CHAPTER 2

THE ARTIST’S MEDIUM

PREPARED BY:
ROME TOLETE, ANALIE RAVINA, CLAIRE ANGELA VARGAS, FEB PENALES, JESSA SARTE,
JESSAMAE ELTAGUNDE, NOAH ARANAS, RIAH JEAN QUIMPAN, SHAIRA TORRENUEV A.
CONCEPTS

 MEDIUM REFERS TO THE MATERIAL USED BY AN

ARTIST
 TECHNIQUE
IS THE MANNER IN WHICH THE ARTIST
CONTROLS THE MEDIUM TO ACHIEVE DESIRED
EFFECT
 COMBINEDARTS ARE THOSE WHOSE MEDIUMS CAN
BE BOTH SEEN AND HEARD AND WHICH EXIST IN
BOTH SPACE AND TIME
CONCEPTS

 PAINTINGIS THE ART OF CREATING MEANINGFUL

EFFECTS ON A FLAT SURFACE BY THE USE OF
PIGMENTS.
 ARCHITECTUREIS THE ART OF DESIGNING AND
CONSTRUCTING A STRUCTURE
 SCULPTURE IS THE CONSTRUCTION OF A FIGURE
BY PUTTING TOGETHER MODULE SEGMENTS OF
THE MATERIAL
MEDIUM AND TECHNIQUE

 MEDIUM, WHICH COMES FROM THE LATIN

WORD MEDIUM, DENOTES THE MEANS BY
WHICH AN ARTIST COMMUNICATE HIS
IDEA. THESE ARE THE MATERIALS WHICH
ARE USED BY AN ARTIST TO INTERPRET
HIS FEELINGS OR THOUGHTS.
MEDIUM AND TECHNIQUE

 ONTHE BASIS OF MEDIUM, THE ARTS ARE

PRIMARILY CLASSIFIED AS VISUAL AND
AUDITORY.

 VISUALARTS ARE THOSE WHOSE MEDIUMS

CAN BE SEEN AND WHICH OCCUPY SPACE.
THESE ARE GROUPED INTO TWO CLASSES.
DIMENSIONAL OR TWO-DIMENSIONAL
ARTS
 PAINTING
 DRAWING
 PRINTMAKING
 PHOTOGRAPHY
DIMENSIONAL OR TWO-DIMENSIONAL
ARTS
THREE-DIMENSIONAL ARTS

 SCULPTURE
 ARCHITECTURE
 LANDSCAPE
 COMMUNITY PLANNING
 INDUSTRIAL DESIGNS
 CRAFTS, LIKE CERAMICS AND FURNITURE
THREE-DIMENSIONAL ARTS
MEDIUM AND TECHNIQUE

 THEAUDITORY ARTS ARE THOSE WHOSE MEDIUMS

CAN BE HEARD AND WHICH ARE EXPRESSED IN
TIME.

 THE COMBINED ARTS ARE THOSE WHOSE MEDIUM

CAN BE BOTH SEEN AND HEARD AND WHICH EXIST
IN BOTH SPACE AND TIME.
MEDIUM AND TECHNIQUE

TECHNIQUE IS THE MANNER IN WHICH

THE ARTIST CONTROLS HIS MEDIUM
TO ACHIEVE THE DESIRED EFFECT.
THE ARTIST AND HIS MEDIUM

 THE ARTIST THINKS, FEELS, AND GIVES SHAPE TO

HIS VISION IN TERMS OF HIS MEDIUM. WHEN AN
ARTIST CHOOSES A PARTICULAR MEDIUM, HE
BELIEVES THAT HIS CHOICE CAN BE BEST EXPRESS
THE IDEA HE WANTS TO CONVEY.
THE ARTIST AND HIS MEDIUM

OFTENTIMES, THE MATTER OF

SELECTING THE MEDIUM DEPENDS
ENTIRELY ON THE ARTIST HIMSELF.
THE ARTIST AND HIS MEDIUM

 THE DISTINCTIVE CHARACTER OF THE

MEDIUM DETERMINES THE WAY IT CAN BE
WORKED ON AND TURNED INTO A WORK OF
ART.
THE ARTIST AND HIS TECHNIQUE

 ARTISTS DIFFER FROM ONE ANOTHER IN

TECHNIQUE EVEN IF THEY USE THE SAME MEDIUM.

