COURSE PACK IN ART APPRECIATION

THE MULTICULTURAL EDUCATION HUB

PROF. JUNE R. DUMANHUG

FOR CLASSROOM USE ONLY

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Preface

Dudley, Faricy and Rice, the authors of a classic book in Humanities, said: ―ART IS CREATED BY ALL PEOPLE, IN ALL PLACES, AT ALL TIMES. IT LIVES BECAUSE IT IS LIKED AND ENJOYED.‖

Welcome to the world of art!

Art Appreciation is one of the General Education courses which aims to provide students the opportunity to observe, participate in, and experience works of art in order to appreciate their role and purpose in life.

Essential to this course is knowing the different creative works from classical to contemporary in relation to the experiences of people who made them.

Students are expected to do creative outputs as well like e-portfolio, digital story, poster about a particular advocacy, and many more as they learn the different art forms discussed not only in the class but also from online sources.

Enjoy life and keep the passion for art alive!

I am Ms. June R. Dumanhug, your course professor and I am so glad to have you in my class.

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GED HUM 01 – ART APPRECIATION

This is an self-paced course for this term, but you must comply all the requirements before the term ends. It is recommended that you work at least two to three lessons per week, but you may do more or less depending on your schedule. The lessons are divided into three parts: (a) Art: Its Nature and Importance; (b) The Different Art Forms; (c) Art History in Brief. Since Part 1 and 2 are outlined in a linear fashion, you should work through the lessons in order. The last part can be worked on anytime.

MODULES There are a total of six modules. Each module includes the following:  Overview & Objectives o This includes a short introduction, topic/s, and module objectives.  For a Start! o This is a review of what you have learned in the past, a sort of activating prior knowledge or a video.  Watch/Read About It o This covers the content and instructional narrative for the module. Instructional videos are included in the toolkit for you to easily grasp the concepts.  Write About It o This is where you write your brief reflection or the concepts you learned.  Test Your Learning o Short practice tests to assess your knowledge of the concepts you have studied.  Recommended Readings/Videos o You can find articles and videos here for additional information.

MATERIALS 



No textbook is required, but you may also browse in the world wide web for additional information of the topic . All materials are contained within the modules as well as the external links.

All requirements are to be uploaded on your ePortfolio. (See separate page on how to make an electronic portfolio.)

GRADES Grading system is found in the syllabus.

TIME COMMITMENT To be able to complete each lesson, you need diligence and interest. Its completion varies depending upon your interest to learn, the time you spend on the narrative section (reading, looking at images, exploring links and videos), and the time that you spend writing and answering test questions.

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Overview and Objectives This module gives a basic understanding of the meaning of Art , its nature and importance. It covers the following topics: 1.

2.

3.

4.

What is Art ?

The Universality and Importance of Art Art and Experience Art and Nature

At the end of the module, students should be able to: 1.

2.

3.

4.

5.

explore the concept of art and characterize ‗art‘ in a cultural perspective; discuss the importance of art in one‘s life; differentiate art and nature; explain the relationship of art and experience; and explain the roles art plays within different cultures.

1. Choose from the list below at least 10 works of art. beehive, painting, drawing, , face, hair, hairstyle, house, Beethoven‘s Fur Elise, plate, red rose, man, movie, song, poem, sound of a lawnmower, footsteps, electric fan, tree, sea, green lawn

2. Write True if the statement is true and False if it is false.

2.1 Art can be man-made and God-made.

2.2 The concept of beauty differs from culture to culture.

2.3 There can be no appreciation of art without experience.

2.4 Art is an exact duplicate of nature.

2.5 Works of art are commonly found in museums and galleries.

2.6 Art does not grow old.

3. What is art to you? Write your definition/description of art using the cluster word web below.

ART

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What is Art? Where does the word art come from? Is art defined by history and historical process? Do aesthetic standard of art vary from one culture to another? Do cultures differs in the way they perceive art?

Art is defined by history and historical process. Its standard of beauty varies from culture to culture , thence, the statement, ―Beauty is relative,‖ which means that what might be beautiful in one culture may not be perceived as beautiful in another culture. In this sense, we can deduce that no set of aesthetic principles common and good for all people, for all times is ever constructed.

The word art comes from the Aryan root word ―AR‖ which means ―to put together‖. Another origin came from Latin ―ars‖ or ―artis‖ which means ability or skill. Hence, when we dance, paint, compose a song, we use this ability of putting together the elements needed for production.

How might you characterize 'art'? For some individuals art is a particular thing; an artwork, figure or photo, a move, a sonnet or a play. It is these things, and more. They are mechanisms of creative articulation. Webster's New Collegiate word reference characterizes art as "The cognizant utilization of ability and innovative creative mind particularly in the creation of tasteful articles." Yet art is substantially more than a medium, or words on a page.

Art is uniquely human and tied directly to culture. It takes the ordinary and makes it extraordinary. It asks questions about who we are, what we value, the meaning of beauty and the human condition. As an expressive medium it allows us to experience sublime joy, deep sorrow, confusion and clarity. It tests our strengths, vulnerabilities and resolve. It gives voice to ideas and feelings, connects us to the past, reflects the present and anticipates the future. Along these lines, art history, combined with anthropology and literature, are three main sources in observing, recording and interpreting our human past.

Art is a highly diverse range of human activities engaged in creating visual, auditory, or performed artifacts— artworks—that express the author‘s imaginative or technical skill, and are intended to be appreciated for their beauty or emotional power.

The oldest documented forms of art are visual arts, which include images or objects in fields like painting, sculpture, printmaking , photography, and other visual media . Architecture is often included as one of the visual arts; however, like the decorative arts, it involves the creation of objects where the practical considerations of use are essential, in a way that they usually are not in another visual art, like a painting.

Art may be characterized in terms of mimesis (its representation of reality), expression, communication of emotion, or other qualities. Though the definition of what constitutes art is disputed and has changed over time, general descriptions center on the idea of imaginative or technical skill stemming from human agency and creation. When it comes to visually identifying a work of art, there is no single set of values or aesthetic traits. A Baroque painting will not necessarily share much with a contemporary performance piece, but they are both considered art.

Despite the seemingly indefinable nature of art, there have always existed certain formal guidelines for its aesthetic judgment and analysis. Formalism is a concept in art theory in which an artwork‘s artistic value is determined solely by its form, or how it is made. Formalism evaluates works on a purely visual level, considering medium and compositional elements as opposed to any reference to realism , context, or content.

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Art is often examined through the interaction of the principles and elements of art. The principles of art include movement, unity, harmony, variety, balance, contrast, proportion and pattern. The elements include texture, form, space, shape, color, value and line. The various interactions between the elements and principles of art help artists to organize sensorially pleasing works of art while also giving viewers a framework within which to analyze and discuss aesthetic ideas.

The Universality and Importance of Art Louise Dudley, Austin Farice and James G. Rice The psychologist J.C.Flugel,in his book The Psychology of Clothes has concluded that ―the three basic motives for clothing ourselves are for protection, for modesty and for decoration.

Amassing evidence from various geographical regions and primitive peoples, he finds – surprisingly – that the most important of these three motives is decoration. By ―important‖, he means pervasive. There are many examples of clothing worn in severe climates which is not protective and modesty is an extremely relative term – dress considered modest in one culture or geographic region is frequently considered immodest or indecent in another. This line of reasoning leads Flugel to a conclusion that when the wish to be attractive -- that is to adorn oneself in keeping with the aesthetic ideals of one‘s society – comes into conflict with the need for comfort and protection, it is the impulse to decoration that wins. Similarly, Franz Boas, in his book, Primitive Art, points out that there are no known people to the anthropologist, no matter how close to the level of mere survival, that do not put into art energies that they can ill afford to subtract from their struggle against nature.‖ The arts constitute one of the oldest and most important means of expression developed by human beings. Even if we go back to those eras called ―prehistoric‖ because they are older than any periods of which we have written records, we find works to which we give an important place in the roster of humanities. In 1879, a Spaniard accompanied by his little daughter, was exploring a cave in Altamira in Northern Spain. Suddenly, she began to cry, ―Bulls! Bulls!‖ He turned his lantern so that the light fell on the ceiling of the cave, and there he saw the pictures of wild boar, hind and bison, which we now know as the Altamira cave paintings. Since that time, some similar paintings have been found in other caves, and the experts have given their judgment that these belong to the Upper Paleolithic Age, 10,000 to 20,000 years before Christ.

Even at this stage, one senses the basic rooting of art in the human psyche: the seeking and making of external images for inner feelings and emotions. Sitting in a cave in flickering firelight, the early artist sees or finds – taking shapes in the shadows playing along the rough, rocky walls – images from daily activities. Outlining with charcoal and other colored material helps define these forms so that they become recognizable to all. In some of the cave paintings, jutting rocks serve as hip-bones, heads or other parts of animals; in flickering light they give the paintings a sense of movement and three-dimensionality. Our need to give objective, physical form to what we dream, feel or imagine is the source of creativity. The development and use of skills in doing this gives us art.

We do not have any examples of music and dancing at such early dates, because for a long time, there were no adequate means of notation for these arts; but we do know that music and dance were important very early in human history. These are evident in early Greek vases, for example, where we can see pictures of instruments and dancers.

The old Testament refers often to musical instruments. In II Samuel 6:5, we are told that when the ark was brought home, ―David and all the house of Israel were dancing lustily before the eternal and singing with lutes, with lyres, with drums, with rattles, and with cymbals.

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Moreover, the Hebrews had a song book, the Psalms, which in its present form probably dates from the second century, B.C., though many of the songs are older.

Not only is art found in all ages; it is found also in all the countries in the world.

Stonehenge is in England; the beautiful head of Nefertiti is from Egypt; Aesop‘s fables are Greek, as is this little song of Sappho, a poet in the fifth century, B.C.: Mother I cannot mind my web today All for a lad who has stolen my heart away.

The Arabian Nights tales, which came to us from Persia or one or the other of the Arabicspeaking countries, eventually go back to Ancient India. The Rubaiyat of Omar Khayyam, from the eleventh century after Christ, is Persian, though it is best known to us in the quatrains of FitzGerald, of which the following is possibly the most famous: A Book of Verses underneath the Bough, A Jug of Wine, a loaf of Bread – and Thou Beside me singing in the Wilderness – Ah, Wilderness were Paradise enow!

No matter what age or country we consider, there is always art. And this art is not good because it is universal, but universal because it is good. Old songs and stories, old pictures and statues, have been preserved because they are alive, because they meet the needs of people, because they are liked. There is a timelessness about art which makes us feel it is not old; that is, it does not grow old.

When we recite the Psalms – ―The Lord is my shepherd, I shall not want,‖ or ―By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion‖— we do so because we find in them something that fits our needs.

In the final evaluation of any work of art, age and nationality as such are matters of comparative indifference. Bach, Beethoven, and Brahms lived in different centuries, and all composed great music; the final evaluation depends on the music alone. The bust of the Pharaoh‘s consort, Queen Nefertiti, made more than 3,000 years ago, is as contemporary in feeling as the portrait of Anna Zborowska which Amedeo Modigliani painted in 1919. The Egyptian artist, in producing for the pharaoh‘s enjoyment what may be the first true portrait in the history of art, has abandoned the priestly canons of the monumental and funeral art of the time. Without the pomp and circumstance usually accorded semi-divine personages, the artist has given us the mature, graceful woman in a style that is both modern and archaic, and therefore timeless.

An important point about the humanities, then, it is that art has been created by all people, at all times, in all countries, and that it lives because it is liked and enjoyed. A great work of art is never out of date. This point has been stated in many different ways by different people.

Some speak of the intrinsic worth of art: its value is in itself. Bernard Berenson, the art critic and historian, talks of the ―life-enhancing value of art. Whatever words are used, the fact remains that we like art for itself, and the value of art, like all spiritual values, is not exhausted. Art is used but it is not used up. It does not grow old.

Art and Experience It has been said that art is experience, because all art demands experience; but probably it is clearer to say that all art involves experience, that there can be no appreciation of art without experience (Dudley, et al, 1978). In doing a work of art, there are different levels or kinds of experience involved in it.

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Kinds of experience involved in the artistic activity: 1. It usually starts as an experience that the artist wants to communicate.

2. The act of expressing that experience.

3. The gratifying experience of having accomplished something significant.

To illustrate the kinds of experience, let us take this scenario. On your first day of school, you were fascinated by the beauty of the Gibong river close to it. You immediately had the desire to tell everyone about it. So, you grabbed a pen and paper, scribble some lines and presto you were able to compose a poem about the river. The first experience that you had is your fascination of the Gibong river. It is followed by the next experience which is writing or composing a poem. The last experience is the happiness you felt because you have done something important.

There is a kind of experience outside the three kinds of experience mentioned that an artist may experience when he/she presents his/her work to the viewers. When we judge a work of art, we use prejudiced eyes. As viewers or onlookers, we are free to make comments on the artist‘s work. Comments may be positive or negative. Whatever is felt by the artist after knowing the comments is another kind of experience that he/she experienced.

According to an artist, Jean Dubuffet, ―Art is a language, an instrument of knowledge, an instrument of communication.‖ The making of art, being a human enterprise, communicates our shared experiences and therefore communicates meaning. We can understand this through our basal, embodied reactions to artwork, regardless of the medium. For example, music is described through the way it moves; this is intrinsically related to how we describe our bodies in motion.

The language we use to describe art is the same as we use to describe our physical movement through the world. Music takes us on journeys, it moves us. We also experience visual art through bodily experience (Dolese, 2015). An artist uses symbols to communicate an experience.

As viewers, we usually do not understand the symbols used. If the symbols are not understood, there is no communication between the artist and the viewers. But for an artist, expression is more important than communication (Ortiz, et al, 1976).

Art and Nature Louise Dudley, Austin Farice and James G. Rice 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 is itself not nature.

Landscaping has been practiced as an art for thousands of years. The elaborately planned and executed grounds and gardens of eighteenth-century mansions reflect the same aesthetic ideals characteristic of the architecture, music, sculpture and painting of the period. Although today we may marvel more in wonder than in aesthetic admiration at trees and shrubs grown and shaped like animals or trained into unnatural symmetrical forms, a little reflection will reveal that they share an aesthetic with the other arts of the century. Japanese gardens and bonsai trees are so closely tied to Oriental aesthetics that we recognize the cultural origins of even very bad imitations. More recently, sophisticated, heavy earth-moving machinery has been used to sculpture mountains, valleys, streams, and lakes into waste areas of garbage and sands. In all these, nature is the medium, not the finished art. Even so-called ―found objects‖ of some twentieth-century artists are not nature. True, they are sometimes natural objects found in nature or objects made by human beings for some other purpose; but when they are placed in a frame, organized into sculpture, or otherwise isolated, they are experienced in a way, given a new significance. What is art is not nature; what is nature is not art.

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There is a story that a woman looking at a painting by Matisse said. ―I never saw a woman who looked like that!‖ and Matisse replied, ―Madam, that is not a woman; that is a painting.‖ A woman must be looked as a woman, and a painting as a painting.

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. Therefore, we have the right to ask of any work of art: Why did the artist make it? What did the artist want to show? What experience was he or she trying to make clear? What had intrigued the artist so much that sharing it with others seemed important?

When are things considered part of nature or part of art? Their similarities may only be philosophical though. On further thought Art and Nature are distinctly different maybe even antonyms? Art is man made, or at least man organized. Art needs someone somewhere to say, ―This is art.‖ Man has the opposite relation with nature. Nature is nature until someone makes it or thinks of it as not nature. Humans can act naturally as apart of nature, until they begin to think and comprehend. Only when you look deeply into nature that you realize that is very much unnatural. I now believe that if you can see nature it is probably not natural. While Nature needs the absence of thought to be nature, art is not art until someone thinks about it and comprehends it. The view from the top of a mountain is not art until it is being experienced or has been photographed (Conley, 2013).

What are the new concepts that you learned today? Write those concepts here. This is a way to remember important concepts learned.

Take this short test!

1. Retake the test you have taken before studying the material.

2. Answer briefly the following questions.

2.1 Explain the statement ―Art is not good because it is universal, but universal because it is good.‖ 2.2 Differentiate art and nature. How do we employ art in nature?

2.3 Study the photograph and the charcoal drawing. Explain the statement, ―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.‖

Model: Cris Adrian C. Abrea Artist: Hannah Clarice P. Cagadas

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Recommended Readings What Is Art? by Leo Tolstoy. Julie Van Camp. Mar. 1998. Excerpts from Tolstoy's 1899.work. http://www.csulb.edu/~jvancamp/361r14.html (Used with permission) Art, Aesthetics, and Beauty. https://courses.lumenlearning.com/masteryart1/chapter/oer-1-11/

References: Bascara, L. R. and Avillanoza, A. T. (2006). Humanities and the Digital Arts. Manila: Rex Book Store.

Conley, M. (2013). Nature vs Art. Retrieved from https://academics.skidmore.edu/blogs/en2292-s13/2013/02/12/nature-vs-art/ Dolese, M. J. (2015). Art as Communication: Employing Gricean Principles of Communication as a Model for Art Appreciation. Retrieved from https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1921&context=gc_etds Dudley, L., Faricy, A. and Rice, J.G. (1978). The Humanities, 6th ed. New York: McGraw-Hill Book Company.

Ortiz, M., et al. (1976). Art: Perception and Appreciation. Manila: University of the East.

What is art? (n. d.) Retrieved from https://learn.canvas.net/courses/24/pages/m1-what-isart?module_item_id=44378 What is Art? (n. d.) Retrieved from https://courses.lumenlearning.com/boundlessarthistory/chapter/what-is-art/

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Overview and Objectives The lessons covered in this module are the following:  Subject and Content  Functions of Art At the end of the module, students should be able to: 6. differentiate subject and content, functional and nonfunctional arts, representational and nonrepresentational arts; 7. identify the subjects in some of the famous art works in the Philippines; and 8. apply artistic processes and skills, using different media to communicate meaning and intent in original works of art;

LESSON 1 – The Subject of Art 1. Listen to Chopin‘s Nocturne op. No. 9. After listening to Chopin‘s composition, listen to your favorite song. Which is more difficult to comprehend in terms of meaning? (Auditory Art Folder) 2. Study Mag-ina sa Banig of Nestor Leynes. What does it show?

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Subject: Is it Essential in Art? What is it? What does it show?

These are the initial questions asked when you look at paintings, sculpture or when you listen to a musical piece. You might be expecting to see images or hear familiar experiences that are recognizable in those artworks.

To a majority of people, the appeal of most works of art lies in the representation of familiar objects. Their enjoyment of painting, sculpture, and literature comes not from their perception of the "meaning" or composition but from the satisfaction they get out of recognizing the subject or understanding the narrative content (Ortiz, M. A., et al, 1976).

Subject of art refers any person, object, scene or event described or represented in a work of art. According to subject, arts can be classified into representational or objective art which refers to works of arts that have subject and non-representational or non-objective art which refers to works of art that do not represent anything.

Painting, sculpture, the graphic arts, literature and the theatre are generally classified as representational, although a good deal of paintings, prints and sculpture are without subject.

