense of
pretension, and artsy is hyphenated in combination with craftsy and, worse, fartsy, to
refer to someone with such airs, or a creation of theirs.
Art is used in combination with other terms to denote subgenres with serious artistic
ambitions (“art film,” “art rock”) as well as artistic movements, as in “art deco,” a
truncation of the French phrase art décoratif (“decorative art”), and art nouveau (“new
art”); the first letter of each word in these phrases is often capitalized, especially when
associated with other initial-capped designations. Another movement, named arts and
crafts, is usually initial-capped to distinguish it from generic references.
The liberal arts are the academic subjects also known as the humanities. The
term liberal stems from the idea that knowledge of these subjects and the attendant
skills are necessary for free people to know in order to be productive members of
society.
From the phrase “liberal arts” comes the designations for mastery of coursework known
as the bachelor of arts and master of arts degrees (truncated, alternatively as
“bachelor’s degree,” or bachelor’s, and “master’s degree,” or master’s). These terms
have no specific relation to art itself, though study and/or practice of art may be a
component of the coursework.
The Artisans and the Guilds
A guild is an association of artisans (Links to an external site.) or merchants (Links to
an external site.) who oversee the practice of their craft/trade in a particular area. The
earliest types of guild formed as a confraternities (Links to an external site.) of
tradesmen. They were organized in a manner something between a professional
association (Links to an external site.), a trade union (Links to an external site.),
a cartel (Links to an external site.), and a secret society (Links to an external site.). They
often depended on grants of letters patent (Links to an external site.) from
a monarch (Links to an external site.) or other authority to enforce the flow of trade to
their self-employed members, and to retain ownership of tools and the supply of
materials. A lasting legacy of traditional guilds are the guildhalls (Links to an external
site.) constructed and used as guild meeting-places. Guild members found guilty of
cheating on the public would be fined or banned from the guild.
 