 TECHNIQUE DIFFERS IN THE VARIOUS ARTS. AN

ARTIST’S TECHNIQUE IN ONE MEDIUM WILL BE
QUITE DIFFERENT FROM HIS TECHNIQUE IN
ANOTHER.
MEDIUMS OF THE VISUAL ARTS

 VISUAL
ARTS ARE THOSE THAT CAN BE PERCEIVED
WITH OUR EYES. THE MOST COMMON VISUAL ARTS
ARE:
 PAINTING
 SCULPTURE
 ARCHITECTURE
MEDIUMS OF THE VISUAL ARTS

 THEIR MEDIUMS ARE DISCUSSED AS  MOSAIC

FOLLOWS:  STAINED GLASS
 PAINTING-  TAPESTRY
 WATERCOLOR  DRAWING
 FRESCO  PENCIL, PEN AND INK AND
 TEMPERA CHARCOAL
 PASTEL  BISTRE
 ENCAUSTIC  CRAYONS
 OIL  SILVERPOINT
 ACRYLIC  PRINTMAKING & LITHOGRAPHY
MEDIUMS OF THE VISUAL ARTS

PAINTING
WATERCOLOR
 PAINTING IS THE ART  WATERCOLOR IS DIFFICULT TO
OF CREATING HANDLE BECAUSE PRODUCING
WARM AND RICH TONES USING
MEANINGFUL EFFECTS THIS MEDIUM PROVES TO BE A
ON A FLAT SURFACE BY CHALLENGE. ON THE
THE USE OF PIGMENTS. CONTRARY, WATERCOLOR
PIGMENTS INVITE BRILLIANCE
AND A VARIETY OF HUES.
FRESCO

 FRESCO IS A PAINTING
DONE ON A MOIST
PLASTER SURFACE WITH
COLORS GROUND IN
WATER OR A LIMEWATER
MIXTURE.
MEDIUMS OF THE VISUAL ARTS

TEMPERA PASTEL
 TEMPERA PAINTS ARE  PASTEL IS A STICK OF
MINERAL PIGMENTS MIXED DRIED PASTE MADE OF
WITH EGG YOLK OR EGG PIGMENT GROUND WITH
WHITE AND ORE. THIS CHALK AND COMPOUNDED
EGG-BASED EMULSION WITH GUM WATER. IT IS A
BINDS THE PIGMENTS TO VERY FLEXIBLE MEDIUM
THE SURFACE. WHOSE COLORS ARE
LUMINOUS.
Examples:

Tempera Painting Pastel Painting

MEDIUMS OF THE VISUAL ARTS

ENCAUSTIC OIL

 ENCAUSTIC IS ONE OF THE  OIL PAINTING IS ONE OF

EARLY MEDIUMS USED BY THE MOST EXPENSIVE ART
THE EGYPTIANS FOR ACTIVITIES TODAY
PAINTING PORTRAITS ON BECAUSE OF THE
MUMMY CASE. THIS IS PROHIBITIVE COST OF
DONE BY APPLYING WAX MATERIALS. IT IS THE
COLORS FIXED WITH HEAVIEST OF PAINTING
HEAT. MEDIUMS.
Example:

Encaustic Painting Oil Painting

MEDIUMS OF THE VISUAL ARTS

ACRYLIC MOSAIC
 ACRYLIC IS A MEDIUM USED  MOSAIC IS THE ART OF
POPULARLY BY CONTEMPORARY PUTTING TOGETHER
PAINTERS BECAUSE OF THE
TRANSPARENCY AND QUICK-
SMALL PIECES OF
DRYING CHARACTERISTICS OF COLORED STONES OR
WATERCOLOR AND THE GLASS CALLED
FLEXIBILITY OF OIL COMBINED “TESSERAE” TO CREATE
AN IMAGE.
Example:

Acrylic Painting Mosaic Painting

MEDIUMS OF THE VISUAL ARTS

 STAINED GLASS

 AN ARTWORK THAT IS COMMON

IN GOTHIC CATHEDRALS AND
CHURCHES. IT IS MADE BY
COMBINING SMALL PIECES OF
COLORED GLASS, HELD
TOGETHER BY BANDS OF LEAD
MEDIUMS OF THE VISUAL ARTS

TAPESTRY DRAWING
 TAPESTRY IS A FABRIC  DRAWING IS USUALLY
PRODUCED BY HAND- DONE ON PAPER USING
WEAVING COLORED PENCIL, PEN AND INK OR
THREADS UPON A WARP. CHARCOAL. IT IS THE
MOST FUNDAMENTAL OF
ALL SKILLS NECESSARY IN
ARTS.
EXAMPLES

TAPESTRY DRAWING
  PENCIL LEADS ARE GRADED IN
MEDIUMS OF THE DIFFERENT DEGREES OF HARDNESS OR
SOFTNESS.
VISUAL ARTS
 FOR LINEWORK, HARD PENCIL LEAD IS
APPLIED

PENCIL, PEN AND INK, AND  INK, OFFERS A GREAT VARIETY OF

CHARCOAL QUALITIES, DEPENDING ON THE TOOLS
AND MEDIUMS STILL IN USE

 SOFT CHARCOAL PRODUCES THE

DARKEST VALUE, WHILE THE HARDEST
PRODUCES THE LIGHTEST TONE.
MEDIUMS OF THE VISUAL ARTS

BISTRE CRAYONS
 BISTRE IS A BROWN  CRAYONS ARE
PIGMENT EXTRACTED PIGMENTS BOUND BY
FROM THE SOOT OF
WAX AND COMPRESSED
WOOD, AND OFTEN USED
IN PEN AND WASH INTO PAINTED STICKS
DRAWINGS USED FOR DRAWING
EXAMPLES

BISTRE CRAYONS
MEDIUMS OF THE VISUAL ARTS

 SILVERPOINT

 TOPRODUCE A SILVERPOINT ARTWORK, THE

ARTIST USES A SILVER STYLUS TO PRODUCE
A THIN GRAYISH ON SPECIALLY PREPARED
PAPER.
EXAMPLES
MEDIUMS OF THE VISUAL ARTS

PRINTMAKING LITHOGRAPHY
 A PRINT IS ANYTHING  LITHOGRAPHY IS A
PRINTED ON A SURFACE SURFACE PRINTING DONE
THAT IS A DIRECT RESULT FROM AN ALMOST SMOOTH
FROM THE DUPLICATION SURFACE WHICH HAS BEEN
PROCESS TREATED CHEMICALLY OR
MECHANICALLY SO THAT
SOME SURFACE AREAS WILL
PRINT AND OTHERS WILL
NOT
EXAMPLES

 PRINTMAKING  LITHOGRAPHY
SCULPTURE

 SCULPTURE is the branch of the visual arts that operates in three

dimensions. It is one of the plastic arts. Durable sculptural processes
originally used carving and modelling, in stone, metal, ceramics, wood and
other materials but, since Modernism, there has been an almost complete
freedom of materials and process.
 STONE
 JADE
 IVORY
 METALS
 PLASTER
 CLAY , GLASS & WOOD
SCULPTURE

STONE JADE
 STONE IS THE HARD  JADE IS A FINE STONE,

AND BRITTLE USUALLY COLORED

GREEN, AND USED WIDELY
SUBSTANCE FORMED
IN ANCIENT CHINA. IT IS
FROM MINERAL AND AN HIGHLY ESTEEMED AS
EARTH MATERIAL. AN ORNAMENTAL STONE
FOR CARVING AND
FASHION JEWELRY.
SCULPTURE

IVORY METALS
 IVORY, WHICH COMES  METALS INCLUDE ANY OF A
FROM THE MAIN PARTS OF CLASS OF ELEMENTARY
SUBSTANCES SUCH AS GOLD,
TUSKS OF ELEPHANTS, IS SILVER, OR COPPER, ALL OF
THE HARD WHITE WHICH ARE CRYSTALLINE WHEN
SUBSTANCE USED TO MAKE SOLID AND MANY OF WHICH ARE
CARVINGS AND BILLIARD CHARACTERIZED BY CAPACITY,
BALLS DUCTILITY, CONDUCTIVITY,
AND PECULIAR LUSTER WHEN
FRESHLY FRACTURED
SCULPTURE