Some musical compositions have subjects. They are referred to as program music. On the contrary, there is also a great deal of musical compositions which do not have subject. They do not present descriptions, stories or references to identifiable objects or symbols. Rather, they appeal directly to the senses primarily because of the satisfying organization of their sensuous and expressive elements. Because not all artworks have subject, it is clear that subject is not essential in art (Dudley, Faricy, Rice, 1978).

Ways of Presenting the Subject Subjects are represented in many ways. Its manner varies according to the creativity and purpose of each artist. The artist may use realism, abstraction or distortion.

Realism Realism as a way to represent a subject means depicting the subject normally as it appears in nature. Even if how realistic is the work of an artist, strictly speaking, it is not truly realistic. As Ortiz, et al (1976) put it, "no work of art is truly realistic since no work of art is an accurate copy of what exists in the natural world." No art is ever like nature. Even when artists choose a subject from nature, they change select and arrange details to express the ideas they want to make clear (Dudley, Faricy, and Rice, 1978).

Let us not be confused with realism as a way to present a subject and realism as an art movement. As a movement, it gives more emphasis on depicting the world as it is, without artificiality. (Read: Realism Movement, Artists and Major Works | The Art Story at) There are paintings which seem to be photographic renderings of facts that you might have a second thought whether you are looking at photographs or paintings, but we have to remember that those are man-made and not accurate copies of what we see in nature. Below are examples of realistic artworks.

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Abstraction Abstraction is a process of simplifying and/or reorganizing objects and elements according to the demands of artistic expression. The artist selects and renders the objects with their shapes, colors and positions altered (Ortiz, et al, 1976). Sometimes an artist becomes so interested in one phase of a scene or a situation that the subject is not shown as an objective reality, but only as the artist's idea of it or feeling about it. For example, Brancusi is impressed by the grace of the bird in flight, by the sweep of its body as it flies through the air, so he tries to represent those qualities in his statute Bird in Space. It does not look like a bird, and it is not supposed to look like a bird. It is supposed to convey an impression of a bird's grace and speed (Dudley, Faricy and Rice, 1978).

It is to be remembered, however, that abstract arts can be representational or nonrepresentational. Brancusi's Bird in Space is an abstract work and it has a subject. For those abstract works without subject, a more exact term is non-objective.

Some works of art are close to realism, others are close to abstraction. Therefore, between these two ways, there are still many ways of presenting the subject.

Distortion When an artist changes the original shape of an object, the object is said to be distorted.

Ancient Egyptian relief sculptures and paintings were usually distorted. There are parts of the body which were shown in profile position while the rest were frontal.

Distortion is usually done to dramatize the shape of a figure or to create an emotional effect (Ortiz, et al., 1976). A political art like caricature is an example. Caricatures use distortion to make the objects of ridicule appear ugly and hateful. The works of a surrealist painter, Marc Chagall, and an expressionist, Edvard Munch, can also be used as examples of this category.

Sign and Symbol We see signs everywhere – on the street, on the dashboard of our cars, etc. When a pianist opens a piece of music, he/she knows how to play the piece based on the signs. Signs and symbols are two different things used by artists.

According to Dudley, Faricy and Rice (1978), signs have literal quality. Symbols combine them with an abstract or suggestive meaning.

Symbols mean more than they say. A ―crucible‖ was a medieval vessel in which metals could be separated from the less valuable materials which become liquid at a specific temperature. In this sense, crucible is a sign. But when Arthur Miller wrote the play ―Crucible‖ which deals with the religious and social pressures of a community struggling against delusion and hysteria, the word becomes symbolic.

A sign has a one-to-one reference to what it signifies; it points to something in some context other than its own. The individual shapes in a configuration of shapes; the letters in a word; the tones in a melody and the notes signifying them – these are all signs carrying bits of information which enter into perception as a meaningful whole. In this way, the signs (attributes) in the statue of Mercury attributed to Adriaen de Vries must be taken together to identify it as a representation of the messenger of gods – winged cap and sandals, hand pointing to the sky

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(divine messenger), staff and intertwined snakes (healers). The caduceus (staff and intertwined snakes) was thought to have magical powers over sleeping, waking and dreaming, and so became identified with healing. It is now a symbol of the medical profession.

Unlike signs in a one-to-one relationships, symbols do not have definite meanings. Their meanings are as broad as the range of emotions they elicit, that is their connotations. The symbols used by different religions can be understood only within the tradition of a particular religion, e.g. St. Peter is represented with a key – a sign which could only be understood within the biblical tradition. To a Hindu, such context is not as rich or meaningful as it is for a Christian. In the same manner, the head (figure on the right side) can be identified as the Buddha by the four attributes of the usual Indian representation: the ―bump of wisdom,‖ covered with a topknot of hair; the tuft of hair between the eyes, sometimes called ―the eye of knowledge,‖ which his followers imitate with cosmetics (the urnao); the eyes lowered in humility;the pendulous earlobes with long slits made by the princely jewelry he once wore but abandoned renouncing his worldly life, But even with the identification the meaning is not as rich to a Christian as to a Hindu.

Private symbols are also common in art and often what they represent are only known to the artist. The parables in the New Testament are such symbols.; apostles often had to asked Jesus of the meaning. Sometimes one is not certain whether a symbol is intended, as Robert Frost‘s poem ― Stopping by the Woods on a Snowy Evening.‖ Stopping by Woods on a Snowy Evening

BY ROBERT FROST Whose woods these are I think I know.

His house is in the village though; He will not see me stopping here To watch his woods fill up with snow.

My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year.

He gives his harness bells a shake To ask if there is some mistake.

The only other sound‘s the sweep Of easy wind and downy flake.

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

Here no separate literary image – snow filling up the neighbor‘s woods, the habit-ridden horse, the contemplative drive – carries a specific meaning in the way the whole does in expressing a definite mood. Frost as a poet gives us a concrete picture to express an abstraction, a way of expressing a feeling in the aesthetic form of poetic language which a prose paraphrase of the subject would not reveal. The poem therefore is symbolic to whoever has had a similar 2GED HUM 01 – ART APPRECIATION

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experience which can be recreated from images in memory. But, again, how would one who had never seen snow understand such a poem? A prose translation would give all the information contained implicitly in Frost‘s poem, but it would miss the significance, even if one had an encyclopedia at hand with the same explicit information but lacked the simple experience. The meaning would be as hidden as the metaphor of Jesus concerning the coming of the kingdom of heaven.

In Visual arts, we may see relatively clear symbols, as in Munch‘s expressionist painting, The Shriek (or The Scream) – a comment on psychological dislocation – or Kandinsky‘s Improvisation #30, which symbolize a foreboding of World War I. We also may find more abstruse symbols in such work as Beckmann‘s Departure. Here the much more private nature of the painter‘s expression necessitates some sort of translation by the critic. We may guess that the side panels symbolize the tyranny of Nazism and the central panel reflects the artist‘s liberation from it.

The Shriek or The Scream,1893 Edvard Munch

Improvisation #30 Wassily Kandinsky

Departure (created 1932-1935) Max Beckmann

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Dreams and the Subconscious Artists have developed ways of presenting the subject that have to do with dreams and unconscious. In early 20th century, Freud founded psychoanalytic theory. The achievement and historical status of psychoanalysis lie in that it puts forward for the first time that aesthetics and art are built on human's subconscious, and makes subconscious become human's spiritual essence for the first time. Subconscious is a special mental state and a person's internal mental process. Meanwhile, subconscious is also the best way to understand thoroughly people's inner thoughts. Surrealism is a literature and art school started from France. Its theory is influenced by psychoanalysis of Freud, and advocates abandoning the reality image based on logical and ordered experience memory, and presenting the image world in human's deep psychology. Dali is a representative of surrealism painting. His works has a far reaching influence on visual arts.

For surrealistic artists, subconscious is the only source of artistic creation, and the expression of subconscious content also becomes the fundamental objective of artistic creation.

The creation of artist turns from conscious level to subconscious level, starts the artistic expression dominated by human's instinctive impulse, content of dreamland and view of dreamland. The content of subconscious has full visual expression, and the "id" is further explored in a deeper level.

Below are examples of surrealistic paintings.

Philosopher‘s Lamp, 1936 René Magritte

In the Tower of Sleep, 1938 André Masson

Slave Market with the Disappearing Bust of Voltaire, 1940 Salvador Dali

The Elephant Celebes, 1921 Max Ernst

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Kinds of Art Subject When we listen to music, read a story or watch a film, we can easily determine its subject because the subject used in art is usually apparent. It needs no account other than the piece work itself. Where do artists get their subject? Any artist may use any subject from any source, and it is impossible to ever know all the subjects of art. Even the scholar who has devoted a lifetime to their study never expects to know all of them (Dudley, Faricy and Rice, 1978).

1. Landscapes, seascapes and cityscapes Landscapes refer to artworks that depict natural scenery such as mountains, cliffs, rivers, etc., seascapes refer to art works that depict the sea, while cityscapes are works that showcase aspects of cities which are often known as the urban equivalent of a landscape. These works may be paintings, etchings, engravings, or even photographs.

These are favorite subjects of Chinese and Japanese artists. In the Philippines, Fernando Amorsolo is well known for romanticizing landscape. While modern Filipino artists like Vicente Manansala, Arturo Luz and Mauro Malang Santos who seemed to be attracted to scenes in the cities have produced cityscape paintings.

2. Still life A still life (plural still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects that may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still lifes break the twodimensional barrier and employ three-dimensional mixed media, and use found objects, photography, computer graphics, as well as video and sound.

3. Animals Drawing and painting animals has always been a popular subject for artists throughout history. Stone Age men decorated their caves with the images of the animals that they hunted for food. Ancient Egyptian artists depicted many of their gods with the heads of animals. Tribal artists from every continent combined animal and human features to symbolize man's bond with his natural environment. Artists in the Middle Ages used mythical beasts to decorate medieval manuscripts while commonplace creatures often took on secret symbolic associations. Seventeenth century artists painted hunting scenes that illustrated dramatic life and death struggles between man and beast. Eighteenth century artists chose to celebrate the natural beauty and majestic power of animals in their natural habitats. Nineteenth century Victorian artists painted sentimental pictures of their domestic pets and livestock.

Artists of the 20th century explored the entire range of animal genres and invented a few more of their own.

4. Portraits A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression are predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer in order to most successfully engage the subject with the viewer .

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5. Figures Figurative art features the human figure similar to the way a portrait does.

Figurative art may convey narrative or story elements.

6. Genre/Everyday Life Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations (also called genre works, genre scenes or genre views) may be realistic, imagined, or romanticized by the artist.

7. History and Legend History and legend are popular subjects of art. While many works may not be consciously done historical records, certain information about history can be pieced from them. The costumes and accessories, the status symbols, the kinds of dwellings or the means of transportation.

Malakas and Maganda and Mariang Makiling are among the legendary subjects which have been rendered in painting and sculpture by not a few Filipino artists 8. Religion and Mythology Art has always been a handmaiden of Religion. Most of the world‘s religions have used the arts to aid in worship, to instruct, to inspire feelings of devotion and to impress and convert non - believers. The Christian Church commissioned craftsmen to tell the stories about Christ and the saints in pictures, usually in mosaics, murals and stained glass windows in churches. It also resorted to the presentation of tableaux and plays to preach and teach.

There are, however, religious groups like Islam and Judaism that prohibit the representation of divinity as human beings or animal forms, although they allow the use of some signs or symbols in their place. Pictures of God, human beings, or animals are forbidden because people might worship the images themselves.

9. Dreams and Fantasies Dreams are usually vague and illogical. Artists especially the surrealists have tried to depict dreams as well as the grotesque terrors and apprehensions that lurk in the depths of the subconscious. A dream may be lifelike situation. Therefore, we would not know if an artwork is based on a dream unless the artist explicitly mentions it. But if the picture suggests the strange, the irrational and the absurd, we can classify it right away as a fantasy or dream although the artist may not have gotten from the idea of a dream at all but the workings of his imagination.

Subject and Content Subject is the object depicted by the artist while content refers to what the artist expresses or communicates on the whole in his work. It refers to the meaning or message that is expressed or communicated by the artwork. To understand art, one should note these various levels of meaning: (a) factual meaning; (b) conventional meaning; (c) subjective meaning.

Factual meaning 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 2GED HUM 01 – ART APPRECIATION

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relate to one another. It is the literal statement or the narrative content in the work which can be directly apprehended because the objects presented are easily recognized (Ortiz, et al, 1976).

Conventional meaning Pertains to the acknowledged interpretation of the artwork using motifs, signs, and symbols and other cyphers as bases of its meaning -- the special meaning that a certain object or color has for a particular culture or group of people (Ortiz, et al, 1976).

These conventions are established through time, strengthened by recurrent use and wide acceptance by its viewers or audience and scholars who study them.

Subjective meaning This refers to any personal meaning consciously or unconsciously conveyed by the artist using a private symbolism which stems from his own association of certain objects, actions, or colors with past experiences (Ortiz, et al, 1976). In this sense, the viewer understands the meaning of the work when he/she has read the literature of the work.

Write down the important concepts you learned in this lesson. If you have some questions about the topic, you may write them, too.

Take this 30-item test!

I. Identification. Identify the kind of subject used and the way of presenting the subject in the following artworks. (15 points)

3

1

2

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5

4

II.

Multiple Choice. Choose the correct answer from the alternatives given. Write only the letter of your choice.

1. In this manner of presenting a subject, artists use symbols which are not directly associated with the familiar physical world. a. abstraction b. surrealism c. distortion d. realism 2. Art is said to be the reflection of the actual. This statement simple means that: a. Art is an exact duplicate of nature. b. Art is a close resemblance of nature. c. Art is an accurate copy of what we see in nature. d. Both A and C. 3. The following statements tell about the subject of art except one. Which one? a. Subject is not essential in art. b. Subject is the first thing to consider in making an art. c. Subject refers to person, event, object. d. Subject can be represented realistically or abstractly.

4. Which of the following statements is not true? a. To have a beautiful output, subjects of the art must also be beautiful. b. The beauty of the art lies in the hands of the artist. c. Beauty is relative – our taste in art may be different from what others believe to be beautiful. d. None of them.

5. This level of meaning refers to the narrative content of work. a. factual meaning b. conventional meaning c. subjective meaning 6. This level of meaning can be fully understood if the artist himself/herself explains what he/she really means, otherwise it will be interpreted differently by each viewer who may see it in the light of his/her own associations. a. factual meaning b. conventional meaning c. subjective meaning 7. A still life is a type of painting that focuses on which of the following: a. an image of a person? c. non-moving objects? b. an advertisement? d. an event as it happens?

8. It refers to the literal visible image in a work of art. a. Subject matter c. Factual meaning b. Content d. Subjective meaning

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9. The meaning of an image; as opposed to form. a. Subject matter c. Factual meaning b. Content d. Subjective meaning 10. It refers to our sense of what is beautiful. a. taste in art c. aesthetics b. perception d. choice III.

Explanation.

Whose work is closer to realism? to abstraction? Explain your answer. (5 points)

I and the Village, 1911 Marc Chagall

Family Group, 1950 Henry Moore

Recommended Readings Realism Movement, Artists and Major Works | The Art Story https://www.theartstory.org/movement/realism/history-and-concepts/ Music at the time of surrealism https://www.artaxmusic.com/music-surrealism/

References: Dudley, L., Faricy, A. and Rice, J.G. (1978). The Humanities, 6th ed. New York: McGraw-Hill Book Company.

Ortiz, M., et al. (1976). Art: Perception and Appreciation. Manila: University of the East.

Zhang, B. (2015). Discussion on the Subconscious and its Visual Expression. International Conference on Arts, Design and Contemporary Education. https://courses.lumenlearning.com/boundless-arthistory/chapter/content/ https://www.artyfactory.com/art_appreciation/art_movements/surrealism.htm

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LESSON 2 – The Functions of Art: What is it for?

Take a quiz!

I. True or False. Write true of the statement true and false if it is false.

1. Not all functional arts are non-representational.

2. Advertisement performs a social function because artists use it to express their feelings and ideas.

3. Among the different art forms, painting is the only art form that has a personal and social function.

4. A car serves a personal function.

5. A mural painted on the walls of a community buildings serves a social function.

6. The principle ―form follows function‖ can be applied in painting.

7. Non-functional art like painting does not serve any purpose/function.

8. Architecture is the most functional art form.

9. Monuments of heroes serve a social function.

10. Website designs such as Twitter and Facebook have social functions.

The Functions of Art Did you remember buying an expensive painting to decorate the wall of your house? Do you take time writing stories or composing songs? Why did you do them? For what purpose?

In our previous lesson, The Subjects of Art, we answer the question "What is it?" or "What does it show?" In this lesson, our initial question will be "Why do we create art?" This will lead us in exploring the topic "Functions of Art".

Classification of Art According to Function We create things for a purpose. However, in art, there are things that we created which do not have, literally, a particular function. Many regard art as impractical since it is not meant to meet the requirements of ordinary living. Just like painting, one can live without it. To a layman, its function is quite minimal, unlike handicrafts and architectural works.

To avoid confusion, let‘s take a look at the definition of functional and non-functional.

Functional art refers to a work of art with a definite function. It serves utilitarian purposes. Nonfunctional art is the exact opposite of functional art. It does not have any practical usefulness.

Compared to architecture and practical arts like weaving, furniture-making which have obvious purposes, painting, music, literature, cinema, etc. seem to put in no other end except to decorate, entertain, and provide a relief from life's unpleasant experiences. In addition, In applied arts, as in architecture, function is so important that it, rather than the name of the art, is used to identify individual works.

Categories The functions of art normally fall into three categories: physical, social, and personal.

These categories can and often do overlap in any given piece of art. When you're ready to start thinking about these functions, here's how.

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Physical Function The physical functions of art are often the easiest to understand.

Works of art that are created to perform some service have physical functions. If you see a Fijian war club, you may assume that, however wonderful the craftsmanship may be, it was created to perform the physical function of smashing skulls.

A Japanese raku bowl is a piece of art that performs a physical function in a tea ceremony. Conversely, a furcovered teacup from the Dada movement has no physical function. Architecture, crafts such as welding and woodworking, interior design, and industrial design are all types of art that serve physical functions.

Social Function Art performs a social function when: 1. it seeks or tends to influence the collective behavior of a people.

In many cases, art is used to ridicule people and institutions. Caricature is an example. A lot of musical compositions influence the way we think, thus, we become rebellious.

Religion capitalized the art in spreading faith and doctrines. Advertisements, posters and billboards change our perception of products.

2. it is made to be seen or used in public situations.

One function of sculpture and painting is the commemoration of important personages in society. Statues of great people are found in park like the statue of Rizal. Arts are also linked to rituals. Public celebrations, such as festivals, involve rituals of some kind, and these, in turn, employ the arts.

3. It describes aspects of life shared by all as opposed to personal kinds of experience or to one person's point of view or experience.

Personal Function Art is said to have personal function if it is used for self-expression or gratification, aesthetic expression, for therapy. It used as a vehicle for the expression and communication of feelings and ideas. Aesthetic needs and impulses are not the specialized interest of some elite.

Everyone is concerned with what is beautiful and pleasing. It has also a therapeutic value. Surely you have heard of art therapy used in hospitals where sick people engage in painting, singing and even dancing.