Have you ever wondered why some examples of artistic and creative production have
survived to this day? Museums are packed with numerous artifacts and interesting
objects from all over the world that have survived centuries for us all to see. Magnificent
structures that are often appreciated not only for their historical significance but more so
their aesthetic characteristics that render them unique, become tourist destinations for
those who wish to explore and see the remarkable façade, interior, and even the
minutest of details up close. Perhaps what made the difference was the materials,
medium, and the principles behind the process of their creation. Another contributory
factor is the emergence of technology and knowledge in managing and conserving all of
these objects and structures, enabling the retention of the integrity of the artwork and
the intention of the artist in terms of the design and overall aesthetic.
The Artist and His Studio
A good studio for an artist is a very important place. Creative studios might sometimes
look like a pile of rubbish or a mixed-up room, but this is where famous artists paintings
are born!
Take a look at this assemblage of the greatest artists and their most intimate working
places – their studios. I bet that you've seen lots of their works in museums and art
history books, but the artist himself, and his studio, is often left unseen.
From Salvador Dali's artist studio full of beautiful women, Pablo Picasso's decorated
hall to David Lynch's industrial looking creative space and Francis Bacon's utter chaos.
All these photos are intentionally mixed up – you will find both very famous artists and
somewhat less popular painters, sculptors, architects, and even their Muses. Some of
them are contemporary, but you will also find genius classical masters as well.
Production Process
The process of creating an artwork does not necessarily follow a linear progression.
One the things that one must accept is the fact that the arts have anarchic dimension to
it, allowing it to fully harness its creative potential. The very reason why different art
styles, periods, and movements were made possible, is because there was a form of
flexibility given to artist in terms of how to conceptualize and execute their ideas into
reality. But this does not mean there is no guiding principle that governs the general
process of art production.
The process is essentially tripartite: (1) preproduction. (2) production, and (3)
postproduction. The artist always begins with an idea that he wants to express or
communicate with his audience. It may not necessarily be fully formulated, and so some
form of exposure, research, and their approaches may be explored to get the idea long
before actually making the artwork. This process is of course the preproduction stage.
The idea may take a while to form, or may come as swift as a bolt of lighting.
Some artist, however, birth their ideas when material manipulation is already underway.
This when preproduction sometimes seep into the production stage. The execution of
the art  may take a variety of forms such as painting, sculpture, tapestry, photograph,
film, a routine (dance), or a track or composition (music). Even tricky art form such as
conceptual art, which purports to be solely concerned with the ideas, take a variety of
formats, and may even be harder to pull off. Some artworks rely on a precise and skilled
execution, while others need only intuition and a kind of judiciousness in the
manipulation of material.
Gathering and sourcing the materials needed for the creation of the artwork is either
subsumed under preproduction or the production stage. Either way, materials form one
of the most crucial aspects that inform the direction, quality, and the final output itself.
The last stage is the most drawn-out, the postproduction. Once an artwork is finished, it
will then be  decided on how it will be circulated not only in the art world, but the many
publics. If the artist decides that he alone should see the work, then so be it. But most of
the time, if not always, the creation of the object requires that it be seen, heard,
touched, and/or experienced in a variety of ways. Often, enters into a new sphere,
inside the domain of museum, galleries, performance halls, theaters, and other art
spaces where interaction can take place. Take note, however, that approval, enjoyment,
or pleasure are not the sole reactions that an artist intends for his work. Sometimes, it is
repulsion, contempt, or even grief, which the artist hopes for. Either way, it is intellectual
and emotional reaction that is often the impetus for creating an artwork. A message is
almost always embedded in the artwork and it is the hope of  the artist that his audience
comes cross it, or takes from it something that is his and his alone.
These are many aspects that go into postproduction. These may include allowing the
artwork to set, tweaking the artwork, preparing the artwork for transport and display, and
even the promotion and inclusion of the artwork in publications or discussions.
Medium and Technique
Like what was previously mentioned, medium is one of the aspects of art that directly
correlates with its composition and presumed finality of the artwork. Medium is the
mode of expression in which the concept, idea, or message is conveyed. It may be
concrete or tangible, such as paintings, sculptures, monuments, and structures; or it
may be ephemeral or something transient, such as a track (recording of sound), a film,
or a performance. The appreciation or engagement with the artwork is also affected by
the medium spatiotemporally. For concrete works, the object physically manifest
themselves for a prolonged or lasting period. For epheral works, on the other hand, it is
durational.
A chosen medium must not be expected to yield the same results. Giving two different
artist the same exact material and the general qualifier of “painting”’ the end product will
still vary minimally or in an exponential scale. This is where technique comes in, as it is
the reason why art history Is described by a seemingly limitless example of works of art.
The technique of the artwork shows the level of familiarity with the medium being
manipulated. It alludes to the necessity of additional tools or implements (e.g., hammer
and chisel may come in handy for sculptors,) or consideration of time (e.g., behavior of
different kinds of paint especially in drying time requirements), and the specificity of the
site of creation (e.g., indoor or outdoor production requirements).

ARTIST AND ARTISAN

SOME OF THE GREATEST ARTISTS IN THE WORLD
“MONALIZA” by LEONARDO DA VINCI (1452-1519) Known for Painting, drawing,
sculpting, science, engineering, architecture, anatomy
“THE STARRY NIGHT” VINCENT VAN GOGH Dutch post-impressionist 1853-1890
“The Creation of Adam” -Michelangelo, in full Michelangelo di Lodovico Buonarroti
Simoni, (1475-1564), Italian Renaissance sculptor, painter, architect, and poet who
exerted an unparalleled influence on the development of Western art.
“DALAGANG BUKID” Fernando Amorsolo, who was touted as the “Grand Old Man of
Philippine Art.” Amorsolo (May 30, 1892- April 26,1972) was a portraitist and painter of
rural Philippine landscapes. Popularly known for his craftsmanship and mastery in the
use of light, he was regarded as the Father of Philippine Realism for his numerous
realistic paintings. After his graduation from the University of the Philippines, he worked
as a UP part-time instructor and a commercial artist. His works include "Bombing of the
Intendencia" (1942), "The Buming of Manila" (1946), "Dalagang Bukid" (1936), "The
First Baptism in the Philippines," "The First Mass in the Philippines," "Planting Rice"
(1946), "Princess Urduja," and "Sikatuna." He was the first recipient of the National
Artist Award among the Filipino painters.
Who is an Artist?