PLASTER CLAY
 PLASTER IS COMPOSED OF  CLAY IS A NATURAL
LIME, SAND, AND WATER. EARTHY MATERIAL THAT IS
IT IS WORKED ON AN PLASTIC WHEN WET. IT
ARMATURE OF METAL CONSISTS ESSENTIALLY OF
WIRES AND RODS IN HYRDATED SILICATES OF
ADDITION TO VARIOUS ALUMINUM AND IS USED
MATERIALS AND FIBERS FOR MAKING BRICKS AND
CERAMICS
SCULPTURE

GLASS WOOD
 GLASS IS A MEDIUM THAT IS  WOOD AS A MEDIUM IS
HARD, BRITTLE, NON- EASIER TO CARVE THAN
CRYSTALLINE, MORE OR LESS
TRANSPARENT SUBSTANCES
ANY OTHER MEDIUMS
PRODUCED BY FUSION, AVAILABLE BECAUSE IT
USUALLY CONSISTING OF CAN BE SUBJECTED INTO A
MUTUALLY DISSOLVED SILICA VARIETY OF TREATMENT.
AND SILICATES AND CONTAINS
SODA AND LIME
SCULPTURE-EXAMPLES:
ARCHITECTURE
 ARCHITECTURE IS AN ART. IN ITS STRICTEST MEANING, IT
IS THE ART OF DESIGNING A BUILDING AND SUPERVISING ITS
CONSTRUCTION.
 Architecture is shelter to serve a sprotection of all
activities of men–work, recreation, and sleep. One of the
primary purposes of architecture is to fulfill man’s needs
that led to its creation.
ARCHITECTURE
 ONEOF THE PRIMARY PURPOSES OF ARCHITECTURE IS
TO FULFILL MAN’S NEEDS. THESE INCLUDES:
 PHYSICAL NEEDS- shelter(for self prevention and
reproduction)which must have the necessities(kitchen,
bathroom, bedroom) and comfort( heat, ventilations,
furnishing.)
 EMOTIONAL NEEDS-endowed with rich beuaty and interest.
 INTELLECTUAL NEEDS-a building for science, education,
government,etc.
 PYSCHOSOCIAL NEEDS
Psychosocial needs

 For recognition, prestige, civic, and personal –man build palaces,

skyscrapers, cathedrals, public buildings, monument etc.
 For response –due to love, friendship, and sociability (fraternal buildings,
city clubs, banquet halls, ballrooms, living rooms)
 For self-expression –theaters, museums, cultural centers, stadiums,
gymnasium, bowling alleys, etc.
ARCHITECTURE

IDENTIFYING A STYLE IN
ARCHITECTURE IS A COMPLEX
UNDERTAKING. THE STYLE MUST
ACCOMMODATE AND EXPRESS THE
FUNCTION OF THE STRUCTURE.
FACTORS IN THE CHOICE AND
USE OF ARCHITECTURAL  COMPRESSIVE STRENGTH
MATERIALS  TENSILE STRENGTH
 POROSITY
 LIGHTNESS
STRUCTURAL PROPERTY  DURABILITY
- WORKABILITY WITH TOOLS
WHEN USED AS CONSTRUCTION  RIGIDITY
MATERIALS  GRACEFULNESS
 FLEXIBILITY OF USE
FACTORS IN THE CHOICE AND
USE OF ARCHITECTURAL
MATERIALS
TEXTURE