The personal functions of art are often the most difficult to explain. There are many types of personal functions and these are highly subjective. Personal functions of art are not likely to be the same from person to person. An artist may create a piece out of a need for self-expression or gratification. They might also or instead want to communicate a thought or point to the viewer. Sometimes an artist is only trying to provide an aesthetic experience, both for self and viewers. A piece might be meant to entertain, provoke thought, or even have no particular effect at all.

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Personal function is vague for a reason. From artist to artist and viewer to viewer, one's experience with art is different. Knowing the background and behaviors of an artist helps when interpreting the personal function of their pieces.

Art may also serve the personal function of controlling its viewers, much like social art. It can also perform religious service or acknowledgment. Art has been used to attempt to exert magical control, change the seasons, and even acquire food. Some art brings order and peace, some creates chaos. There is virtually no limit to how art can be used.

Finally, sometimes art is used to maintain a species. This can be seen in rituals of the animal kingdom and in humans themselves. Biological functions obviously include fertility symbols (in any culture), but there are many ways humans adorn their bodies with art in order to be attractive to others and eventually mate.

Write down the important concepts you learned in this lesson. If you have some questions about the topic, you may write them, too.

Take this short test.

1. Retake the test you have taken before reading the material.

2. Identify the functions of the following works of art. a. Fur Elise by Beethoven b. laptop c. caricature d. Lupang Hinirang e. pen 3. Explain this. ―If painting, music, and cinema have no other purpose but to decorate or entertain, why do we create them?‖ (5 points)

Watch a documentary film of Khajuraho Temple and answer the questions below. Your answer should be posted on your ePortfolio. Add at least two photos of the temple. https://www.youtube.com/watch?v=AMWIpknFtNU 1. The Hindus covered their temples with carvings of mithunas (lovers), do you feel that this indicates a degenerate religious or moral view on their part?

2. What emotional reactions do you have to the sculpture? Is your reaction a result of cultural attitudes, or is it universal?

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Being an Artist Write a short essay on the topic. Questions are given as your guide.

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

2. What art field will you explore? Why? 3. How can you utilize the arts to express yourself?

References: Esaak, S. (2019). The Most Important Functions of Art. https://www.thoughtco.com/what-are-the-functions-of-art-182414

Retrieved

from

Ortiz, M., et al. (1976). Art: Perception and Appreciation. Manila: University of the East.

Six Sigma Films (2018). Award Winning Documentary On Khajuraho Temples | The Whispering Walls of Khajuraho [Video]. YouTube: https://www.youtube.com/watch?v=AMWIpknFtNU

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Overview and Objectives This module focuses on the different mediums employed in arts specifically visual arts and music. Included in this module are the techniques of sculpture and principles of construction. Below is the outline of the module.

1. Classification of Art according to Medium 2. Mediums of Painting and Sculpture 3. Techniques in Sculpture 4. Architecture: Materials and Principles of Construction 5. Mediums in Music It is expected that after studying the content, students are able to: 1. give the advantages and disadvantages of the mediums of the visual arts; 2. identify, describe and gain familiarity with the different mediums of music and visual arts; 3. paint using any of the materials discussed; and 4. create a 3-dimensional artwork using soap as a medium (sculpture) or using any material for installation art.

Take this short test to test your prior knowledge of the topics.

I. True or False. Write true if the statement is true, and false if it is false.

1. The bigger the musical instrument, the higher is the pitch.

2. Music appreciation is inborn.

3. The cello is the tenor voice of the string family.

4. Corrections after painting can be made in an oil painting as well as in watercolor painting.

5. Acrylic paints use water as vehicle.

6. In painting, the pigment can be in a wet form or in a dry form like crayons.

7. The counterpart of collage in sculpture is assemblage.

8. Fabrication is a popular technique of sculpture in the 20 th Century.

9. Venus of Willendorf is an example of a technique in sculpture called modeling.

10. Fresco means fresh, thus, fresco painting cannot be done in a dry plaster.

Lesson 1: Classification of Art According to Medium The term medium refers to the materials used by artists to convey their thoughts and ideas. In painting, for example, acrylic is commonly used by artists, while in sculpture, 20 th century artists have explored the possibility of using found objects as materials.

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According to medium, arts are classified into visual or space arts, auditory or time arts and combined or performing arts. Visual arts are those that can be seen and those which occupy space, auditory arts are those that can be heard and which exist in time, while the combined arts are those that can be both seen and heard.

"Medium" as an Artistic Material Building off the type of art, medium can also be used to describe a particular artistic material. This is how artists describe the specific materials that they work with to create a piece of art. Painting is a perfect example of how this is distinguished. It is very common to see descriptions of the type of paint used as well as the support it was painted on. For example, you'll see notations following the titles of paintings that read along the lines of: "Gouache on paper" "Tempera on board" "Oil on canvas" "Ink on bamboo" The possible combinations of paint and support are endless, so you will see many variations of this. Artists choose the materials they enjoy working with or those that work best for a particular piece of work.

This use of the word medium applies to all types of artwork as well. Sculptors, for instance, may use metal, wood, clay, bronze, or marble for their medium. Printmakers may use words like woodcut, linocut, etching, engraving, and lithography to describe their medium.

Artists who use multiple media in a single piece of art typically call it "mixed media," which is common for techniques like a collage.

The plural for medium in this sense is media.

A Medium Can Be Anything While those examples are common forms of media, many artists choose to work with or incorporate less traditional materials into their work. There are no limits and the more you learn about the art world, the more oddities you will discover.

Any other physical material—from used chewing gum to dog hair—is fair game as an artistic medium. At times, artists can become extremely creative about this whole media business and you may run across things in art that defy belief. You will find artists who even incorporate the human body or things derived from it as their medium. It's quite interesting and can also be rather shocking.

Though you might be tempted to point, sputter, and laugh when you come across these, it is often best to gauge the mood of the company you're in. Think about where you and who is around you. Even if you think the art is unusual, you can often avoid many faux pas by keeping those to yourself in some situations. Keep in mind that art is subjective and you will not enjoy everything.

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"Medium" as a Pigment Additive The word medium is also used when referring to the substance which binds a pigment to create a paint. In this case, the plural of medium is mediums. The actual medium used is dependent on the type of paint. For instance, linseed oil is a common medium for oil paints and egg yolks are a common medium for tempera paints. At the same time, artists can use a medium to manipulate the paint. A gel medium, for example, will thicken a paint so the artist can apply it in textural techniques like impasto. Other mediums are available that will thin paints and make them more workable.

Fine Arts The term "fine art" refers to an art form practised mainly for its aesthetic value and its beauty ("art for art's sake") rather than its functional value. Fine art is rooted in drawing and design-based works such as painting, printmaking, and sculpture. It is often contrasted with "applied art" and "crafts" which are both traditionally seen as utilitarian activities. Other nondesign-based activities regarded as fine arts, include photography and architecture, although the latter is best understood as an applied art.

Lesson 2: Painting, Sculpture and Installations, and Architecture Painting Painting is the application of pigments to a support surface that establishes an image, design or decoration. In art the term ―painting‖ describes both the act and the result. Most painting is created with pigment in liquid form and applied with a brush. Exceptions to this are found in Navajo sand painting and Tibetan mandala painting, where powdered pigments are used. Painting as a medium has survived for thousands of years and is, along with drawing and sculpture, one of the oldest creative media. It‘s used in some form by cultures around the world.

Three of the most recognizable images in Western art history are paintings: Leonardo da Vinci‘s Mona Lisa, Edvard Munch‘s The Scream and Vincent van Gogh‘s The Starry Night.

These three art works are examples of how painting can go beyond a simple mimetic function, that is, to only imitate what is seen. The power in great painting is that it transcends perceptions to reflect emotional, psychological, even spiritual levels of the human condition.

Painting media are extremely versatile because they can be applied to many different surfaces (called supports) including paper, wood, canvas, plaster, clay, lacquer and concrete.

Because paint is usually applied in a liquid or semi-liquid state it has the ability to soak into porous support material, which can, over time, weaken and damage it. To prevent this a support is usually first covered with a ground, a mixture of binder and chalk that, when dry, creates a non-porous layer between the support and the painted surface. A typical ground is gesso.

There are six major painting media, each with specific individual characteristics. They all use basic ingredients such as pigment, binder and solvent (also called ―vehicle‖). Pigments are granular solids incorporated into the paint to contribute color. The binder is the actual film-forming component of paint. The binder holds the pigment until it‘s ready to be dispersed onto the surface. The solvent controls the flow and application of the paint. It‘s mixed into the paint, usually with a brush, to dilute it to the proper viscosity, or 2GED HUM 01 – ART APPRECIATION

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thickness, before it‘s applied to the surface. Once the solvent has evaporated from the surface the remaining paint is fixed there. Solvents range from water to oil-based products like linseed oil and mineral spirits.

Painting Mediums Medium Encaustic

Description

Characteristic/s

 A Greek word meaning Encaustic is as versatile as any painting medium, ―to heat or burn in‖ and has a range of textural and colour advantages that make it an excellent alternative (enkaustikos) to oil painting in many different situations.  Encaustic painting Capable of being polished to a high gloss, it can employs hot beeswax as a be modelled, sculpted, and combined in mixedbinding medium to hold media works with collage and other items of coloured pigments and to junk art. Most important, it cools almost enable their application to immediately, with minimum drying time, yet it a surface - usually wood can always be reworked. And as beeswax is panels or walls. It was impermeable, it will not deteriorate, or darken or widely used in Egyptian, turn yellow, and encaustic paintings need not be Greek, Roman and protected under glass. Encaustics are also environmentally safer, as they emit no toxic Byzantine art. fumes, and do not require the use of solvents.

Their sole disadvantage is their need to be kept in a molten state, although modern tools have made this a relatively trivial task.

Tempera Or Egg Tempera

 An ancient medium that was originally used for murals, the word tempera originally came from the verb temper, or, 'to bring to a desired consistency'.

Tempera artworks last very long, with some of the earliest works dating back to the 1st century!

Tempera is typically applied onto a prepared surface. Wood panel paintings, for instance, were prepared with layers of gesso (a mixture of size and chalk) to form a smooth surface. The  Created by hand-grinding tempera was then applied (over a prepared dry powdered pigments drawing or sketch) and built up slowly in a series into binding agents such of thin, transparent layers. as eggs, glue, honey, water, milk and a variety Unlike oil paint, tempera cannot be applied too of plant gums to hold the thickly, and thus lacks the deep colouration of colour together, tempera oils. But tempera paintings are very long lasting was the primary painting and colours do not deteriorate over time, unlike oil paints which tend to darken or lose colour medium for centuries. with age. It dries rapidly, and when dry it produces a smooth matte finish.

The main disadvantage - apart from the timeconsuming need to apply it in thin layers - is that tempera paintings cannot usually attain the deep colour saturation that oil paintings are able to manage.

Fresco

 Italian for "fresh"

Created by painting directly onto plaster, frescoes offer a permanence not found in other  refers to the method of forms of art. Unsurprisingly, muralists favor this painting in which durability, as illustrated by well-preserved pigments are mixed masterpieces including the Roman wall paintings 2GED HUM 01 – ART APPRECIATION

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solely with water (no binding agent used) and then applied directly onto freshly laid plaster ground, usually on a plastered wall or ceiling.

The plaster absorbs the liquid paint and as it dries, retaining the pigments in the wall.  Types:  Buon fresco or ―wet,‖ the most common fresco method, involves the use of pigments mixed with water (without a binding agent) on a thin layer of wet, fresh, lime mortar or plaster (intonaco).  Fresco secco, meaning ―dry‖ is done on dry plaster and therefore requires a binding medium, (eg. egg tempera, glue or oil) to attach the pigment to the wall, as in the famous mural painting known as The Last Supper by Leonardo Da Vinci.  Mezzo-fresco involves painting onto almost but not quite dry intonaco so that the pigment only penetrates slightly into the plaster.

Oil paint



Oil paint is a mixture of three things: pigment, binder and thinner.

Pigment is the colour element, while the binder (the oil) is the liquid vehicle or carrier which holds the groundup pigment to be applied to the canvas or whatever support is to be painted.

of Pompeii and Renaissance artist Michelangelo's world-famous Sistine Chapel ceiling.

Painting on fresh plaster means that the artist can spread the paint much easier. Also, fresco is permanent because the paint joins with the plaster so that the colours will not rub off.

Frescoes last for hundreds of years. If they are kept clean and dry, the colours will stay bright for a very long time. Fresco does not use dangerous chemicals.

The problems with painting frescos come from the plaster. It must be mixed up and put on the wall freshly every day and left to partly dry before it can be used. As the plaster begins to dry or "set", the artist can start the picture. The work must be very quick and careful. If there is a mistake, the plaster must be scraped off. While the plaster is setting, it becomes hot and gives off gases. This makes working on a fresco unpleasant. Because frescos are on walls, or ceilings, they can not be moved from place to place, or rearranged, like other paintings.

Oil paint is the most versatile of all the painting media.

Some of the qualities of oil paint include a wide range of pigment choices, its ability to be thinned down and applied in almost transparent glazes as well as used straight from the tube (without the use of a vehicle), built up in thick layers called impasto (you can see this in many works by Vincent van Gogh).

One drawback to the use of impasto is that over time the body of the paint can split, leaving networks of cracks along the thickest parts of the

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painting.

Because oil paint dries slower than other media, it can be blended on the support surface with meticulous detail. This extended working time also allows for adjustments and changes to be made without having to scrape off sections of dried paint.

Acrylic paint



Acrylic paint was developed in the 1950‘s and became an alternative to oils.

Pigment is suspended in an acrylic polymer emulsion binder and uses water as the vehicle.

The acrylic polymer has characteristics like rubber or plastic. Acrylic paints offer the body, color, and durability of oils without the expense, mess and toxicity issues of using heavy solvents to mix them. One major difference is the relatively fast drying time of acrylics. They are water soluble, but once dry become impervious to water or other solvents. Moreover, acrylic paints adhere to many different surfaces and are extremely durable. Acrylic will not crack or yellow over time.

Watercolor



Pigment dissolved in water and bound by a colloid agent so that it adheres to the working surface when applied with the brush. The same name is used for a work of art in that medium.

Watercolor is the most sensitive of the painting media. It reacts to the lightest touch of the artist and can become an over worked mess in a moment.



There are two kinds of watercolor media: transparent and opaque.

Transparent watercolor operates in a reverse relationship to the other painting media. It is traditionally applied to a paper support, and relies on the whiteness of the paper to reflect light back through the applied color (see below), whereas opaque paints (including opaque watercolors) reflect light off the skin of the paint itself.

Watercolor consists of pigment and a binder of gum arabic, a water-soluble compound made from the sap of the acacia tree. It dissolves easily in water.

Watercolor paintings hold a sense of immediacy.

The medium is extremely portable and excellent for small format paintings. Transparent watercolor techniques include the use of wash; an area of color applied with a brush and diluted with water to let it flow across the paper. Wet-inwet painting allows colors to flow and drift into each other, creating soft transitions between them. Dry brush painting uses little water and lets the brush run across the top ridges of the paper, resulting in a broken line of color and lots of visual texture.

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Sculpture and Installation Art Sculpture is any artwork made by the manipulation of materials resulting in a three-dimensional object. The sculpted figure of the Venus of Berekhat Ram, discovered in the Middle East in 1981, dates to 230,000 years BCE. It is the oldest example of artwork known. The crudely carved stone figure will fit in the palm of your hand. Its name derives from the similarity in form with so-called female fertility figures found throughout Europe, some of which date to 25,000 years ago. For example, the form of the Venus of Willendorf (right) shows remarkable skill in its carving, including arms draped over exaggerated breasts, an extended abdomen and elaborate patterning on the head, indicating either a braided hairstyle or type of woven cap. Just as remarkable, the figure has no facial detail to indicate identity. The meaning behind these figures is difficult to put into context because of the lack of any written record about them or other supporting materials.

Sculpture can be freestanding, or self-supported, where the viewer can walk completely around the work to see it from all sides, or created in relief,where the primary form‘s surface is raised above the surrounding material, such as the image on a coin. Bas-relief refers to a shallow extension of the image from its surroundings, high relief is where the most prominent elements of the composition are undercut and rendered at more than half in the round against the background.

Installation art is a relatively new genre of contemporary art - practised by an increasing number of postmodernist artists - which involves the configuration or "installation" of objects in a space, such as a room or warehouse. The resulting arrangement of material and space comprises the "artwork".

An art installation is a three-dimensional visual artwork, often created for a specific place (in situ) and designed to change the perception of space. The term ―installation‖, which appeared in the 1970‘s, generally applies to works created for interior spaces (ie. gallery, museum); outdoor works are more often referred to as public art, land art, or, to put it roughly, humans intervening on an environment and putting their ―stamp‖ on it. That said, an outdoor piece can most certainly be considered an ―installation‖ of sorts, but, typically, installation art is most often found within an indoor space, as some artists would prefer to contain their creative statement to the context of a room, which is simple enough for a viewer to comprehend.

An installation can be either mobile (or remountable); permanent (or fixed); ephemeral (or temporary).

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Sculpture Mediums Any material that can be shaped in three dimensions can be used sculpturally. Certain materials, by virtue of their structural and aesthetic properties and their availability, have proved especially suitable. The most important of these are stone, wood, metal, clay, ivory, and plaster.

There are also a number of materials of secondary importance and many that have only recently come into use.

Medium Description Characteristic/s Primary Stone  Stone carving is the oldest Throughout history, stone has been the surviving form of artistic principal material of monumental sculpture. expression.  practical reasons for this:  Igneous rocks  many types of stone are highly resistant formed by the cooling to the weather and therefore suitable for of molten masses of external use; mineral as they  stone is available in all parts of the world approach the Earth‘s and can be obtained in large blocks; surface, include  many stones have a fairly homogeneous granite, diorite, basalt, texture and a uniform hardness that make and obsidian. These them suitable for carving; are some of the hardest  stone has been the chief material used for stones used for the monumental architecture with which sculpture. so much sculpture has been associated.  Sedimentary rocks include sandstones Because stone is extremely heavy and lacks and limestones; tensile strength, it is easily fractured if carved formed from too thinly and not properly supported. A accumulated deposits massive treatment without vulnerable of mineral and projections, as in Egyptian and pre-Columbian organic substances. American Indian sculpture, is therefore usually Alabaster (gypsum), preferred. Some stones, however, can be treated also a sedimentary more freely and openly; marble in particular has rock, is a chemical been treated by some European sculptors with deposit.

Many almost the same freedom as bronze, but such varieties of sandstone displays of virtuosity are achieved by and limestone, which overcoming rather than submitting to the vary greatly in quality properties of the material itself. and suitability for carving, are used for Hard stones sculpture.  They are often harder to work than steel.  Metamorphic rocks First among the hardstones used for sculpture result from changes is jade, which was venerated by the ancient brought about in the Chinese, who worked it, together with other structure of hardstones, with extreme skill. It was also sedimentary and used sculpturally by Maya and Mexican igneous rocks by artists. Other important hardstones are rock extreme pressure or crystal, rose quartz, amethyst, agate, and heat. The most welljasper. known metamorphic  The working of these stones, along with the rocks used in working of more precious gemstones, is sculpture are the usually considered as part of the glyptic (gem marbles, which are carving or engraving), or lapidary, arts, but recrystallized many artifacts produced from them can be limestones. considered small-scale sculpture.  Hard Stones or semiprecious stones, constitute a special group, which includes 2GED HUM 01 – ART APPRECIATION

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Wood

some of the most beautiful and decorative of all substances.  The principal woods for sculpture are oak, mahogany, limewood, walnut, elm, pine, cedar, boxwood, pear, and ebony; but many others are also used.  In the 20th century, wood was used by many sculptors as a medium for construction as well as for carving.