An artist is a person who performs any of the creative arts. This captures all forms of
art.
Artist is an art practitioner such as painter, sculptor, choreographer, dancer, musician,
etc. who produces or creates indirectly functional arts with aesthetic value using
imagination.
 The specialty of an artist is that he is able to create art for the sake of art itself
without needing any ulterior motives.
What is an Artisan?

An artisan is a skilled worker who makes things by hand. This includes various objects
ranging from jewelry to furniture.
• An artisan should not be confused with an artist because there is a clear
difference in the things that they create. An artisan is able to produce something
 that has a functional value; although it should not be limited to its use value
alone.
What is the difference between Artist and Artisan
Definitions of Artist and Artisan:
• Artist: An artist is a person who performs any of the creative arts.
• Artisan: An artisan is a skilled worker who makes things by hand.
Characteristics of Artist and Artisan:
Artistic Value:
• Artist: The object has a clear artistic value.
• Artisan: The object has an artistic value.
Functional Value:
• Artist: The object has no functional value.
• Artisan: The object has a functional value.
• Object:
• Artist: The object has a lot of aesthetic value and is appreciated for this quality as
it pleases the individual.
• Artisan: The object though utilitarian has certain aesthetic attributes to it.
Cologne Cathedral in Germany
• An example of early Gothic architecture.
• This is also a collaboration between the artist who made the design and the
Artisan who help in the construction of the whole building.
Artisan and Guilds
• These guilds where towns had formalized groups of artisans or craftsmen who
took on a particular specialization or trade; shoemakers, textile and glass
workers, carpenters, carvers, masons, armorers, and weapon-makers, among
others. Here, the practice of artists was not grounded on the idea of individual
capacities or success; rather, in the commitment to work together as a collective.
• Guilds were a type of social fellowship, an association structured with rules,
customs, rights, and responsibilities. With a lifetime commitment to a particular
trade, an artisan develops immense skill and expertise in his craft.
PHILIPPINE Artisans
 • Church of the Most Holy Trinity in Loay, Bohol.
• Spanish friars commissioned a lot of artisans to carve, paint, and engrave
images for churches and public sites.
What is an Art Curator?

Art curators are employed by museums and art galleries to design, develop and
manage installations and exhibits. This requires them to acquire works of art, ensure
proper storage and help maintain museum collections.

Art curators typically specialize in specific areas of art, like Western, Asian or
contemporary art. The job duties of a curator are vast. They may put on public events
like lectures and workshops, write grants and conduct fundraising activities. In addition,
they conduct research projects and write papers for publication.
Role of an Art Curator?

the role of the curator is more of the interpretation and development of the artwork(s) or
the collection(s) through establishing the significance, relationship, and relevance of
these materials----in isolation and/or as part of a wider narrative. Some of the roles
expected of curators are the ability to research and write, as an arbiter of design and
layout, and deciding for the display and hanging of materials foe exhibition.
museums and
galleries.
FILM MAKING
Production Process
(1) preproduction. (2)
production, and (3)
postproduction.
Awards and Citations (e.g. Philippine Heritage Awards)
The two major awards given to artist in the Philippines are the Order ng Pambansang
Alagad ng Sining (Order of national Artist) and Gawad sa Manlilikha ng Bayan
(National Living Treasures Award).
• The conferment of the Order of National Artist is the “highest national recognition
given to Filipino individuals who have made significant contributions to the
development of Philippine Arts; namely, music, dance, theater, visual arts,
literature, film, broadcast art, and architecture and allied arts. The order is jointly
administered by the Philippines (CCP) and conferred by the President of the
Philippines upon recommendation by both institutions” (NCCA, 2015).
The Gawad sa Manlilikha ng Bayan (GAMABA) or The National Living Treasures
Award was created in 1902
• a “Manlilikha ng Bayan” who is a “citizen engaged in any traditional art uniquely
Filipino whose distinctive skills have reached such a high level of technical and
artistic excellence and have been passed on to and widely practiced by the
present generation in his/ her community with the same degree of technical and
artistic competence” (NCCA,2015). This artists’ practice may fall under the
following categories: folk, architecture, maritime transport, weaving, carving,
performing arts, literature, graphic and plastic art, ornament, textile or fiber art,
pottery and other artistic expressions of traditional culture.