PHYSICAL PROPERTY
TONAL QUALITY
- USE OF THE MATERIAL COLOR
FOR AESTHETIC PURPOSES
  ROTTING
 CORROSION DUE TO
FACTORS IN THE CHOICE AND MOISTURE
USE OF ARCHITECTURAL  SUSCEPTIBILITY TO
MATERIALS
INFECTION BY WOOD-
BORING WEEVILS, TERMITES,
WEAKNESS OF AND OTHER PESTS
THE MATERIAL  DISCOLORATION
 SOLAR RADIATION
 FUNGUS GROWTH
  10 YEARS
FACTORS IN THE CHOICE AND  20
USE OF ARCHITECTURAL
YEARS
MATERIALS  HALF A CENTURY
 MORE THAN A
LONGEVITY OF THE CENTURY
MATERIAL
- LIFESPAN OF THE
MATERIAL
  WEIGHT
FACTORS IN THE CHOICE AND  WATER RESISTANCE
USE OF ARCHITECTURAL
MATERIALS  HEAT RESISTANCE
 ACOUSTIC VALUES
 AVAILABILITY
OTHER INHERENT
 ECONOMY
PROPERTIES
CLASSIFICATION OF ARCHITECTURAL
MATERIALS
 MATERIALS USED IN ARCHITECTURE ARE
CLASSIFIED INTO THREE:

 THE MATERIALS FOUND IN NATURE

 MATERIALS MANUFACTURE OR MADE BY MAN
 INDIGENOUS MATERIAL
CLASSIFICATION OF ARCHITECTURAL
MATERIALS
 MATERIALS IN NATURE
 THESE MATERIALS ARE DIRECT PRODUCTS OF NATURE, GIVEN AS GIFT TO
MAN. OFTEN THESE MATERIALS MAY BE USED DIRECTLY WITHOUT
PRELIMINARY WORK OF ANY KIND, ONLY REQUIRING SHAPING AND AT
TIMES, MINOR CONDITIONING.
 STONE
 LIMESTONE
 GRANITE
 MARBLE
 SANDSTONE
 WOOD
CLASSIFICATION OF ARCHITECTURAL
MATERIALS
 MATERIALS MANUFACTURED BY MAN
 THIS TYPE OF MATERIALS CONSTITUTES THE MAJORITY OF BUILDING
MATERIALS. IT REQUIRES THE MANUPULATION OF MAN BEFORE IT ACQUIRES
ITS FINISHED FORM.
 CERAMIC MATERIALS
 METALS
 BRONZE
 WROUGHT IRON
 COPPER
 CHROME-NICKEL STEEL
 ALUMINUM, MONEL METAL & NICKEL SILVERS
CLASSIFICATION OF ARCHITECTURAL
MATERIALS
 CONTINUATION…

 CONCRETE MATERIALS
 PLASTICS
CLASSIFICATION OF ARCHITECTURAL
MATERIALS
 INDIGENOUS MATERIALS
 THESE MATERIALS ARE FOUND IN LOCALITY AND ARE WIDELY USED IN
ARCHITECTURE. SOME OF THE INDIGENOUS MATERIALS ARE
 SAWALI
 COCO COIR
 BAGASSE
 ABACA
 BAMBOO
 PALM FROND STEMS
 EARTH AND MUD BRICKS, CANE WOOD, RICE HUSK, AND COGON
MEDIUMS OF THE PERFORMING ARTS

PERFORMING ARTS ARE CREATIVE

ACTIVITIES PRESENTED BEFORE AN
AUDIENCE, ON STAGE, AND IN OPEN
PLACES. THE PERFORMING ARTS
INCLUDE MUSIC, DANCE, THEATRE
ARTS (PLAY OR DRAMA), AND
LITERATURE.
MEDIUMS OF THE PERFORMING ARTS
MUSIC

MUSIC IS AN ART. CULTURE IS

REFLECTED IN ART. THE MORE MUSIC
A MAN KNOWS, THE MORE CULTURED
HE BECOMES.
VOCAL MUSIC

 VOCAL MUSIC IS THE OLDEST AND MOST NATURAL FORM OF MUSIC.

VOICE IS PRODUCED BY THE VIBRATION OF THE VOCAL CHORDS IN THE
VOICE BOX.