Laminated timbers, chipboards, and timber in block and plank form can be glued, jointed, screwed, or bolted together, and given a variety of finishes.

 Both hardwoods and softwoods are used for sculpture. Some are close-grained, and they cut like cheese; others are open-grained and stringy. The fibrous structure of wood gives it considerable tensile strength, so that it may be carved thinly and with greater freedom than stone. For large or complex open compositions, a number of pieces of wood may be jointed. Wood is used mainly for indoor sculpture, for it is not as tough or durable as stone; changes of humidity and temperature may cause it to split, and it is subject to attack by insects and fungus. The grain of wood is one of its most attractive features, giving variety of pattern and texture to its surfaces. Its colours, too, are subtle and varied. In general, wood has a warmth that stone does not have, but it lacks the massive dignity and weight of stone.

Metal

 The metal most used for sculpture is bronze, which is basically an alloy of copper and tin; but gold, silver, aluminum, copper, brass, lead, and iron have also been widely used.

 Most metals are extremely strong, hard, and durable, with a tensile strength that permits a much greater freedom of design than is possible in either stone or wood. A life-size bronze figure that is firmly attached to a base needs no support other than its own feet and may even be poised on one foot.

Considerable attenuation of form is also possible without risk of fracture.  Metals can be worked in a variety of ways in order to produce sculpture. They can be cast—that is, melted and poured into molds; squeezed under pressure into dies, as in coin making; or worked directly—for example, by hammering, bending, cutting, welding, and repoussé (hammered or pressed in relief).

Clay

 Used for modeling animal and human figures long before men discovered how to fire pots, it has been one of the sculptor‘s chief materials ever since.

 Clay has four properties that account for its widespread use:  when moist, it is one of the most plastic of all substances, easily modeled and capable of registering the most detailed impressions;  when partially dried out to a leather-hard state or completely dried, it can be carved and scraped;  when mixed with enough water, it becomes a creamy liquid known as slip, which may be poured into molds and allowed to dry;  when fired to temperatures of between 700 and 1,400 °C (1,300 and 2,600 °F), it undergoes irreversible structural changes that make it permanently hard and extremely durable.

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Ivory

 From the tusks of elephants but walrus, hippopotamus, narwhal (an Arctic aquatic animal), and, in Paleolithic times, mammoth tusks also were used for sculpture.

 Ivory is dense, hard, and difficult to work.

Its colour is creamy white, which usually yellows with age; and it will take a high polish.  A tusk may be sawed into panels for relief carving or into blocks for carving in the round; or the shape of the tusk itself may be used.  The physical properties of the material invite the most delicate, detailed carving, and displays of virtuosity are common.

Plaster of paris (sulfate of lime)

 useful for the production of molds, casts, and preliminary models.  quick-setting gypsum plaster consisting of a fine white powder (calcium sulfate hemihydrate), which hardens when moistened and allowed to dry.

 When mixed with water, plaster will in a short time recrystallize, or set—that is, become hard and inert—and its volume will increase slightly. When set, it is relatively fragile and lacking in character and is therefore of limited use for finished work.

Plaster can be poured as a liquid, modeled directly when of a suitable consistency, or easily carved after it has set. Other materials can be added to it to retard its setting, to increase its hardness or resistance to heat, to change its colour, or to reinforce it.

Concrete

 a mixture of an aggregate (usually sand and small pieces of stone) bound together by cement. A variety of stones, such as crushed marble, granite chips, and gravel, can be used, each giving a different effect of colour and texture.

Fibreglass.

 When synthetic resins, especially polyesters, are reinforced with laminations of glass fibre, the result is a lightweight shell that is extremely strong, hard, and durable, usually known as fiberglass.

Modeling wax

 Brown sculpting wax is the basic all-purpose type favored by many sculptors.

It is a ―microcrystaline‖ wax, which means it will bend a

Secondary  Commercial cement is gray, white, or black; but it can be coloured by additives.  The cement most widely used by sculptors is ciment fondu, which is extremely hard and quick setting. A recent invention—at least, in appropriate forms for sculpture—concrete is rapidly replacing stone for certain types of work. Because it is cheap, hard, tough, and durable, it is particularly suitable for large outdoor projects, especially decorative wall surfaces. With proper reinforcement it permits great freedom of design. And by using techniques similar to those of the building industry, sculptors are able to create works in concrete on a gigantic scale.  Because the material is visually unattractive in itself, it is usually coloured by means of fillers and pigments. It was first used in sculpture in conjunction with powdered metal fillers in order to produce cheap ―coldcast‖ substitutes for bronze and aluminum, but with the recent tendency to use bright colours in sculpture it is now often coloured either by pigmenting the material itself or by painting.  The main uses of wax in sculpture have been as a preliminary modeling material for metal casting by the lost-wax, or cire-perdue, process and for making sketches. It is not durable enough for use as a material in its own right, although it has been used for

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Papiermâché

lot more readily than paraffin, the white wax used for making candles.  pulped paper bonded with glue

small works, such as wax fruit, that can be kept under a glass dome.  Mainly used for decorative work, especially masks, it can have considerable strength; the Japanese, for example, made armour from it.

Sculpture made of sheet paper is a limited art form used only for ephemeral and usually trivial work.

Sculpture Methods Carving uses the subtractive process to cut away areas from a larger mass, and is the oldest method used for three-dimensional work. Traditionally stone and wood were the most common materials because they were readily available and extremely durable.

Contemporary materials include foam, plastics and glass. Using chisels and other sharp tools, artists carve away material until the ultimate form of the work is achieved.

Casting is a manufacturing process by which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. One traditional method of bronze casting frequently used today is the lost wax process. A mold is made from an original wax sculpture that is melted away to create a negative cavity into which molten metal is poured. Traditionally, casting materials are usually metals, however, they can also be various cold-setting materials that cure after mixing two or more components together; examples are epoxy, concrete, plaster, and clay. Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. It‘s a labor-intensive process that sometimes allows for the creation of multiples from an original object (similar to the medium of printmaking), each of which is extremely durable and almost exactly like its predecessor. A mold is usually destroyed after the desired number of castings has been made. .

Modeling is a method that can be both additive and subtractive. The artist uses modeling to build up form with clay, plaster or other soft material that can be pushed, pulled, pinched or poured into place. The material then hardens into the finished work. Larger sculptures created with this method make use of an armature, an underlying structure of wire that sets the physical shape of the work. Although modeling is primarily an additive process, artists do remove material in the process. Modeling a form is often a preliminary step in the casting method.

Construction, or Assemblage, uses found, manufactured or altered objects to build form. It is also called fabrication. Artists weld, glue, bolt and wire individual pieces together.

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Some modern and contemporary sculptures incorporate movement, light and sound.

Kinetic sculptures use ambient air currents or motors allowing them to move, changing in form as the viewer stands in place. The artist Alexander Calder is famous for his mobiles (right), whimsicallike and, similar to Nevelson‘s and Butterfield‘s works, constructed of , abstract works that are intricately balanced to move at the slightest wisp of air, while the sculptures of Jean Tinguely are contraption-like and, similar to Nevelson‘s and Butterfield‘s works, constructed of scraps often found in garbage dumps.

Architecture A building‘s materiality is what our bodies make direct contact with; the cold metal handle, the warm wooden wall, and the hard glass window would all create an entirely different atmosphere if they were, say, a hard glass handle, a cold metal wall and a warm wooden window Materiality is of just as much importance as form, function and location—or rather, inseparable from all three.

Materials Material Concrete

Description/ Characteristic Concrete is the most widely used building material in the world, making it a good starting material to get to know. However it also has significant environmental impacts, including a carbon footprint of up to 5% of worldwide emissions.

Wood

One of the oldest, most traditional building materials around the world is of course timber. The material is beginning to take on new forms thanks to engineered wood products, and with high-rise buildings and even translucent properties, this diverse material is being taken to new heights.

Steel

It is used because it binds well to concrete, has a similar thermal expansion coefficient and is strong and relatively cost-effective. Reinforced concrete is also used to provide deep foundations and basements and is currently the world's primary building material.

Plastics

The advantages of using plastic in construction are that it is lightweight yet strong which makes it easier to transport and shift around sites. ... Plastic can also be flexible, and is easily extruded, bent, molded, 3D printed, and so on. Plastic can also be easily removed and some plastics can be recycled.

Stone

A material used over generations in certain geographical locations around the world, stone has a wide diversity of textures, colours and strengths.

Despite its heavy, solid materiality, one can still work with it to achieve diverse forms.

Glass

The most used material to achieve transparency and light is without a doubt glass, one of the most commonly used façade elements in contemporary architecture.

Brick

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architecture has been shown to create beautiful structures with the right craftsmanship. Innovative thinkers are also finding new ways to incorporate active sustainability into the small building elements.

Bamboo

Bamboo usage is generally dictated by the geographical location of the architectural project. In locations where bamboo makes sense, it is an incredibly flexible, strong, sustainable material that can be useful in many ways.

Carbon Fiber

Reflecting everything about our new material endeavors is carbon fiber: "five times stronger than steel, twice as stiff, weighing significantly less."

The composition of carbon fibre makes it flexible to work with, allowing it to take shapes from surfaces to rods, depending on your requirements.

Construction Principles Below are the ommonly used principles of construction.

Principles Post-and-lintel System

Description/ Characteristic a system in which two upright members, the posts, hold up a third member, the lintel, laid horizontally across their top surfaces. All structural openings have evolved from this system, which is seen in pure form only in colonnades and in framed structures, because the posts of doors, windows, ceilings, and roofs normally form part of the wall (https://www.britannica.com/)

Skeleton Construction

high buildings construction method in which the chief horizontal and vertical members are of rolled steel and the walls are for the most part supported at the floor levels by the steel frame itself (https://www.merriamwebster.com/)

Truss

essentially a triangulated system of straight interconnected structural elements. The most common use of trusses is in buildings, where support to roofs, the floors and internal loading such as services and suspended ceilings, are readily provided (https://www.steelconstruction.info/Trusses).

Cantilever

beam supported at one end and carrying a load at the other end or distributed along the unsupported portion. The upper half of the thickness of such a beam is subjected to tensile stress, tending to elongate the fibres, the lower half to compressive stress, tending to crush them. Cantilevers are employed extensively in building construction and in machines. In building, any beam built into a wall and with the free end projecting forms a cantilever (https://www.britannica.com/)

Arch

In architecture and civil engineering, a curved member that is used to span an opening and to support loads from above. The arch formed the basis for the evolution of the vault.

Dome

a curved formation or structure. It is shaped like half of a sphere (https://www.nationalgeographic.org/encyclopedia/dome/)

Lesson 3: Mediums of Music Music, art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and, in most Western music, harmony (Epperson, n. d.). It has two types of mediums – the vocal mediums and the instrumental mediums.

Open the folder Auditory Art, click the presentation Mediums of Music.

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What are the new concepts that you learned today? Write at least ten new concepts that you learned. If there are concepts that need clarification, write them, too.

I. Retake the ten-item test you have taken before studying the lessons in this module.

II.

Identification. Identify the following concepts.

1. This musical instrument is commonly used to accompany the singing of folk songs.

2. The smallest woodwind instrument in the orchestra.

3. This musical instrument is used for battle calls.

4. In the orchestra, this section provides a variety of rhythms, textures and tone colors.

5. These instruments produce their unique sound by the player buzzing his/her lips while blowing air through a cup or funnel shaped mouthpiece.

6. A term for sculpture that appears to be raised above the background plane.

7. It is the counterpart of collage in sculpture.

8. He sculpted the famous statue of David. He is a Renaissance artist.

9. An art term defined as "a technique involving the use of two or more artistic media".

10. It means lost-wax method.

III. Multiple Choice. Choose the correct answer from the alternatives given. Write only the letter of your choice.

1. Sculpture which is suspended, balanced and moves is: a. Free standing b. kinetic c. bas relief

d. high relief

2. Sculpture which can be seen on all sides an stands without additional support is known as: a. Free standing b. kinetic c. bas relief d. high relief 3. Which of the following is an additive process? a. Modeling b. Papier-mâché

c. assemblage

d. All of them

4. In this technique, an object is made by pouring molten metal or other material into a mold. a. fabrication b. assemblage c. casting d. modeling 5. In sculpture, this type which is slightly raised from the material is also known as: a. carving b. kinetic c. bas relief d. high relief 6. In tempera painting, wooden panels were prepared with ______ which prevented the wood from absorbing the paint. a. Egg yolk b. paint c. linseed oil d. gesso 7. Unlike tempera, oil paint can be__________. a. More fluid and flexible

c. mixed directly on the canvas

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b. can be mixed with linseed oil

d. All of them.

8. This medium in painting has to be done in one sitting. There can be very little or no corrections made at all in this medium. a. oil b. watercolor c. acrylic d. fresco 9. What medium was used by Michelangelo when he painted the ceiling of Sistine Chapel? a. boun fresco b. acrylic c. fresco secco d. encaustic 10. Like watercolor, this medium is fast-drying and water-soluble but become water-resistant when dry. a. oil b. encaustic c. tempera d. acrylic

Recommended Videos to Watch Check your folder in Auditory Art

Materials needed: Pencil Bond paper (short) Crayons or any medium like poster paint, oil, etc.

What to do?

Create a painting using any of the mediums discussed in this module. You are free to choose your subject.

Sculpture/Installation Art Materials for Sculpture: Soft soap like Perla Carving knife What to do?

Using a knife, create a sculpture employing carving as technique.

If you opt for installation, create an installation art and take a picture of what you have created.

Check the video “ These enchanting installations are made entirely out of thread” so you will have ideas on how to make installation arts.

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References: Esaak, S. (2020). What Is the Definition of 'Medium' in Art? Retrieved from https://www.thoughtco.com/medium-definition-in-art-182447 Epperson, G. (n. d.). Music. Retrieved from https://www.britannica.com/art/music/Theories-ofmusical-meaning-since-the-19th-century https://www.britannica.com/ https://davidcharlesfox.com/what-is-installation-art-description-history-and-prominent-artists/ http://www.visual-arts-cork.com/installation-art.htm https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/reading-painting/ https://www.nationalgeographic.org/encyclopedia/dome https://simple.wikipedia.org/wiki/Fresco#:~:text=The%20problems%20with%20painting%20fre scos,be%20very%20quick%20and%20careful. http://www.visual-arts-cork.com/definitions/fine-art.htm http://www.visual-arts-cork.com/fine-art-painting.htm#mediums https://www.merriam-webster.com/

Zilliacus, A. (2016). 16 Materials Every Architect Needs to Know (And Where to Learn About Them). Retrieved from https://www.archdaily.com/801545/16-materials-every-architectneeds-to-know-and-where-to-learn-about-them

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Overview and Objectives This module discusses the elements of the visual arts and principles of design. There are videos to watch to aid in understanding the concepts. At the end of the module, students should be able to: 1. define and describe artistic elements and principles of design; 2. recognize the use of the different elements to create art works; and 3. create artwork based on the principles discussed.

Take this short test to test your knowledge of the topic.

11. It refers to the name of the color. a. hue b. value c. intensity d. saturation 12. In a double complementary harmony, what colors harmonize with red and red-orange? a. green & blue-green c. green & blue b. green & yellow-green d. blue & yellow-green 13. This line implies quietude, width and contemplation. a. diagonal b. jagged c. horizontal d. vertical 14. Which of the following does not tell about lines? a. Lines make shape. b. Lines symbolize emotional expression. c. Lines describe simple objects, measure things, give direction and boundaries. d. None of them 15. Our ethnic brothers either in the North or in the South are fond of intense colors. The more bright colors they used, the more attractive the colors to them. This combination is exactly the opposite in the color chart. If they use yellow and violet, what contrasting color harmony is used? a. triad c. double complementary b. split complementary d. single complementary 16. Art is an imitation of nature. Single complementary harmony is evident in nature. Which of the following is an example of single complementary harmony? a. red rose and its green leaves c. black and white spots of a dog b. yellow rose and its green leaves d. light and dark brown fur of a cat 17. In this type of perspective, the illusion of depth is created by techniques such as texture gradients, brightness gradients, color saturation, and the manipulation of warm and cool colors.

18. To create an illusion of depth, the following can be employed except for one. Which one? a. painting the figures in the foreground in warmer colors and those in the background in cooler colors b. placing the object on the foreground so that they will appear closer to the viewer c. putting an object in front of another object d. none of them 19. What is balance?

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a. A feeling of stability in an artwork. b. The distribution o elements in an artwork. c. A feeling of motion in an artwork. d. The feeling expressed in an artwork.

20. Which of the following statements is NOT true of variety? a. It means creating differences in a repeated element. b. It has to be used in pattern. c. It is sometimes used to add interest to an artwork. d. It is often used to break up unity in an artwork.

Lesson 1: The Elements The Visual Elements are Line - Shape - Tone - Color - Pattern - Texture - Form. They are the building blocks of composition in art.

When we analyse any drawing, painting, sculpture or design, we examine these component parts to see how they combine to create the overall effect of the artwork?

The Visual Elements have a relationship to one another:    

 Most images begin their life as line drawings.

Lines cross over one another to form shapes.

Shapes can be filled with tone and color, or repeated to create pattern.

A shape may be rendered with a rough surface to create a texture.

A shape may be projected into three dimensions to create form.

Each of the elements may also be used individually to stress their own particular character in an artwork. Different elements can express qualities such as movement and rhythm, space and depth, growth and structure, harmony and contrast, noise and calm and a wide range of emotions that make up the subjects of great art.

Line Line is the foundation of all drawing. It is the first and most versatile of the visual elements of art. Line in an artwork can be used in many different ways. It can be used to suggest shape, pattern, form, structure, growth, depth, distance, rhythm, movement and a range of emotions.

There are many different types of lines, all characterized by their lengths being greater than their width, as well as by the paths that they take. Depending on how they are used, lines help to determine the motion, direction, and energy of a work of art. The quality of a line refers to the character that is presented by a line in order to animate a surface to varying degrees.

Actual lines are lines that are physically present, existing as solid connections between one or more points, while implied lines refer to the path that the viewer‘s eye takes as it follows shape, color, and form within an art work.

Implied lines give works of art a sense of motion and keep the viewer engaged in a composition.

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We can see numerous implied lines in Jacques-Louis David‘s Oath of the Horatii, connecting the figures and actions of the piece by leading the eye of the viewer through the unfolding drama.

Straight or classic lines add stability and structure to a composition and can be vertical, horizontal, or diagonal on the surface of the work. Expressive lines refer to curved marks that increase the sense of dynamism of a work of art. These types of lines often follow an undetermined path of sinuous curves. The outline or contour lines create a border or path around the edge of a shape, thereby outlining and defining it. Cross contour lines delineate differences in the features of a surface and can give the illusion of three dimensions or a sense of form or shading.

Hatch lines are a series of short lines repeated in intervals, typically in a single direction, and are used to add shading and texture to surfaces. Cross-hatch lines provide additional texture and tone to the image surface and can be oriented in any direction. Layers of crosshatching can add rich texture and volume to image surfaces.