WEEK 5
ELEMENTS OF ART
VISUAL ELEMENTS
The Elements of Visual Arts
 Lines
 Colors
 Texture
 Perspective
 Space
 Form
 Volume
The elements of art are the visual components which are required to create a work of
art.
Knowing the basics of the elements of visual art can help any artist to create a well
balanced and beautiful designs.
To develop a more thorough understanding of artistic composition, one must learn how
to examine and utilize the various art elements.
 Line is a mark on a surface that describes a shape or outline. It can create
texture and can be thick and thin.  Types of line can include actual, implied,
vertical, horizontal, diagonal and contour line. (e.g. curved, straight, diagonal,
zigzag, dashed or dotted, perpendicular, horizontal, wavy, outline, parallel)
Line
 is an important element at the disposal of every artist.
 always has direction, always moving.
 as used in any work of art, may either be straight or curved.
 Lines are the first element of art and are continuous marks that are made on any
surface with a moving point.
 Lines can be used in various ways to create different compositions.
 A line can be used to express various things or feelings; it can be used to show
various moods or anything abstract.
 Line serves as an essential building block of art, but it can also serve as the
content itself of a work of art, or be manipulated to evoke an emotional or
intellectual response from a viewer (Fichner-Rathus, 2010).
What do these lines suggest?
Vertical lines are poised for action. They are poised, balanced, forceful, and dynamic.
They express an impression of dignity.
Only vertical lines can be used to express an orderly feeling
Horizontal lines are lines of repose and serenity. They express ideas of calmness and
quiescence.
Only horizontal lines can give a feeling of peacefulness and stillness. (Boracay
Siargao)
Diagonal lines are used to create feelings of movement or action. (Siargao: The
Surfing Capital of the Philippines)
Curved lines, sometimes referred as S curves, suggest gracefulness or sexiness.
If you want to photograph S curves, the human body makes for a wonderful subject.
From the arch of a foot to the curve of a neck, you can find many ways to capture
curved leading lines by photographing the human form.
It is up to the artist how he conveys his message, in the best way possible through the
use of lines.
There are various ways to integrate lines into a photograph to help strengthen the
overall composition and draw attention to a specific focal point.
Three Main Types of Lines
• Repetition occurs when two or more lines are drawn within a corner following
the lines of the corner.
• Lines that are in opposition to each other form a contrast.
• A transition line is a line that connects two workflow elements. Transition lines
allow you to define what the next step in a workflow will be.
To summarize, including leading lines within a photograph is a composition technique
that can strongly influence the overall result of an image.
Leading lines can direct a person’s eye to
a main focal point or, if used incorrectly,
can draw the eye away from the subject or
appear to cut a photo in half.
The Art Element of Color
 Color refers to the visual
perception of light being reflected
from a surface of an artwork.
 In the most basic classification,
colors can be divided into three
groups: primary, secondary and
tertiary.
 Color Theory: Primary,
Secondary, Warm, Cool, Complimentary, Analogous, Rainbow, Intermediate
Attributes of Color
• Hue is the term for the pure spectrum colors commonly referred to by the "color
names" - red, orange, yellow, blue, green violet - which appear in the hue circle
or rainbow. Theoretically all hues can be mixed from three basic hues, known
as primaries.
• A color wheel is an abstract illustrative organization of color hues around a
circle, that shows relationships between primary, secondary, and tertiary colors,
etc.
• Value refers to the lightness or darkness of a color. It is the quality which
depends on the amount of light and dark in color.
• Intensity refers to the brightness or darkness of color. It gives color strength.
When a hue is vivid form, it is said to be in full intensity. When it is dulled, it is
said to be partly neutralized.
• Tints are values above the normal
• Shades are values below the normal.
Psychology of Colors
• Colors have varied psychological and emotional connotations.
– Black is associated with death and gloom
– White stands for purity and innocence
– Red is associated with blood, anger and fear