 CORRECT POSTURE
 CORRECT BREATHING
 CORRECT PLACEMENT OF THE VOICE
 CORRECT DICTION
 CORRECT INTERPRETATION
CLASSIFICIATION OF VOCAL MUSIC

 OPERA
 CANTATA
 ORATORIO
 MORO-MORO
 ZARZUELA
VOICE CLASSIFICATION

 VOICE DIFFERS CONSIDERABLY DEPENDING

ON ITS TIMBRE (QUALITY) AND RANGE. AS
TO TIMBRE, VOICES ARE CLASSIFIED INTO:
 WOMEN’S VOICES
 MEN’S VOICES
WOMEN’S VOICE

 SOPRANO
 TONE IS LIGHTER IN CHARACTER, LESS SOMBER, AND FREQUENTLY MORE
FLEXIBLE. BROKEN DOWN INTO:
 COLORATURA SOPRANO – HIGHEST AND LIGHTEST OF ALL VOICES
 MEZZO-SOPRANO – MEDIUM HIGH IN TONAL QUALITY
 LYRIC SOPRANO – LESS HIGH AND FLUTE LIKE. IT IS SUITED FOR SWEET SONGS
LIKE MELODIESALTO OR CONTRALTO

 ALTO OR CONTRALTO
 THE TONE IS RICHER AND FULLER
WOMEN’S VOICE

ALTO OR CONTRALTO
THE TONE IS RICHER AND FULLER
MEN’S VOICES

 TENOR
 THE HIGHEST TYPE IN MEN’S VOICES

 BARITONE
 LIES BETWEEN TENOR AND BASS

 BASS
 LOWEST AND DEAPEST VOICE QUALITY
INSTRUMENTAL MUSIC

 ASIDE FROM VOICE, INSTRUMENTS ARE THE OTHER MEDIUM

IN PRODUCING MUSIC. INSTRUMENTAL MUSIC ARE
CLASSIFIED INTO:

 SONATA
 SUITE
 SYMPHONY
 CONCERTO
 CHAMBER MUSIC
TYPES OF MUSICAL INSTRUMENTS

 MUSICAL INSTRUMENTS ARE OF THREE MAIN

TYPES:

 STRING INSTRUMENTS
 WIND INSTRUMENTS
 PERCUSSION INSTRUMENTS
STRING INSTRUMENTS
WOODWINDS
BRASSES
PERCUSSION
PROPERTIES OF MUSICAL SOUND

 MUSICAL SOUND HAVE FOUR PROPERTIES:

 PITCH
 DURATION
 VOLUME
 TIMBRE OR TONE COLOER
PITCH

BY PITCH, WE MEAN THE HIGHNESS OR

LOWNESS OF A TONE IN THE MUSICAL
SCALE. ALL SOUNDS ARE CAUSED BY
VIBRATION
DURATION

 DURATION DEPENDS ON THE LENGTH OF

TIME OVER WHICH VIBRATION IS
MAINTAINED. TONES ARE NOT ONLY HIGH
OR LOW BUT ALSO SHORT AND LONG
VOLUME

 VOLUME REFERS TO FORCE OR PERCUSSIVE

EFFECTS, AS A RESULT OF WHICH THE TONE
STRIKES US AS BEING LOUD OR SOFT.
FORTE MEANS LOUD; PIANO MEANS SOFT.
TIMBRE OR TONE COLOR

 TIMBREIS AN INDIVIDUAL QUALITY OF THE

SOUND PRODUCED BY OTHER INSTRUMENTS.
THIS DEPENDS ON HOW THE INSTRUMENT
ACCENTUATES THE OVERTONES WITHIN THE
SOUND WAVE.
METHODS OF ART PRODUCTION AND
PRESENTATION
 IN ART PRODUCTION, CERTAIN METHODS ARE EMPLOYED FOR THE
PRESENTATION TO BE EFFECTIVE. AUTHORITIES IN THE ARTS ARE ONE IN
THEIR VIEW THAT THE DIFFERENT METHODS USED BY THE ARTIST IN THE
PRODUCTION AND PRESENTATION OF AN ART ARE:
 REALISM
 ABSTRACTION
 SYMBOLISM
 FAUVISM
 DADAISM
 FUTURISM
 SURREALISM
 EXPRESSIONISM
REALISM

 IN PAINTING, THIS IS THE  WE CAN SAY THAT AN

ATTEMPT TO PORTRAY THE ARTWORK IS REALISTIC
SUBJECT AS IT IS. EVEN WHEN
THE ARTIST CHOOSES A
WHEN PRESENTATION AND
SUBJECT FROM NATURE, HE ORGANIZATION OF
CAN SELECT, CHANGE AND DETAILS IN THE WORK
ARRANGE DETAILS. REALIST SEEM SO NATURAL.
TRY TO BE AS OBJECTIVE AS
POSSIBLE.
REALISM
ABSTRACTION