Cross-Hatch lines provide additional tone and texture. They can be oriented in any direction. Multiple layers of cross-hatch lines can give rich and varied texture to objects by manipulating the pressure of the drawing tool to create a large range of values.

Implied lines are those created by visually connecting two or more areas together. The space between the Infanta Margarita – the blonde central figure in the composition – and the 'meninas', or maids of honor, to the left and right of her, are implied lines. Both set up a diagonal relationship that implies movement. By visually connecting the space between the heads of all the figures in the painting we have a sense of jagged motion that keeps the lower part of the composition in motion, balanced against the darker, more static upper areas of the painting. Implied lines can also be created when two areas of different colors or tones come together. Can you identify more implied lines in the painting? Where?

Implied lines are found in three-dimensional artworks too.

The sculpture of the Laocoon, a figure from Greek and Roman mythology, is, along with his sons, being strangled by sea snakes sent by the goddess Athena as wrath against his warnings to the Trojans not to accept the Trojan horse. The sculpture sets implied lines in motion as the figures writhe in agony against the snakes.

Expressive lines are curved, adding an organic, more dynamic character to a work of art. Expressive lines are often rounded and follow undetermined paths. In Las Meninas you can see them in the aprons on the girls' dresses and in the dog's folded hind leg and coat pattern. Look again at the Laocoon to see expressive lines in the figures' flailing limbs and the sinuous form of the snakes. Indeed, the sculpture seems to be made up of nothing but expressive lines, shapes and forms.

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We have a psychological response to different types of lines:    

Curved lines suggest comfort and ease Horizontal lines suggest distance and calm Vertical lines suggest height and strength Jagged lines suggest turmoil and anxiety The way we draw a line can convey different expressive qualities:

     

Freehand lines can express the personal energy and mood of the artist Mechanical lines can express a rigid control Continuous lines can lead the eye in certain directions Broken lines can express the ephemeral or the insubstantial Thick lines can express strength Thin lines can express delicacy

Color In the visual arts, color theory is a body of practical guidance to color mixing and the visual impacts of specific color combinations.

Color is a fundamental artistic element which refers to the use of hue in art and design. It is the most complex of the elements because of the wide array of combinations inherent to it.

Color theory first appeared in the 17th century when Isaac Newton discovered that white light could be passed through a prism and divided into the full spectrum of colors. The spectrum of colors contained in white light are, in order: red, orange, yellow, green, blue, indigo and violet.

Color theory subdivides color into the ―primary colors‖ of red, yellow, and blue, which cannot be mixed from other pigments; and the ―secondary colors‖ of green, orange and violet, which result from different combinations of the primary colors. Primary and secondary colors are combined in various mixtures to create ―tertiary colors.‖ Color theory is centered around the color wheel, a diagram that shows the relationship of the various colors to each other .

Color ―value ‖ refers to the relative lightness or darkness of a color. In addition, ―tint‖ (produced by adding white to a color) and ―shade‖ (produced by adding black to a hue) are important aspects of color theory and result from lighter and darker variations in value, respectively. ―Tone‖ refers to the gradation or subtle changes of a color on a lighter or darker scale. ―Saturation‖ refers to the intensity of a color.

The tonal values of an artwork can be adjusted to alter its expressive character. Tone can be used:  to create a contrast of light and dark.  to create the illusion of form.  to create a dramatic or tranquil atmosphere.  to create a sense of depth and distance.  to create a rhythm or pattern within a composition.

Color Harmonies Complementary Colors: The Beauty of Contradiction When two colors lie on opposite sides of the color wheel, they form single complementary harmony. This combination provides a high contrast and high impact color combination – together, these colors will appear brighter and more prominent.

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While a double complementary scheme is created with two hues (colors) next to each other on the color wheel and are paired with two adjacent hues on the opposite side. This overall creates a color palette of four hues that are adjacent but opposite such as red, green, red-violet, and yellow-green.

The split complementary scheme is with three colors that are not equally divided along the color wheel but two of the colors are close to each other (not adjacent) and opposite to the third color. This could be red, yellow-green and bluegreen. This is a variation of the complementary color scheme. However, instead of two colors directly across from each other, this combination is made up of one color and the colors on either side of the complement forming letter Y. On the other hand, the double split complementary harmony is composed of six colors with two Y guides.

Triadic Harmony Three colors that are evenly spaced on the color wheel. This provides a high contrast color scheme, but less so than the complementary color combination — making it more versatile.

This combination creates bold, vibrant color palettes.

Primary triad, secondary triad, intermediate triad - since there are 6 intermediate hues, there will also be two sets of intermediate triad. (Study the example given.)

Harmonies of Related Colors Under this category are monochromatic and analogous harmonies.

Monochromatic can be three shades, tones and tints of one base color. It provides a subtle and conservative color combination. This is a versatile color combination that is easy to apply to design projects for a harmonious look. Analogous harmony on the other hand, three colors that are side by side on the color wheel can be used. This color combination is versatile, but can be overwhelming. To balance an analogous color scheme, choose one dominant color, and use the others as accents.

Shape and Volume Shape refers to an area in a two-dimensional space that is defined by edges; volume is three-dimensional, exhibiting height, width, and depth. Shapes are, by definition, always flat in nature and can be geometric (e.g., a circle, square, or pyramid) or organic (e.g., a leaf or a chair).

Shapes can be created by placing two different textures , or shape-groups, next to each other, thereby creating an enclosed area, such as a painting of an object floating in water.

Positive space refers to the space of the defined shape, or figure. Typically, the positive space is the subject of an artwork.

Negative space refers to the space that exists around and between one or more shapes. Positive and negative space can become difficult to distinguish from each other in more abstract works.

A plane refers to any surface area within space. In twodimensional art, the picture plane is the flat surface that the image is created upon, such as paper, canvas, or wood. Three-dimensional 2GED HUM 01 – ART APPRECIATION

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figures may be depicted on the flat picture plane through the use of the artistic elements to imply depth and volume, as seen in the painting Small Bouquet of Flowers in a Ceramic Vase by Jan Brueghel the Elder.

Form is a concept that is related to shape. Combining two or more shapes can create a three-dimensional shape. Form is always considered three-dimensional as it exhibits volume—or height, width, and depth. Art makes use of both actual and implied volume. While threedimensional forms, such as sculpture, have volume inherently, volume can also be simulated, or implied, in a two-dimensional work such as a painting. Shape, volume, and space—whether actual or implied—are the basis of the perception of reality.

Texture Texture in art stimulates the senses of sight and touch and refers to the tactile quality of the surface of the art. It is based on the perceived texture of the canvas or surface, which includes the application of the paint. In the context of artwork, there are two types of texture: visual and actual. Visual texture refers to an implied sense of texture that the artist creates through the use of various artistic elements such as line, shading and color. Actual texture refers to the physical rendering or the real surface qualities we can notice by touching an object, such as paint application or three-dimensional art.

It is possible for an artwork to contain numerous visual textures, yet still remain smooth to the touch. Take for example Realist or Illusionist works, which rely on the heavy use of paint and varnish, yet maintain an utterly smooth surface. In Jan Van Eyck‘s painting ―The Virgin of Chancellor Rolin‖ we can notice a great deal of texture in the clothing and robes especially, while the surface of the work remains very smooth.

Paintings often use actual texture as well, which we can observe in the physical application of paint. Visible brushstrokes and different amounts of paint will create a texture that adds to the expressiveness of a painting and draw attention to specific areas within it.

The artist Vincent van Gogh is known to have used a great deal of actual texture in his paintings, noticeable in the thick application of paint in such paintings as Starry Night.

Light and Value The use of light and dark in art is called value. Value can be subdivided into tint (light hues) and shade (dark hues). In painting, which uses subtractive color, value changes are achieved by adding black or white to a color. Artists may also employ shading, which refers to a more subtle manipulation of value. The value scale is used to show the standard variations in 2GED HUM 01 – ART APPRECIATION

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tones . Values near the lighter end of the spectrum are termed high-keyed, while those on the darker end are low-keyed.

In two-dimensional artworks, the use of value can help to give a shape the illusion of mass or volume. It will also give the entire composition a sense of lighting. High contrast refers to the placing of lighter areas directly against much darker ones, so their difference is showcased, creating a dramatic effect. High contrast also refers to the presence of more blacks than white or grey. Low-contrast images result from placing mid-range values together so there is not much visible difference between them, creating a more subtle mood.

In Baroque painting, the technique of chiaroscuro was used to produce highly dramatic effects in art.

Chiaroscuro, which means literally ―light-dark‖ in Italian, refers to clear tonal contrasts exemplified by very highkeyed whites, placed directly against very low-keyed darks. Candlelit scenes were common in Baroque painting as they effectively produced this dramatic type of effect. Caravaggio used a high contrast palette in such works as The Denial of St. Peter to create his expressive chiaroscuro scene.

Space Space in art refers to the distance or area between, around, above, below, or within shapes and forms found within a composition. There are several different ways space is used in art. These are positive space, negative space, two-dimensional space, and three-dimensional space.

Positive and Negative Space There are two types of space in art: positive and negative. Both positive and negative space are important factors to be considered in every good composition. They occur in both twodimension and three-dimension art and are complementary to one another. One impacts on and affects the reading of the other.

Positive space is the ―occupied‖ areas in a work of art that is filled with something such as lines, colors and shapes. It is the primary subject matter of a painting; the animals, plants, building, mountain, vase, people, etc., that forms your area-of-interest. It dominates the eye and is the focal point in a composition.

Negative space is the unoccupied areas that surround the subject matter. It is more passive in nature and is defined by the edges of the positive space it surrounds. It is what gives definition to our composition. Negative space has weight and mass, and plays an important role in defining your subject. Negative space is important in a composition because it gives balance to positive space by giving the eye a place to rest. This is a basic element that is often overlooked as a principle of a good design.

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Two-dimensional space is found on a flat surface such as a canvas. It is called the decorative space which is depthless. It has only length and width. In our example, the image appears flat because all the objects and forms lie on the same plane. There is no feeling of depth.

However, the same space can be used to make a two-dimensional artwork appear three-dimensional by giving a feeling of depth. Threedimensional space has width, height and depth.

In the graphic arts, the third dimension (plastic space) is only an illusion which can be achieved by using different methods like overlapping planes, position on the picture plane, perspective, relative size, and texture gradient. . These are known as monocular depth cues. 

   



Relative size is the principle that if two objects are similar in size, the one that casts a larger retinal image is closer. When two shapes are the same size and are placed on the same plane, the image tends to appear rather flat and not have much depth to it.

However by simply varying the size and placement of the shapes a greater sensation of depth is created.

Interposition or overlapping planes means that if one object is blocking our view of another, then the one in front is closer and the one being blocked is farther away.

Aerial perspective refers to the phenomenon that the farther away objects are, the hazier and fuzzier the view gets.

Linear perspective is the way that lines that are parallel in real life will appear to converge as they get farther away.

Texture gradient is the fact that we see much less detail (or texture) on objects as the distance between the object and the viewer grows. Picture Plane is the flat twodimensional surface on which we draw or project an image in perspective.

Position on the picture plane refers to the location of the objects placed on the picture plane: those on top of the plane are viewed as far from the viewer and those found on the foreground are viewed as closer to the viewer.

When used effectively all of these tools to create the illusion of three-dimensional space will create a sense of what is referred to as deep space within your painting. In deep space there are three terms used to describe depth: Foreground is the area of a painting that visually appears closest to the viewer. It is often located on a lower plane or bottom of the canvas.

Middle ground is space that makes up the distance between the foreground and background of a painting. There is no specific measurement for what the limits are. Typically it is located somewhere on the middle plane of the canvas.

Background is the area of a painting that visually appears to be far away in the distance at or near the horizon. It is usually located on a higher plane of the canvas.

Lesson 2: The Principles of Design In this lesson, a presentation is prepared for you. Go to VISUAL ARTS Folder and look for the document Principles of Design. Have fun!

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What are the new concepts that you learned today? Write at least ten new concepts that you learned. If there are concepts that need clarification, write them, too.

I. Retake the ten-item test you have taken before studying the two lessons.

II. Explain the following items.

1. Why are the elements of art so important? (4 points) 2. Explain the similarity of cooking and painting in relation to the topics elements of visual arts and principle of design. (5 points)

III. Study the painting of Leonardo Da Vinci. Give at least two methods used in creating an illusion of depth. An example is given as your guide. (6 points) Example: Relative size is evident on the varying sizes of the objects in the painting from the bread on the table, to the people, and to the size of the room.

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IV. Identify the color harmony used in the following paintings. (10 points)

1.

2.

4.

3.

Recommended Videos to Watch Elements of Art: Line | KQED Arts Elements of Art: Color | KQED Arts Elements of Art: Form| KQED Arts Elements of Art: Texture | KQED Arts Elements of Art: Value | KQED Arts Elements of Art: Space | KQED Arts

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Recommended Readings Visual Elements in Traditional Motifs and Crafts Time and Motion Chance, Improvisation, and Spontaneity @ https://courses.lumenlearning.com/boundlessarthistory/chapter/visual-elements/

Perspective Drawing @ https://www.artyfactory.com/perspective_drawing/perspective_3. html

Materials needed: Pencil Bond paper (short) Crayons or any medium like poster paint, oil, etc.

What to do?

Create a still life painting using any of the color harmonies learned.

Online References: http://teresabernardart.com/principles-of-good-design-space/ http://learn.leighcotnoir.com/artspeak/elements-space/ https://www.canva.com/colors/color-wheel/ https://www.artyfactory.com/art_appreciation/visual-elements/visual-elements.html

https://courses.lumenlearning.com/boundless-arthistory/chapter/visual-elements/ https://www.coursehero.com/file/60905956/MOTIFS-AND-SYMBOLSpptx/

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Overview and Objectives Module 4 tackled about Elements of the Visual Arts and Principles of Design. This module will specifically discuss the elements of music and performing arts. There are videos to watch because in music, there should be more listening than reading same with performing arts.

It is expected that after studying the content, students are able to: 5. identify, describe and gain familiarity with the different elements of music and performing arts (cinema and theatre); 6. apply what they have learned when analyzing musical compositions whether they perform the piece or analyze it; and 7. create an advocacy video employing the elements learned.

Take this short test to test your prior knowledge of the topics.

I. True or False. Write true if the statement is true, and false if it is false.

1. Program music can be classified as imitative.

2. Narrative music can be classified as program music.

3. The term, playwright, is a variant spelling of playwrite.

4. Since time immemorial, actors are people of high status.

5. Music appreciation is an acquired ability to listen to music intelligently.

II.

Multiple Choice. Choose the correct answer from the alternatives given. Write only the letter of your choice.

1. A type of listening performed by someone who does head banging in time with music. a. Sheerly musical type c. emotional type b. Intellectual type d. sensual type 2. This results when a single melody is played with a subordinate harmonic accompaniment. a. monophonic b. homophonic c. polyphonic d. multiphonic 3. This refers to the simultaneous sounding of tones. a. rhythm b. melody c. harmony

d. texture

4. The three-dimensionality of a film can be achieved through the use of shooting angles. What shooting angle is done when the camera is positioned above the object? a. vertically upward c. panning e. vertically downward b. horizontal shooting d. tracking 5. A transition device which involves superimposition of the last portion of a scene over a new portion of the next scene, showing two events at the same time. a. fade b. dissolve c. iris-in-iris-out d. turn-over 6. Which of the following statements is telling about psychological time?

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a. ―As if I watched the film for hours, to think that its running time is only 1.5 hours.‖ b. ―The movie I watched was filmed for a year.‖ c. ―That movie tells the story of a civilization.‖ d. ―The event in the film I watched happened only for a day.‖ e. All of them.

7. This shot is taken when a camera records an area equal to the height of a seated figure or a figure from the waist up. a. long shot b. medium shot c. close-up shot d. pan shot 8. In this type of theatre, singers and musicians perform a dramatic work which combines a text and a musical score. a. tragedy b. opera c. mime d. kabuki e. drama 9. In a theatre, it is considered as the domain of the playwright. a. text b. process c. product d. both text and process 10. A theatrical entertainment of a broadly humorous often earthy character consisting of short turns, comic skits, and sometimes striptease acts. a. farce d. satire b. comedy of manners e. burlesque c. comedy of ideas

Lesson 1: Elements of Music The elements of music can be seen as being the building blocks of music. Without them, music (of any style/age) would not exist because sound itself would not exist!

Think of the elements of music like the crucial elements of a car.

A car needs wheels, an engine, brakes, doors, a chassis, a steering wheel, etc.. Without these key elements it will no longer be a car.

Without the key musical elements a piece of music will no longer be music.

Elements of Music While there are many different approaches to describing the building blocks of music, we often break music down into five basic elements: melody, texture, rhythm, form, and harmony.

While it‘s true that not every piece of music contains all of those elements, it is very likely that every piece of music you have listened to recently does.

Of these five elements, there are two that almost always come first: melody and rhythm.

They are not only the two most fundamental parts of music, but they are very probably the very first components of music experienced by human beings. It is a matter of pure speculation whether the first music involved a melody being sung or a rhythm being tapped, but it is easy to imagine that these two experiences were some of the earliest human musical creations.

Element Melody

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Rhythm

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Description the succession of single tones in musical compositions, as distinguished from harmony and rhythm. serves as a main focus of the song and acts as a means of communication from the composer to his or her audience. refers to the number of layers, as well as the type of layers, used in a composition and how these layers are related. Texture may be 2GED HUM 01 – ART APPRECIATION

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Form

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Texture

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Harmony

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monophonic, polyphonic or homophonic. the structure of a musical composition. The term is regularly used in two senses: to denote a standard type, or genre, and to denote the procedures in a specific work. The nomenclature for the various musical formal types may be determined by the medium of performance, the technique of composition, or by function. refers to the number of layers, as well as the type of layers, used in a composition and how these layers are related. Texture may be monophonic, polyphonic or homophonic. refers to the simultaneous sounding of tones; when multiple pitches are being played at the same time.

Note: Check the document in pdf in AUDITORY ART folder. Read the Elements of Music.

Why are the elements of music important?

They are important for 2 reasons: 1. Performing/analysing Music – An understanding of the musical elements will enable you to understand any piece of music, whether you are trying to perform the piece or analyse it. If we know the key elements that make up a car then we can use them to compare any car around the world from a Ferrari to a pickup truck by asking some simple questions – ―What size engine does it have? What colour is it? How many wheels does it have? etc..‖ In the same way, we can understand any piece of music by asking questions – ―What is the tempo? How loud is it? What key is it in? What instruments are playing?

Etc…‖ 2. Composing Music – The musical elements are your ―composer‘s toolbox‖ – without a clear understanding of the elements of a car you will never be able to build a car. Without a clear grasp of the elements of music your ability to write music will be seriously compromised and you will not be able to reach your potential as a composer (whatever style you are wanting to write in).

Lesson 2: Theatre An artist may use his/her own face, body and presence in performing. This art form where an artist uses his own face, body and presence is called performing art. Theatre is one of the performing arts. Theatre, also spelled theater, in dramatic arts, an art concerned almost exclusively with live performances in which the action is precisely planned to create a coherent and significant sense of drama (Guthrie, n. d.).