– Green implies happiness and abundance
Meanings of Colors Conveyed by the Rose
• Red is for “I love you”
• Pink conveys “Thank you”
• White says “You are heavenly”
• Coral speaks of desire.
• White roses denote secrecy, reverence and humility.
• Deep pink roses convey gratitude and appreciation.
• Light pink express sympathy, grace and gentility
• Red roses also mean courage and fortitude
• Yellow roses stand for freedom
 • Red and Yellow stand for jovial /happy feelings
• Orange roses speak of enthusiasm and desire
• Red and White convey unity
Texture
 is the element that deals more directly with the sense of touch.
 applies to how an object feels or appears to feel.
 can be either implied or actual.
 Texture is the element that deals more directly with the sense of touch.
 It has to do with the characteristics of surfaces which can be rough or smooth,
fine or coarse, shiny or dull, plain or irregular.
 Implied texture expresses the idea of how a surface might feel. For example, a
painting of a blanket might convey the idea that the blanket is soft.
 Actual texture, on the other hand, is texture that can actually be felt. For
example, a ceramic bowl might feature a carved texture that could be felt when
holding that bowl.
 Example: wood texture
Perspective
• Perspective deals with the effect of distance upon the appearance of objects, by
means of which the eye judges spatial relationships.
Kinds of Perspective
Linear Perspective
• Linear perspective is the representation of an appearance of distance by means
of converging lines.
• It has to do with the direction of lines and with the size of objects.
• Linear perspective is the representation of an appearance of distance by means
of converging lines.
• It has to do with the direction of lines and with the size of objects.
• Painters usually show the effect of space and distance by using converging lines
and diminishing size.
• Parallel lines below the eye level seem to rise to a vanishing point in the horizon,
while those above the eye level seem to descend to the vanishing point
 • Foreshortening is the representation of objects or parts of the body as smaller
from the point of view of the observer.
Aerial Perspective
 Aerial perspective is the representation of relative distances of objects by
gradations of tone or color.
 Objects become fainter in the distance due to the effect of the atmosphere.
Objects appear to be lighter in color as they recede into the distance or
atmosphere
The Art Element of Space
 Space refers to how the artist fills the surface on which a work of art is created. It
can also refer to the expression of depth within a work of art.
 When talking about a three-dimensional object, space is the actual volume that is
taken up by the artwork.
Space
• Space as an element of art, refers to distances or areas around, between or
within components of a piece. 
• Space can be positive (white or light) or negative (black or dark),
open or closed, shallow or deep and two-dimensional or three-dimensional.
• Sometimes space isn't actually within a piece, but the illusion of it is.
Kinds of Space
• Positive space - the areas in a work of art that are the subjects, or areas of
interest.
• Negative space – areas around the subjects, or areas of interest.

Shape, Form, and Volume are words that are used to describe distinct areas or parts
of works of art or architecture.

Form
• Form applies to the over-all design of a work of art.
• It describes the structure or shape of an object.

The Art Element of Form

 • Form refers to a three-dimensional object. As such, form is an art term that is
only applied to those artworks that are
three-dimensional, such as sculpture
and pottery.
• Forms, much like shapes, can be
geometric or organic. Geometric forms
have hard lines and edges. Organic
forms are curvy and more free-form.
Types of Form
• Form and shape can also be described
as either organic or geometric. 
• Organic forms such as these snow-
covered boulders typically are irregular in outline, and often asymmetrical.
Organic forms are most often thought of as naturally occurring.
• Geometric forms are those which correspond to named regular shapes, such as
squares, rectangles, circles, cubes, spheres, cones, and other regular forms

Organic and Geometric Forms

KENNETH COBONPUE’S DESIGNS

• Kenneth Cobonpue 's Knottee hanging lamp at Hive
• Croissant Sofa
• Croissant Table
• Yin Yang Chair
• Amaya Coffee Table
Volume
• Volume refers to the amount of space occupied in three dimensions.
• It refers to solidity or thickness.