 ABSTRACTION IS USED WHEN THE ARTIST BECOMES SO

INTERESTED IN ONE PHASE OF A SCENE OR A SITUATION THAT HE
DOES NOT SHOW THE SUBJECT AT ALL AS AN OBJECTIVE
REALITY, BUT ONLY HIS IDEA, OR HIS FEELINGS ABOUT IT.
ABSTRACTION

 ASBTRACT SUBJECTS  DISTORTION

CAN BE PRESENTED  ELONGATION
THROUGH:
 CUBISM
 ABSTRACT EXPRESSION
ABSTRACTION
SYMBOLISM

 A SYMBOL IN GENERAL, IS A VISIBLE SIGN OF SOMETHING

INVISIBLE SUCH AS AN IDEA OR A QUALITY. IT CAN BE
SIMPLY AN EMBLEM OR SIGN LIKE:

 % TO REPRESENT PERCENT
 A LION REPRESENT COURAGE
 A LAMB REPRESENT MEEKNESS
EXAMPLE

FOR THOU’ FROM OUT OUR BOURNE OF TIME AND PLACE

THE FLOOD MAY BEAR ME FAR
I HOPE TO SEE MY PILOT FACE TO FACE
WHEN I HAVE CROST THE BAR
SYMBOLISM
FAUVISM

 FAUVISM WAS THE FIRST  THE FAUVES DID NOT

IMPORTANT ART ATTEMPT TO EXPRESS
MOVEMENT OF THE 1900s. ETHICAL, PHILOSOPHICAL,
THE FAUVES FLOURISHED OR PSYCHOLOGICAL
AS A GROUP ONLY FROM THEMES. MOST OF THE
ABOUT 1903 TO 1907 BUT ARTISTS TRIED TO PAINT
THEIR STYLE GREATLY PICTURES OF COMFORT,
INFLUENCED MANY LATER JOY AND PLEASURE.
ARTISTS.
FAUVISM
DADAISM

 DADAISMIS A PROTEST MOVEMENT IN THE

ARTS FORMED IN 1916 BY AND OF ARTISTS
AND POETS IN ZURICH, SWITZERLAN. THE
DADAISTS REACTED TO WHAT THEY
BELIEVED WERE OUTWORN TRADITIONS IN
ART AND THE EVILS THEY SAW IN SOCIETY.
DADAISM
FUTURISM

 FUTURISMDEVELOPED IN ITALY ABOUT THE SAME

TIME CUBISM APPEARED IN FRANCE. FUTURIST
PAINTERS WANTED THEIR WORKS TO CAPTURE
THE SPEED AND FORCE OF MODERN INDUSTRIAL
SOCIETY.
FUTURISM
SURREALISM

 THE SURREALIST MOVEMENT IN ART AND

LITERATURE WAS FOUNDED IN PARIS IN 1924
BY THE FRENCH POET ANDRE BRETON. LIKE
DADAISM, FROM WHICH IT AROSE,
SURREALISM USES ART AS WEAPON AGAINST
THE EVIL AND RESTRICTIONS THAT
SURREALISTS SEE IN SOCIETY.
TWO MAIN TYPES OF SURREALISM ART

 INSPIRED BY DREAMS  AUTOMATISM

EXPRESSIONISM

 EXPRESSIONISM INTRODUCED IN GERMANY DURING THE

FIRST DECADE OF THE TWENTIETH CENTURY. IT HAS CAST
ITS INFLUENCE ON EUROPEAN ARTISTS FROM 1910 UP TO
PRESENT. IT ALSO SEEMED TO HAVE INFLUENCED THE
PLAYWRIGHTS IN ENGLISH AND FILIPINO IN THE
PHILIPPINES AS CAN SEEN ON THE WORK OF AMELIA
LAPEÑA-BONIFACIO, “SEPANG LOCA” (1958).
EXPRESSIONISM
END

ANG DAMI NO?

SMILE LANG!!!