The Basic Elements of Theatre 1. Script/Text, Scenario, Plan: This is the starting point of the theatrical performance. The element most often considered as the domain of the playwright in theatre. The playwright‘s script is the text by which theatre is created. It can be simplistic, as in the 16thcentury, with the scenarios used by the acting troupes of the Commedia dell‘ arte, or it can be elaborate, such as the works of William Shakespeare. The script, scenario, or plan is what the director uses as a blue print to build a production from.

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2. The Process: This is the coordination of the creative efforts usually headed up in theatre by the director. It is the pure process by which the playwright‘s work is brought to realization by the director, actors, designers, technicians, dancers, musicians, and any other collaborators that come together on the script, scenario, or plan. This is the works in progress stage.

3. The Product: This is the end result of the process of work involved. The final product that results from all of the labors coming together to complete the finished work of script, scenario, and plan, in union with all of the collaborators in the process to create the final product. This is what the audience will witness as they sit in the theatre and view the work.

4. The Audience: Theatre requires an audience. For all of the arts public is essential. The physical presence of an audience can change a performance, inspire actors, and create expectations. Theatre is a living breathing art form. The presence of live actors on the stage in front of live audiences sets it apart from modern day films and television.

Let us now look to the person who is responsible for the starting point of the theatrical event. The initial creator of the script, scenario, or plan, as outlined above. This person is the playwright. A playwright works in that branch of literature dealing with the writing and producing of plays for the theatre. The literary composition that is written specifically for the stage in play format by the playwright.

The Playwright What is a playwright? According to the American Heritage Dictionary, ―One who writes plays‖.

How plays are written at any given time depends on many factors: 1. the intended audience and purpose; 2. the playwright‘s current views about the human condition; and 3. how the playwright perceives the truth around him.

A playwright must understand and know the established artistic and theatrical conventions of the theatre. A playwright must appreciate the working procedures, materials, and technical aspects of a production. Because the script is the starting point of the theatrical production, the process through which it comes into being is of primary importance. There are many ways to write a play. Sometimes a playwright starts with an idea. Another playwright may begin with a single character in mind. Some playwrights base their work on spectacle.

Plays can be tightly structured or episodic. Regardless of the original inspiration, the work of the playwright is not just to set forth an idea, to create characters, or tell a story. A playwright recreates and restates the human experiences and the universal mirror of mankind.

The script is the heart of the theatrical event. It must be respected.

Steps of the Playwright’s Work Playwriting and creating drama for each playwright is distinctively different. Plays can develop out of any combination of starting points and patterns. The processes by which drama is created for each playwright can be varied in the steps used to create the text. Below is a simple 2GED HUM 01 – ART APPRECIATION

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list in a progressive order, but order can change depending on each playwright‘s characteristic style and preferences for writing.

The basic steps involved in the development of drama include: 1.

2.

3.

4.

5.

6.

7.

Coming up with Thought/Theme/Ideas to be expressed through the work.

Determine the Genre and Style of the work Outlining Basic Action of the work and Creating Plot.

Establish the Structure of the Play and Overall Framework The Development of Characters presented in the work.

The Creation of Dialogue and the Language of the Characters.

Creating Music: This can involve the Rhythm of the Language or actual Music Composition and the Lyrics of the songs.

8. Establishing Spectacle: The visual and Environmental elements of the work.

9. Research of Subject Matter and Relevant issues presented in the play.

Elements of Drama Most successful playwrights follow the theories of playwriting and drama that were established over two thousand years ago by a man named Aristotle. In his works the Poetics Aristotle outlined the six elements of drama in his critical analysis of the classical Greek tragedy Oedipus Rex written by the Greek playwright, Sophocles, in the fifth century B.C. The six elements as they are outlined involve: Thought, Theme, Ideas; Action or Plot; Characters; Language; Music; and Spectacle.

1. Thought/Theme/Ideas What the play means as opposed to what happens (the plot). Sometimes the theme is clearly stated in the title. It may be stated through dialogue by a character acting as the playwright‘s voice. Or it may be the theme is less obvious and emerges only after some study or thought. The abstract issues and feelings that grow out of the dramatic action.

2. Action/Plot The events of a play; the story as opposed to the theme; what happens rather than what it means. The plot must have some sort of unity and clarity by setting up a pattern by which each action initiating the next rather than standing alone without connection to what came before it or what follows. In the plot of a play, characters are involved in conflict that has a pattern of movement. The action and movement in the play begins from the initial entanglement, through rising action, climax, and falling action to resolution.

3. Characters These are the people presented in the play that are involved in the perusing plot.

Each character should have their own distinct personality, age, appearance, beliefs, socio economic background, and language.

4. Language The word choices made by the playwright and the enunciation of the actors of the language. Language and dialog delivered by the characters moves the plot and action along, provides exposition, defines the distinct characters. Each playwright can create 2GED HUM 01 – ART APPRECIATION

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their own specific style in relationship to language choices they use in establishing character and dialogue.

5. Music Music can encompass the rhythm of dialogue and speeches in a play or can also mean the aspects of the melody and music compositions as with musical theatre. Each theatrical presentation delivers music, rhythm and melody in its own distinctive manner.

Music is not a part of every play. But, music can be included to mean all sounds in a production. Music can expand to all sound effects, the actor‘s voices, songs, and instrumental music played as underscore in a play. Music creates patterns and establishes tempo in theatre. In the aspects of the musical the songs are used to push the plot forward and move the story to a higher level of intensity. Composers and lyricist work together with playwrights to strengthen the themes and ideas of the play. Character‘s wants and desires can be strengthened for the audience through lyrics and music.

6. Spectacle The spectacle in the theatre can involve all of the aspects of scenery, costumes, and special effects in a production. The visual elements of the play created for theatrical event. The qualities determined by the playwright that create the world and atmosphere of the play for the audience‘s eye.

Genre/Form Drama is divided into the categories of tragedy, comedy, melodrama, and tragicomedy.

Each of these genre/forms can be further subdivide by style and content.

1. Tragedy Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude. The tragedy is presented in the form of action, not narrative. It will arouse pity and fear in the audience as it witnesses the action. It allows for an arousal of this pity and fear and creates an affect of purgation or catharsis of these strong emotions by the audience. Tragedy is serious by nature in its theme and deals with profound problems. These profound problems are universal when applied to the human experience. In classical tragedy we find a protagonist at the center of the drama that is a great person, usually of upper class birth. He is a good man that can be admired, but he has a tragic flaw, a hamartia, that will be the ultimate cause of his down fall. This tragic flaw can take on many characteristics but it is most often too much pride or hubris. The protagonist always learns, usually too late, the nature of his flaw and his mistakes that have caused his downfall. He becomes self-aware and accepts the inevitability of his fate and takes full responsibility for his actions. We must have this element of inevitability in tragedy. There must be a cause and effect relationship from the beginning through the middle to the end or final catastrophe. It must be logical in the conclusion of the necessary outcome. Tragedy will involve the audience in the action and create tension and expectation. With the climax and final end the audience will have learned a lesson and will leave the theatre not depressed or sullen, but uplifted and enlightened.

2. Comedy Comedy should have the view of a ―comic spirit‖ and is physical and energetic. It is tied up in rebirth and renewal, this is the reason most comedy end in weddings, which suggest a union of a couple and the expected birth of children. In comedy there is absence of pain and emotional reactions, as with tragedy, and a 2GED HUM 01 – ART APPRECIATION

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replaced use of mans intellect. The behavior of the characters presented in comedy is ludicrous and sometimes absurd and the result in the audience is one of correction of behaviors. This correction of behaviors is the didactic element of comedy that acts as a mirror for society, by which the audience learns ―don‘t behave in ludicrous and absurd ways.‖ The types of comedies can vary greatly; there are situation comedies, romantic comedies, sentimental comedies, dark comedies, comedy of manners, and pure farce. The comic devices used by playwrights of comedy are: exaggeration, incongruity, surprise, repetition, wisecracks, and sarcasm.

3. Melodrama Melodrama is drama of disaster and differs from tragedy significantly, in that; forces outside of the protagonist cause all of the significant events of the plot. All of the aspects of related guilt or responsibility of the protagonist are removed. The protagonist is usually a victim of circumstance. He is acted upon by the antagonist or anti-hero and suffers without having to accept responsibility and inevitability of fate.

In melodrama we have clearly defined character types with good guys and bad guys identified. Melodrama has a sense of strict moral judgment. All issues presented in the plays are resolved in a well-defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime.

4. Tragicomedy Tragicomedy is the most life like of all of the genres. It is non-judgmental and ends with no absolutes. It focuses on character relationships and shows society in a state of continuous flux. There is a mix of comedy and tragedy side by side in these types of plays.

Lesson 3: Film/Cinema Elements of Cinema 1. Time Moving pictures move in time, thus making time as an important element in cinema. The time can be distorted or extended. In cinema, it is subject to contraction, expansion, breaks, leaps through the manipulation of the director.

There are three aspects of time in cinema: physical, psychological and dramatic.

 Physical time refers to the time taken by an action as it is being filmed and as it is being projected on the screen. From pre-production up to the projection on the screen of the finished movie, that refers to physical time. Distortion of physical time happens through slow motion, accelerated motion, reverse motion and stopped motion. In the movies, instead of stopping the motion, still photographs are used.

Though time is fixed and cannot be changed in films, it can be altered between shots through flashback, when the chronological flow of events is interrupted by images of past events, and flash-forward, when future events interrupt the forward movement.

 Psychological time refers to our emotional impression of the duration of the action that we experience as we watch a film. Rapid action or loud, lively music makes time go quickly and induces in us a feeling of exhilaration and excitement while slow pace can induce a melancholy mood or grief and slow down time.

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 Dramatic Time refers to the time taken up by the events which are depicted in the film. It refers to the duration of the period depicted in the film. Film time is flexible, since dramatic time can be shorter, longer or equal to real time.

2. Space Space on the screen is flat; perception of depth is only an illusion. When we watch a film, we do not think of people becoming dwarfs on a small screen or giants in big screen. This three dimensionality and realness of the objects are achieved through the use of: Scale which refers to the size of objects on the screen and their relation to surrounding area. There are ways on how screen and camera deceive us about the size of objects. These are by making props and sets very large, human beings as well as big animals can be represented as dwarfs; using models on a tiny scale taken at close range to create an impression of actual objects; and by the location of camera in relation to the subject.

The size of the objects can be changed depending on the location of the camera or depending on the lens used. The camera can be positioned very far from the object to create a wide view on a small scale resulting to a shot called long shot or can be place in an average distance resulting to medium shot. When the camera is situated so close to the object that we can distinguish the smallest features of the object, a close-up shot is taken.

Lighting is another way to give the illusion of depth in the film. By the position of lights, a filmmaker can create areas of light and dark, and increase or decrease depth. (Watch a short video on lighting.)

Shooting angles can express subjectively what things are like as they are seen from the point of view of a character. The director may take pictures from several angles: (a) Vertically upward shot – a shot taken at an angle below the object; (b)Vertically downward shot – a shot taken at an angle above the object; and (c) Horizontal – creates an impression of closeness or equality among the characters on the scene; it makes the viewer feel that he is part of or on the same level as the characters.

3. Sound Before 1927, films produced are called silent films or movies, but these silent films are not totally silent because one can hear background music (try to imagine Tom and Jerry). The first movie with sound or with synchronized dialogue was The Jazz Singer. This movie marked the predominance of ―talkies‖ and the end of the silent-film era. (Watch a short video on The Importance of Sound in Film.)

4. Camera movement Panning consists of a horizontal or a vertical movement of the camera to shoot the film.

The pan turns the camera to the left or right, focusing attention on an object or subject being followed. The pan is also commonly used to survey surroundings, revealing what is beyond the confines of the original frame and to place characters or objects more firmly within their environment.

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A tracking shot (or dolly shot) is the movement of the camera towards or from an object or subject. Dollies are often used in point of view shots to give the audience the impression of approaching someone or something with the character. The dolly in creates a sense of moving towards an object. In contrast — though they look very similar at first glance — when zooming in on an object, by simply enlarging part of a frame, the object seems to be propelling itself towards the camera.

In a tracking (or trucking) shot the camera moves to the left or right, often on a pre-laid track or on a specially designed truck. Tracking shots are conventionally used to follow movements across a frame, often moving parallel to characters, and can help to involve the audience in characters‘ actions and discussions.

Zooming. Zoom doesn‘t really move the camera at all, it simply enlarges or reduces the proportion of the frame taken up by a person or object. In doing so, the zoom can focus attention on a particular detail, but over-use of the zoom is often distracting. A good use of a zoom might occur during a documentary interview, between actual shots, so that you have different frame sizes to cut to and create some visual variety.

In crane and helicopter shots the camera and mounting are free from the ground and can be maneuvered quite precisely. Crane shots have traditionally been used at the start of films to move into the action, drawing the audience with it, and at the end of films to draw the audience out of intimate relationships with characters, returning them to their wider environment. Crane and helicopter shots can survey wide areas and create an extreme sense of movement, again affecting the audience‘s sense of time and space.

The tilt pivots the camera upwards or downwards, often to survey surroundings, and frequently mimics the sight of the character in point of view shots. Very small tilts and pans are used to keep a subject in the desired part of the frame as he/she makes small movements. This is known as reframing. Often unnoticeable at first, reframing is most easily spotted by looking at the corner of the frame.

With handheld shots the camera is carried by the operator, often creating an uneven movement. These shots allows the operator to follow action very closely, creating a greater sense of immediacy for the audience, and may mimic the movement of a character in point of view shots. Due to its traditional use in documentary filmmaking (with no time to set up tracks etc. when reacting to a live event), the use of handheld camera shots in a action film can create a sense of ―reality‖ about what is being filmed. A common visual metaphor in movies is also created by handheld cameras creating a shaking, trembling effect in horror films.

A Steadicam is a camera which is placed in a harness worn by the camera operator which ―suspends‖ the camera in such a way as to remove the jerkiness of handheld shots as the operator moves across the ground. Like handheld shots, the Steadicam allows characters to be followed through complex surroundings, but it creates a floating sensation, often providing an eerie or dreamlike effect.

Recommended Videos to Watch Check your folders in Auditory Art and Theatre and Film. Watch all the videos.

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Recommended Readings Check your folder in Auditory Art and look for these documents: 1. Elements of Music in Portable Document Format 2. Music and its Elements PowerPoint Presentation Comedy - https://en.wikipedia.org/wiki/Comedy Film and Media Studies: Genres https://eac.libguides.com/c.php?g=723550&p=5215847

Take this short test not only to assess your learning but also to help you learn. That‘s according to research!

I. True or False. Write true if the statement is true and false if it is false.

1. In cinema, the filmmaker uses illusions to make the picture appear three-dimensional.

2. Dramatic time refers to the emotional impression of the duration of the action that we experience when we watch a film.

3. ―Silent films‖ are totally without sound.

4. In tragedy, the good character is always rewarded and bad character is punished.

5. The word actor refers to a person who acts regardless of sex.

6. The movie titled ―The Jazz Singer‖ is the first film with sound.

7. Pan shot is done by moving the camera horizontally from a fixed position.

8. In a drama, the plot refers to what the play means.

9. Cinema is an extension of photography.

10. Cinema is a visual composition on a three-dimensional surface.

II.

III.

Identification. Identify the following concepts and individuals who made great contributions in art.

1. The composer of Ang Pipit who was recognized as National Artist for Music and Literature in 1997.

2. These musical compositions are passed down orally from one generation to another.

3. A kind of a shot taken at an angle above the object.

4. This type of lighting is also called butterfly lighting.

5. In making videos, this type of light is your main light which is used to light up your subject.

Multiple Choice. Choose the correct answer from the alternatives given.

1. This distortion of time happens when the camera takes pictures faster than the projector can show them on the screen. a. slow motion c. reversed motion e. flashback b. accelerated motion d. stopped motion 2. The three-dimensionality of a film can be achieved through the use of shooting angles. What shooting angle is done when the camera is positioned above the object? a. vertically upward c. panning e. vertically downward b. horizontal shooting d. tracking 3. Which of the following statements is telling about psychological time?

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a. ―As if I watched the film for hours, to think that its running time is only 1.5 hours.‖ b. ―The movie I watched was filmed for a year.‖ c. ―That movie tells the story of a civilization.‖ d. ―The event in the film I watched happened only for a day.‖ e. All of them.

4. A shot showing the main object at a considerable distance from the camera and thus presenting it in relation to its general surroundings. a. long shot b. medium shot c. close-up shot d. pan shot 5. This shot is taken when a camera records an area equal to the height of a seated figure or a figure from the waist up. a. long shot b. medium shot c. close-up shot d. pan shot 6. Writing a play is dependent on the following except for one. Which one? a. current views about human conditions c. mood of the playwright b. audience d. None of them.

7. If harmony is the verticalization of pitch, what element is said to be the horizontal presentation of pitch? a. rhythm b. texture c. harmony also d. melody 8. Rhythm is the element of "TIME" in music. It is related to the following terms except for one. Which one? a. beat b. range c. meter d. None of them 9. A design in vocal music, in which the same music is used for several different verses of words. a. strophic b. binary c. ternary d, through composed 10. Which of the following statements is true? a. Basically, comedy refers to any performances with happy endings. b. Farce is a type of comedy that employs physical humor. c. In comedy, good characters are rewarded and the bad characters are punished in a means that fits the crime. d. None of them

Video Advocacy Tell the world about your advocacy through a short video. Your advocacy should be about the pandemic.

References: Barrance, T. (n. d.). Filmmaking: Use Sound to Tell Your Story. Retrieved from https://www.learnaboutfilm.com/film-language/sound/ Dunnett, B. (n. d. ). The Elements of Music. Retrieved from https://www.musictheoryacademy.com/ Film and Media Studies: Camera Movement. (2019). Retrieved f from https://eac.libguides.com/c.php?g=723550&p=5311207 Guthrie, T. (n. d. ). Theatre. Retrieved from https://www.britannica.com/art/theatre-art Holland, P.C. (n. d. ). Rhythm. Retrieved from https://www.britannica.com/art/rhythmmusic#ref64627

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Jones, E. (n. d.). A Historical Approach to the Elements of Music. Retrieved from https://courses.lumenlearning.com/music/chapter/a-historical-approach-to-the-elementsof-music/ Kirby, F.E. (n. d.). Form. Retrieved from https://www.britannica.com/art/musical-form https://wmich.edu/mus-gened/mus150/Ch1-elements.pdf Ortiz, M., et al. (1976). Art: Perception and Appreciation. Manila: University of the East.

The Basic Elements of Theatre.(n. d.). Retrieved from http://www.letras.ufmg.br/padrao_cms/documentos/profs/marcel/Elements%20of%20T

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Overview and Objectives This module on Art through the ages discusses art history in brief. It focuses on the characteristics of art in selected periods – from Prehistoric period to Renaissance. Other periods are presented through videos. In addition, this module also focuses on the history of visual arts. It aims to provide a brief chronological survey of art from prehistoric period to contemporary period and to acquaint students with major works of art and personalities of the period. Below is the outline of the topics.

1. Lesson 1 Prehistoric Art Classical Period (Greek Art) 2. Lesson 2 Medieval Art Renaissance Art 3. Lesson 3 Baroque Art Rococo Art 4. Lesson 4 Realism Impressionism and Post-impressionism 5. Lesson 5 Contemporary Art It is expected that after studying the content, students are able to: 1. identify the underlying history, philosophy of the era or movement; 2. engage in analysis and interpretation using independent thinking; and 3. appreciate and interact with visual culture

Open your folder on Art History and watch this short video Cave Art 101 | National Geographic or you may also click the link below. https://www.youtube.com/watch?v=ZjejoT1gFOc

Lesson 1: Prehistoric Art - Classical Period Prehistoric Art Types Archeologists have identified four basic types of Stone Age art, as follows: petroglyphs (cupules, rock carvings and engravings); pictographs (pictorial imagery, ideomorphs, ideograms or symbols), a 2GED HUM 01 – ART APPRECIATION

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category that includes cave painting and drawing; and prehistoric sculpture (including small totemic statuettes known as Venus Figurines, various forms of zoomorphic and therianthropic ivory carving, and relief sculptures); and megalithic art (petroforms or any other works associated with arrangements of stones). Artworks that are applied to an immoveable rock surface are classified as parietal art; works that are portable are classified as mobiliary art.

Prehistoric Art: Characteristics The earliest forms of prehistoric art are extremely primitive. The cupule, for instance - a mysterious type of Paleolithic cultural marking - amounts to no more than a hemispherical or cup-like scouring of the rock surface. The early sculptures known as the Venuses of Tan-Tan (1) and Berekhat Ram (2), are such crude representations of humanoid shapes that some experts doubt whether they are works of art at all. It is not until the Upper Paleolithic (from roughly 40,000 BCE onwards) that anatomically modern man produces recognizable carvings and pictures. Aurignacian culture, in particular, witnesses an explosion of rock art, including the El Castillo cave paintings, the monochrome cave murals at Chauvet, the Lion Man of HohlensteinStadel (3), the Venus of Hohle Fels, the animal carvings of the Swabian Jura, Aboriginal rock art from Australia, and much more. The later Gravettian and Magdalenian cultures gave birth to even more sophisticated versions of prehistoric art, notably the polychrome Dappled Horses of Pech-Merle and the sensational cave paintings at Lascaux and Altamira.

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Art of Classical Antiquity (c.1000 BCE - 450 CE) In fine art, the term "Antiquity" refers to the distant past, meaning the period between about 4,500 BCE (the beginnings of Western civilization) and about 450 CE (the beginning of the Middle Ages). The two principal civilizations of early Antiquity are those of Mesopotamia and Egypt. Other cultures include those of Ancient Persia (from 3,500 BCE): The more specific term "Classical Antiquity" is more common, however. This refers to the shorter period of classical civilization (c.1000 BCE - 450 CE), (other experts prefer the period 800 BCE - 450 CE), centered upon the cultures of Ancient Greece and Ancient Rome, as well as their prototypes (Aegean and Etruscan cultures) and derivatives (eg. the effect of Greek culture on Turkey, Persia, Central Asia, India and Egypt, a process known as Hellenism; Celtic culture, Early Christian culture).

The practice of fine art in ancient Greece evolved in three basic stages or periods: • Archaic Period (c.650-480 BCE) • Classical Period (c.480-323 BCE) • Hellenistic Period (c.323-27 BCE).

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Archaic Period (c.650-480 BCE) Archaic period, in history and archaeology, the earliest phases of a culture; the term is most frequently used by art historians to denote the period of artistic development in Greece from about 650 to 480 BC, the date of the Persian sack of Athens.

During the Archaic period, Greek art became less rigidly stylized and more naturalistic.

Paintings on vases evolved from geometric designs to representations of human figures, often illustrating epic tales. In sculpture, faces were animated with the characteristic ―Archaic smile,‖ and bodies were rendered with a growing attention to human proportion and anatomy. The development of the Doric and Ionic orders of architecture in the Archaic period also reflected a growing concern with harmonious architectural proportions.

Classical Period The term ―classical Greece‖ refers to the period between the Persian Wars at the beginning of the fifth century B.C. and the death of Alexander the Great in 323 B.C. The classical period was an era of war and conflict—first between the Greeks and the Persians, then between the Athenians and the Spartans—but it was also an era of unprecedented political and cultural achievement. Besides the Parthenon and Greek tragedy, classical Greece brought us the historian Herodotus, the physician Hippokrates and the philosopher Socrates. It also brought us the political reforms that are ancient Greece‘s most enduring contribution to the modern world: the system known as demokratia, or ―rule by the people.‖ The Rise of Athens The defeat of the Persians marked the beginning of Athenian political, economic and cultural dominance. In 507 B.C., the Athenian nobleman Cleisthenes had overthrown the last of the autocratic tyrants and devised a new system of citizen self-governance that he called demokratia. In Cleisthenes‘ democratic system, every male citizen older than 18 was eligible to join the ekklesia, or Assembly, the sovereign governing body of Athens. Other legislators were chosen randomly by lot, not by election. And in this early Greek democracy, officials were sworn to act ―according to the laws what is best for the people.‖ However, demokratia did not mean that Athens approached her relationships with other Greek city-states with anything approaching egalitarianism. To protect far-flung Greek territories from Persian interference, Athens organized a confederacy of allies that it called the Delian League in 478 B.C. Athens was clearly in charge of this coalition; as a result, most Delian League dues wound up in the city-state‘s own treasury, where they helped make Athens into a wealthy imperial power.

In the 450s, the Athenian general Pericles consolidated his own power by using all that tribute money to serve the citizens of Athens, rich and poor. (Generals were among the only public officials in Athens who were elected, not appointed, and who could keep their jobs for more than one year.)

Art and Architecture Pericles also used the tribute money to support Athenian artists and thinkers. For instance, he paid to rebuild the parts of Athens that the Persian Wars had destroyed. The result was the magnificent Parthenon (right picture), a new temple in honor of the goddess Athena at the Acropolis. (Pericles also oversaw the construction of the temple at Hephaestos, the Odeion concert hall and the temple of Poseidon at Attica.)

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Likewise, Pericles paid for the annual production of comedic and dramatic plays at the Acropolis. (Wealthy people offset some of these costs by paying voluntary taxes called liturgies.)

Dramatists like Aeschylus, Sophocles and Euripides and the comic playwright Aristophanes all won a great deal of renown for their depictions of relationships between men and gods, citizens and polis and fate and justice.

These plays, like the Parthenon, still epitomize the cultural achievements of classical Greece. Along with the histories of Herodotus and Thucydides and the ideas of the physician Hippokrates, they are defined by logic, pattern and order and a faith in humanism above all else.

These are the attributes that today are associated with the art, the culture and even the politics of the era.

The Peloponnesian War Unfortunately, none of these cultural achievements translated into political stability.

Athenian imperialism had alienated its partners in the Delian League, particularly Sparta, and this conflict played out in the decades-long Peloponnesian War (431–404 B.C.).

The eventual Spartan victory in the Peloponnesian War meant that Athens lost its political primacy, but Athenian cultural life—the essence of classical Greece—continued apace in the fourth century B.C.. By the second half of the century, however, disorder reigned within the former Athenian empire. This disorder made possible the conquest of Greece by the Macedonian kings Philip II and his son, Alexander the Great (338–323 B.C.)—a conquest that eventually heralded the end of the classical period and the beginning of Hellenistic one.

The Hellenistic Age Alexander‘s empire was a fragile one, not destined to survive for long. After Alexander died in 323 B.C., his generals (known as the Diadochoi) divided his conquered lands amongst themselves. Soon, those fragments of the Alexandrian empire had become three powerful dynasties: the Seleucids of Syria and Persia, the Ptolemies of Egypt and the Antigonids of Greece and Macedonia.

Though these dynasties were not politically united–since Alexander‘s death, they were no longer part of any Greek or Macedonian empire–they did share a great deal in common. It is these commonalities, the essential ―Greek-ness‖ of the disparate parts of the Alexandrian world– that historians refer to when they talk about the Hellenistic Age. The Hellenistic states were ruled absolutely by kings. (By contrast, the classical Greek city-states, or polei, had been governed democratically by their citizens.) These kings had a cosmopolitan view of the world, and were particularly interested in amassing as many of its riches as they could. As a result, they worked hard to cultivate commercial relationships throughout the Hellenistic world. They imported ivory, gold, ebony, pearls, cotton, spices and sugar (for medicine) from India; furs and iron from the Far East; wine from Syria and Chios; papyrus, linen and glass from Alexandria; olive oil from Athens; dates and prunes from Babylon and Damaskos; silver from Spain; copper from Cyprus; and tin from as far north as Cornwall and Brittany.

They also put their wealth on display for all to see, building elaborate palaces and commissioning art, sculptures and extravagant jewelry. They made huge donations to museums and zoos and they sponsored libraries (the famous libraries at Alexandria and Pergamum, for instance) and universities. The university at Alexandria was home to the mathematicians Euclid, Apollonios and Archimedes, along with the inventors Ktesibios (the water clock) and Heron (the model steam engine).

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Hellenistic Art In Hellenistic art and literature, this alienation expressed itself in a rejection of the collective demos and an emphasis on the individual. For example, sculptures and paintings represented actual people rather than idealized ―types.‖ Famous works of Hellenistic Art include ―Winged Victory of Samothrace,‖ ―Laocoön and His Sons,‖ ―Venus de Milo,‖ ―Dying Gaul,‖ ―Boy With Thorn‖ and ―Boxer at Rest,‖ among others.

The End of the Hellenistic Age The Hellenistic world fell to the Romans in stages, but the era ended for good in 31 B.C. That year, in the Battle at Actium, the Roman Octavian defeated Mark Antony‘s Ptolemaic fleet.

Octavian took the name Augustus and became the first Roman emperor. Despite the Hellenistic period‘s relatively short life span, the cultural and intellectual life of the era has been influencing readers, writers, artists and scientists ever since.

Recommended Videos to Watch Cave Art 101 | National Geographic https://www.youtube.com/watch?v=ZjejoT1gFOc Greek Art History from Goodbye-Art https://www.youtube.com/watch?v=gtKgfS1QwLk

Academy

Briefly explain what is asked in the following items.

1. Study the Venuses. What similar characteristics do they have?

What do you think is the purpose why they are created?

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2. What is the difference between the emotions evoked by Hellenistic sculpture and those evoked by the sculpture of the Parthenon? Is this an important difference for distinguishing between the apex of Greek sculpture and its period of decline?

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Watch 10 Great Mysteries Hidden in Famous Paintings https://www.youtube.com/watch?v=F-5ZPqUMgfM&t=211s

Lesson 2: Medieval and Renaissance Periods Medieval Art and Architecture: Ancient Art Forms of the Middle Ages All through the medieval period, art largely consisted of the architectural design and construction of churches, monasteries, castles, and similar eclectic structures while homes and other types of buildings were given less attention. Medieval artists and skilled craftsmen, including masons, carpenters, woodcarvers, sculptors, metal workers, and painters, applied the ornamental features of these structures into their own specific craft. Artisans of the lesser arts, like locksmiths, blacksmiths, shoemakers, and weavers, were equally influenced by these features which were replicated, copied and applied to anything and everything they produced.

What Was Life Like in the Middle Ages?

Life in the Middle Ages was dominated by feudalism, a kind of system where the nobles practically owned and ruled all the land. Vassals, who held the land under feudalism, were tenants of the nobles who paid homage to the lords. They were indeed loyal and in return were guaranteed protection in return.

Serfs were the downtrodden and lowest social class during the Medieval Period. These peasants worked and laboured for the noble in a condition of bondage. Though they were not slaves – they were allowed to own property, however, in most serfdoms, peasants were legally part of the land, so, if the land was sold by the lords, the serfs were sold with it.

Due to the fact that the Middle Ages was dominated by the feudal system, there was a vast difference in the daily lives of peasants when compared to that of the noble. The daily lives of people were therefore dictated by power, wealth, and status in the society with the noble spending most of their time on entertainment, games, and sports while the serfs toiled on their fields to serve them.

Religion played a major part of daily life during the Middle Ages, reasons why the artists of the early Middle Ages were predominantly priests and monks who lived in monasteries. Their art became the primary method of communicating narratives of a Biblical nature to the people.

Medieval Art and Architecture - An Expression of the Spiritual Medieval art illustrates the passionate interest and idealistic expression of the Christian and Catholic faith. Architectural designs and their interior décor showed avid expressions of the deep religious faith of the people of the Middle Ages.

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The churches served as the centre of town life and were designed and built by the people and not the clergy. They served other purposes that met the requirements of their daily life, with many housing schools, libraries, museums, and picture galleries.

Main Divisions of Middle Ages Byzantine Art (330 -1453) Byzantine art was developed in Constantinople, then the capital of the Eastern Roman Empire.

This style was characterized by a combination of Roman and Oriental arts, with dome ceilings being typical features.

The iconoclastic (radical) movement at the time absolutely forbade the use of human or animal forms in their artworks.

According to the history of art, such forms were regarded by the Byzantine as idolatry and 'graven images', which were frowned upon in the Ten Commandments.

The architecture of the churches was not only brilliant and grandiose but mostly reflected the wealth and intellectual level of their designers and builders.

Early Christian Art (330 - 880) This was developed (to some extent) in countries bordering the eastern Mediterranean region, but primarily in central Italy. Churches and monuments were constructed with stones found in the ruins of pagan temples. The Early Christian art forms developed after the people of the Roman Empire officially adopted Christianity. They had features which included flat ceilings, semi-circular arched forms, elaborately panelled flat wood ceilings, and straight high walls with small window openings at the topmost parts of the structures. Interiors were rich and elaborate with mosaics on the walls, ornately framed paintings, and marble incrustations.

Romanesque and Norman Medieval Art Forms (800 - 1150) The styles of this period were developed in France and other Western regions. They are characterized by simple structural forms with window and door openings designed with semicircular arched top sections. The term 'Romanesque art' refers to medieval styles of art that were greatly influenced by Italy and Southern France. This same style was taken to the shores of England by William the Conqueror where it became known as Norman art and continued until it evolved into the Gothic forms of the 12th century.

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monks. Architectural forms were basically interpretations of their own concept of Roman architecture.

Gothic Art and Architecture (1150 -1500) "Verticality" is emphasized in Gothic art and architecture, which feature almost skeletal stone structures and great expanses of stained glass showing biblical stories, pared-down wall surfaces, and extremely pointed arches.

Furniture designs were ‗borrowed‘ from their architectural forms and structures with arches, pillars, and rigid silhouettes.

Through the Gothic period, building construction was constantly geared towards lightness of forms but with enormous spiked heights to the extent that there were times when over ornamentation coupled with delicate structural forms made their structures collapse.

The structural collapse was, of course, imminent because construction methods never followed scientific principles but were rather done by mere 'rule of thumb'. Only when many buildings started to collapse before they were completed did they then rebuild them with stronger and sturdier supports.

All in all, medieval art, the art of the Middle Ages, covered an enormous scope of time and place. It existed for over a thousand years, not only in the European region but also the Middle East and North Africa. It included not only major art movements and eras but also regional art, types of art, the medieval artists and their works as well.

And because religious faith was the way of life, the history of art of the Middle Ages tells us about social, political and historical events, through the building of church cathedrals and eclectic structures that were erected in practically every town and city in the region.

Renaissance Art Known as the Renaissance, the period immediately following the Middle Ages in Europe saw a great revival of interest in the classical learning and values of ancient Greece and Rome.

Against a backdrop of political stability and growing prosperity, the development of new technologies–including the printing press, a new system of astronomy and the discovery and exploration of new continents–was accompanied by a flowering of philosophy, literature and especially art. The style of painting, sculpture and decorative arts identified with the Renaissance emerged in Italy in the late 14th century; it reached its zenith in the late 15th and early 16th centuries, in the work of Italian masters such as Leonardo da Vinci, Michelangelo and Raphael.

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In addition to its expression of classical Greco-Roman traditions, Renaissance art sought to capture the experience of the individual and the beauty and mystery of the natural world.

Origins of Renaissance Art The origins of Renaissance art can be traced to Italy in the late 13th and early 14th centuries. During this so-called ―proto-Renaissance‖ period (1280-1400), Italian scholars and artists saw themselves as reawakening to the ideals and achievements of classical Roman culture.

Writers such as Petrarch (1304-1374) and Giovanni Boccaccio (1313-1375) looked back to ancient Greece and Rome and sought to revive the languages, values and intellectual traditions of those cultures after the long period of stagnation that had followed the fall of the Roman Empire in the sixth century.

The Florentine painter Giotto (1267?-1337), the most famous artist of the protoRenaissance, made enormous advances in the technique of representing the human body realistically. His frescoes were said to have decorated cathedrals at Assisi, Rome, Padua, Florence and Naples, though there has been difficulty attributing such works with certainty.

Early Renaissance Art (1401-1490s) In the later 14th century, the proto-Renaissance was stifled by plague and war, and its influences did not emerge again until the first years of the next century. In 1401, the sculptor Lorenzo Ghiberti (c. 1378-1455) won a major competition to design a new set of bronze doors for the Baptistery of the cathedral of Florence, beating out contemporaries such as the architect Filippo Brunelleschi (1377-1446) and the young Donatello (c. 1386- 1466), who would later emerge as the master of early Renaissance sculpture.

The other major artist working during this period was the painter Masaccio (1401-1428), known for his frescoes of the Trinity in the Church of Santa Maria Novella (c. 1426) and in the Brancacci Chapel of the Church of Santa Maria del Carmine (c. 1427), both in Florence.

Masaccio painted for less than six years but was highly influential in the early Renaissance for the intellectual nature of his work, as well as its degree of naturalism.

Florence in the Renaissance Though the Catholic Church remained a major patron of the arts during the Renaissance– from popes and other prelates to convents, monasteries and other religious organizations–works of art were increasingly commissioned by civil government, courts and wealthy individuals.

Much of the art produced during the early Renaissance was commissioned by the wealthy merchant families of Florence, most notably the Medici family.

From 1434 until 1492, when Lorenzo de‘ Medici–known as ―the Magnificent‖ for his strong leadership as well as his support of the arts–died, the powerful family presided over a golden age for the city of Florence. Pushed from power by a republican coalition in 1494, the Medici family spent years in exile but returned in 1512 to preside over another flowering of Florentine art, including the array of sculptures that now decorates the city‘s Piazza della Signoria.

High Renaissance Art (1490s-1527) By the end of the 15th century, Rome had displaced Florence as the principal center of Renaissance art, reaching a high point under the powerful and ambitious Pope Leo X (a son of Lorenzo de‘ Medici). Three great masters–Leonardo da Vinci, Michelangelo and Raphael– dominated the period known as the High Renaissance, which lasted roughly from the early 1490s until the sack of Rome by the troops of the Holy Roman Emperor Charles V of Spain in 1527.

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interest and talent and his expression of humanist and classical values. Leonardo‘s best-known works, including the ―Mona Lisa‖ (1503-05), ―The Virgin of the Rocks‖ (1485) and the fresco ―The Last Supper‖ (1495-98), showcase his unparalleled ability to portray light and shadow, as well as the physical relationship between figures–humans, animals and objects alike–and the landscape around them.

Michelangelo Buonarroti (1475-1564) drew on the human body for inspiration and created works on a vast scale. He was the dominant sculptor of the High Renaissance, producing pieces such as the Pietà in St. Peter‘s Cathedral (1499) and the David in his native Florence (1501-04). He carved the latter by hand from an enormous marble block; the famous statue measures five meters high including its base. Though Michelangelo considered himself a sculptor first and foremost, he achieved greatness as a painter as well, notably with his giant fresco covering the ceiling of the Sistine Chapel, completed over four years (1508-12) and depicting various scenes from Genesis.

Raphael Sanzio, the youngest of the three great High Renaissance masters, learned from both da Vinci and Michelangelo. His paintings–most notably ―The School of Athens‖ (1508-11), painted in the Vatican at the same time that Michelangelo was working on the Sistine Chapel– skillfully expressed the classical ideals of beauty, serenity and harmony. Among the other great Italian artists working during this period were Sandro Botticelli, Bramante, Giorgione, Titian and Correggio.

Analyze this!

1. Study these Last Supper paintings of Da Vinci and Tintoretto.

Da Vinci

Which painting would have a greater impact to a person who does not know the story of the last supper? (10 points)

Tintoretto

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Lesson 3: Baroque Art and Rococo Art Baroque Art and Architecture Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.

The Origin Of The Term The term Baroque probably ultimately derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic.

Subsequently the word came to denote any contorted idea or involuted process of thought.

Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler‘s term baroque pearl.

In art criticism the word Baroque came to be used to describe anything irregular, bizarre, or otherwise departing from established rules and proportions. This biased view of 17th-century art styles was held with few modifications by critics from Johann Winckelmann to John Ruskin and Jacob Burckhardt, and until the late 19th century the term always carried the implication of odd, grotesque, exaggerated, and overdecorated. It was only with Heinrich Wölfflin‘s pioneer study Renaissance und Barock (1888) that the term Baroque was used as a stylistic designation rather than as a term of thinly veiled abuse, and a systematic formulation of the characteristics of Baroque style was achieved.

Architecture, Painting, And Sculpture The arts present an unusual diversity in the Baroque period, chiefly because currents of naturalism and classicism coexisted and intermingled with the typical Baroque style. Indeed, Annibale Carracci and Caravaggio, the two Italian painters who decisively broke with Mannerism in the 1590s and thus helped usher in the Baroque style, painted, respectively, in classicist and realist modes. A specifically Baroque style of painting arose in Rome in the 1620s and culminated in the monumental painted ceilings and other church decorations of Pietro da Cortona, Guido Reni, Il Guercino, Domenichino, and countless lesser artists. The greatest of the Baroque sculptor-architects was Gian Lorenzo Bernini, who designed both the baldachin with spiral columns above the altar of St. Peter‘s in Rome and the vast colonnade fronting that church.

Baroque architecture as developed by Bernini, Carlo Maderno, Francesco Borromini, and Guarino Guarini emphasized massiveness and monumentality, movement, dramatic spatial and lighting sequences, and a rich interior decoration using contrasting surface textures, vivid colours, and luxurious materials to heighten the structure‘s physical immediacy and evoke sensual delight.

Pronounced classicizing tendencies subdued the Baroque impulse in France, as is evident in the serious, logical, orderly paintings of Nicolas Poussin and the somewhat more sumptuous works of Charles Le Brun and the portraitists Hyacinthe Rigaud and Nicolas de Largillière.

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French architecture is even less recognizably Baroque in its pronounced qualities of subtlety, elegance, and restraint. Baroque tenets were enthusiastically adopted in staunchly Roman Catholic Spain, however, particularly in architecture. The greatest of the Spanish builders, José Benito Churriguera, shows most fully the Spanish interest in surface textures and lush detail. He attracted many followers, and their adaptations of his style, labeled Churrigueresque, spread throughout Spain‘s colonies in the Americas and elsewhere. (For a detailed discussion of the Baroque in Latin America, see Latin American art.) Diego Velázquez and other 17th-century Spanish painters used a sombre but powerful naturalistic approach that bore little direct relation to the mainstream of Baroque painting.

The Baroque made only limited inroads into northern Europe, notably in what is now Belgium. That Spanish-ruled, largely Roman Catholic region‘s greatest master was the painter Peter Paul Rubens, whose tempestuous diagonal compositions and ample, full-blooded figures are the epitome of Baroque painting. The elegant portraits of Anthony van Dyck and the robust figurative works of Jacob Jordaens emulated Rubens‘s example. Art in the Netherlands was conditioned by the realist tastes of its dominant middle-class patrons, and thus both the innumerable genre and landscape painters of that country and such towering masters as Rembrandt and Frans Hals remained independent of the Baroque style in important respects. The Baroque did have a notable impact in England, however, particularly in the churches and palaces designed, respectively, by Sir Christopher Wren and Sir John Vanbrugh.

The last flowering of the Baroque was in largely Roman Catholic southern Germany and Austria, where the native architects broke away from Italian building models in the 1720s. In ornate churches, monasteries, and palaces designed by J.B. Fischer von Erlach, J.L. von Hildebrandt, Balthasar Neumann, Dominikus Zimmermann, and brothers Cosmas Damian Asam and Egid Quirin Asam, an extraordinarily rich but delicate style of stucco decoration was used in combination with painted surfaces to evoke subtle illusionistic effects.

Note: After reading, watch the videos about Baroque Art.

Rococo In 18th century Europe, the Rococo style became prevalent in interior design, painting, sculpture, and the decorative arts. A reaction to the rigidity of Baroque style, the frivolous and playful Rococo first manifested itself with interior design and decorative work. In French, the word salon simply means living room or parlor, and Rococo salons refer to central rooms that are designed in the Rococo style. In addition, the notion of the ‗salon‘ is an Enlightenment era ideal that transformed the living room into the central space for aristocracy to entertain guests and engage in intellectual conversation. The idea that one‘s architectural surroundings should encourage a way of life, or reflect one‘s values, was the philosophy of the time.

The Rococo interior reached its height in the total art work of the salon. Rococo salons are characterized by their elaborate detail, intricate patterns, serpentine design work, asymmetry, and a predisposition to lighter, pastel, and gold-based color palettes.

As another means of reflecting status, furniture rose to new heights during the Rococo period, emphasizing the lighthearted frivolity that was prized by the style. Furniture design became physically lighter, so as to be easily moved around for gatherings, and many specialized pieces came to prominence, such as the fauteuil chair, the voyeuse chair, and the berger et gondola. Furniture in the Rococo period was freestanding, as opposed to wall-based, in order to accentuate the lighthearted and versatile atmosphere that was desired by the aristocracy.

Mahogany became the most widely used medium due to its strength, and mirrors also became increasingly popular.

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Rococo salons often employed the use of asymmetry in design, which was termed contraste. Interior ornament included the use of sculpted forms on ceilings and walls, often somewhat abstract or employing leafy or shell-like textures. Two excellent examples of French Rococo are the Salon de Monsieur le Prince in the Petit Château at Chantilly, decorated by Jean Aubert; and the salons in the Hotel Soubise, Paris, by Germain Boffrand. Both of these salons exhibit typical Rococo style with walls, ceilings, and moulding decorated with delicate interlacings of curves based on the fundamental shapes of the ‗S,‘ as well as with shell forms and other natural shapes.

In France, the style began to decline by the 1750s. Criticized for its triviality and excess in ornament, Rococo style had already become more austere by the 1760s, as Neoclassicism began to take over as the dominant style in France and the rest of Europe.

Rococo in Painting and Sculpture Rococo Painting Painting during the Rococo period has many of the same qualities as other Rococo art forms such as heavy use of ornament, curved lines and the use of a gold and pastel-based palette.

Additionally, forms are often asymmetrical and the themes are playful, even witty, rather than political, as in the case of Baroque art. Themes relating to myths of love as well as portraits and idyllic landscapes typify Rococo painting.

Antoine Watteau Antoine Watteau is considered to be the first great Rococo painter. His influence is visible in the work of later Rococo painters such as Francois Boucher and Honore Fragonard.

Watteau is known for his soft application of paint, dreamy atmosphere, and depiction of classical themes that often revolve around youth and love, exemplified in the painting Pilgrimage to Cythera.

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Francois Boucher Francois Boucher became a master of Rococo painting somewhat later than Watteau. His work exemplifies many of the same characteristics, though with a slightly more mischievous and suggestive tone. Boucher had an illustrious career, and became court painter to King Louis XV in 1765.

There was controversy later in his career as Boucher received some moral criticism from people such as Diderot for the themes present in his work. The Blonde Odalisque was particularly controversial, as it supposedly illustrated the extra marital affairs of the King.

Rococo Sculpture In sculpture, the work of Etienne-Maurice Falconet is widely considered to be the best representative of Rococo style. Generally, Rococo sculpture makes use of very delicate porcelain instead of marble or another heavy medium. Falconet was the director of a famous porcelain factory at Sevres. The prevalent themes in Rococo sculpture echoed those of the other mediums, with the display of classical themes, cherubs, love, playfulness, and nature being depicted most often as exemplified in the sculpture Pygmalion and Galatee.

Rococo Architecture Rococo architecture was a lighter, more graceful, yet also more elaborate version of Baroque architecture, which was ornate and austere. While the styles were similar, there are some notable differences between both Rococo and Baroque architecture, such as symmetry; Rococo emphasized the asymmetry of forms, while Baroque was the opposite. The styles, despite both being richly decorated, also had different themes; the Baroque was more serious, placing an emphasis on religion, and was often characterized by Christian themes (the Baroque began in Rome as a response to the Protestant Reformation); Rococo architecture was an 18th century, more secular, adaptation of the Baroque that was characterized by more light-hearted and jocular themes. Other elements belonging to the architectural style of Rococo include numerous curves and decorations, as well as the use of pale colors.

There are numerous examples of Rococo buildings as well as architects. Among the most famous include the Catherine Palace in Russia, the Queluz National Palace in Portugal, the Augustusburg and Falkenlust Palaces in Brühl, the Chinese House in Potsdam, the Charlottenburg Palace in Germany, as well as elements of the Château de Versailles in France.

Architects who were renowned for their constructions using the style include Francesco Bartolomeo Rastrelli, an Italian architect who worked in Russia and who was noted for his lavish 2GED HUM 01 – ART APPRECIATION

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and opulent works, Philip de Lange, who worked in both Danish and Dutch Rococo architecture, or Matthäus Daniel Pöppelmann, who worked in the late Baroque style and who contributed to the reconstruction of the city of Dresden in Germany.

Rococo architecture also brought significant changes to the building of edifices, placing an emphasis on privacy rather than the grand public majesty of Baroque architecture, as well as improving the structure of buildings in order to create a more healthy environment.

Note: After reading, watch History of Rococo Art - Characteristics of Rococo Art

Study the following Rococo paintings.

What seems to be the chief concern of the people represented in the paintings? (10 points)

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Lesson 4: Realism, Impressionism, Post-impressionism, Fauvism Realism Realism was an artistic movement that began in France in the 1850s, following the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century, revolting against the exotic subject matter and exaggerated emotionalism of the movement. Instead, Realists sought to portray ―real‖ contemporary people and situations with truth and accuracy, including all the unpleasant or sordid aspects of life. Realist works depicted people of all classes in ordinary life situations, which often reflected the changes brought on by the Industrial and Commercial Revolutions.

The Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in a similar manner. Classical idealism, Romantic emotionalism, and drama were avoided equally, and often sordid or untidy elements of subjects were showcased somewhat, as opposed to being beautified or omitted. Social realism emphasized the depiction of the working class and treated working class people with the same seriousness as other classes in art. Realism also aimed to avoid artificiality in the treatment of human relations and emotions; treatments of subjects in a heroic or sentimental manner were rejected. Important figures in the Realist art movement were Gustave Courbet, Honore Daumier, and Jean-Francois Millet.

Realism in Painting Two important figures in the Realist movement were Gustave Courbet and Jean-Francois Millet.

Gustave Courbet Jean Désiré Gustave Courbet (1819–December 31, 1877) was a French painter who led the Realist movement in 19th century French painting. Rejecting the predominant academic convention and the Romanticism of his time, Courbet‘s independence set an example that was important to later artists, such as the Impressionists and the Cubists. As an artist, he occupies an important place in 19th century French painting as an innovator and as an artist willing to make bold social statements in his work.

Courbet‘s paintings of the late 1840s and early 1850s brought him his first recognition.

They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects. Courbet courted controversy by addressing social issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants, and working conditions of the poor.

For Courbet realism dealt not with the perfection of line and form, but entailed spontaneous and rough handling of paint, suggesting direct observation by the artist while portraying the irregularities in nature. He depicted the harshness in life, and in so doing challenged contemporary academic ideas of art.

A Burial at Ornans was a vast painting, measuring 10 by 22 feet (3.1 by 6.6 meters), and drew both praise and fierce denunciations from critics and the public, in part because it upset convention by depicting a prosaic ritual on a scale that previously would have been reserved for a religious or royal subject. Additionally, the painting lacks the sentimental rhetoric that was expected in a genre work. Courbet‘s mourners make no theatrical gestures of grief, and their 2GED HUM 01 – ART APPRECIATION

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faces seemed more caricatured than ennobled. The critics accused Courbet of a deliberate pursuit of ugliness.

Jean-Francois Millet Jean-François Millet (October 4, 1814–January 20, 1875) was a French painter and one of the founders of the Barbizon School in rural France. Millet is noted for his scenes of peasant farmers and can be categorized as part of the Realism art movement.

One of the most well known of Millet‘s paintings is The Gleaners (1857).

While Millet was walking the fields around Barbizon, one theme returned to his pencil and brush for seven years— gleaning—the centuries-old right of poor women and children to remove the bits of grain left in the fields following the harvest. He found the theme an eternal one, linked to stories from the Old Testament. In 1857, he submitted the painting The Gleaners to the Salon to an unenthusiastic, even hostile, public.

Impressionism Impressionism was a radical art movement that began in the late 1800s, centered primarily around Parisian painters. Impressionists rebelled against classical subject matter and embraced modernity, desiring to create works that reflected the world in which they lived.

Uniting them was a focus on how light could define a moment in time, with color providing definition instead of black lines. The Impressionists emphasized the practice of plein air painting, or painting outside. Initially derided by critics, Impressionism has since been embraced as one of the most popular and influential art styles in Western history.

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In the late 1860s Monet, Pissarro, Renoir, and others began painting landscapes and river scenes in which they tried to dispassionately record the colours and forms of objects as they appeared in natural light at a given time. These artists abandoned the traditional landscape palette of muted greens, browns, and grays and instead painted in a lighter, sunnier, more brilliant key.

They began by painting the play of light upon water and the reflected colours of its ripples, trying to reproduce the manifold and animated effects of sunlight and shadow and of direct and reflected light that they observed. In their efforts to reproduce immediate visual impressions as registered on the retina, they abandoned the use of grays and blacks in shadows as inaccurate and used complementary colours instead.

In 1874 the group held its first show, independent of the official Salon of the French Academy, which had consistently rejected most of their works.

Monet‟s painting Impression: Sunrise (1872) earned them the initially derisive name “Impressionists” from the journalist Louis Leroy writing in the satirical magazine Le Charivari in 1874. The artists themselves soon adopted the name as descriptive of their intention to accurately convey visual ―impressions.‖ They held seven subsequent shows, the last in 1886. During that time they continued to develop their own personal and individual styles. All, however, affirmed in their work the principles of freedom of technique, a personal rather than a conventional approach to subject matter, and the truthful reproduction of nature.

By the mid-1880s the Impressionist group had begun to dissolve as each painter increasingly pursued his own aesthetic interests and principles. In its short existence, however, it had accomplished a revolution in the history of art, providing a technical starting point for the Postimpressionist artists Cézanne, Degas, Paul Gauguin, Vincent van Gogh, and Georges Seurat and freeing all subsequent Western painting from traditional techniques and approaches to subject matter.

Claude Monet Monet was a leader of the movement, and his brief brush strokes and fragmented color application found their way into the works of others. He was particularly interested in the passage of time in his portrayal of light. His series of paintings capturing Rouen Cathedral at different times of the year and day offer clear examples of Monet‘s ideas on how a subject can be transformed by properties around it. His most famous of this series is 1894‘s Rouen Cathedral: The Facade at Sunset.

Monet expanded his Impressionist practice throughout his life, culminating in his multiple studies of the Waterlily Pond, produced from 1898 to 1926, of which the later works in the series (done just before his death) achieve an almost abstract quality.

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Pierre Auguste Renoir Renoir was considered the other leader of the Impressionist movement. He shared Monet‘s interests but often preferred to capture artificial light in places like dance halls and directed his studies of the effects of light on figures, particularly the female form, rather than scenery, and he frequently focused on portraiture.

Everyday life was Renoir‟s preferred subject matter, and his portrayal of it is drenched in optimism. His 1876 painting Moulin de la Galette, which depicts the crowded dance garden on the Butte Montmartre, utilizes both artificial and natural light to portray a jolly party atmosphere and highlights many of Renoir‘s interests.

Post-impressionism

In the Garden - Renoir

Paul Cézanne lurked at the edges of the Impressionist movement and was pivotal to Post-Impressionism, which also included major painters like Paul Gaugin, Henri de Toulouse-Lautrec, Edvard Munch, Gustav Klimt and Vincent van Gogh.

Never a consolidated movement, Post-Impressionism was more a reaction against Impressionism, which it considered too stifling. Post-Impressionists chose to portray not just what was tangible, taking a more symbolic and emotive approach to their subject matter, especially in color use, which was not required to express realism.

Lesson 5: Contemporary Art What is Contemporary Art? An In-Depth Look at the Modern-Day Movement In its most basic sense, the term contemporary art refers to art—namely, painting, sculpture, photography, installation, performance, and video art—produced today.

Though seemingly simple, the details surrounding this definition are often a bit fuzzy, as different individuals' interpretations of ―today‖ may widely and wildly vary. Therefore, the exact starting point of the genre is still debated; however, many art historians consider the late 1960s or early 1970s (the end of modern art, or modernism) to be an adequate estimate.

History: Major Movements and Artists Given its ―art of today‖ definition, you may be surprised to hear that contemporary art actually has a relatively long history. To trace its evolution, let's take a look at the major movements and important artists that compose its history.

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Pop Art Intended as a reaction to preceding modern art movements, contemporary art is thought to have begun on the heels of Pop Art. In post-war Britain and America, Pop Art was pioneered by artists like Andy Warhol and Roy Lichtenstein. It is defined by an interest in portraying mass culture and reimagining commercial products as accessible art. While the movement lasted roughly from the 1950s through the early 1970s, it was reborn as Neo-Pop Art in the

Andy Warhol, “Flowers”

1980s thanks to artists like Jeff Koons.

Campbell's Soup Cans – Warhol, 1962

Photorealism Much like artists working in the Pop Art style sought to artistically reproduce objects, those involved with Photorealism—a concurrent movement—aimed to create hyperrealistic drawings and paintings. Photorealists often worked from photographs, which enabled them to accurately reproduce portraits, landscapes, and other iconography.

Photorealistic Paintings By Ralph Goings Ralph Goings (May 9, 1928 – September 4, 2016) was an American painter closely associated with the Photorealism movement of the late 1960s and early 1970s. He was best known for his highly detailed paintings of hamburger stands, pick-up trucks, and California banks, portrayed in a deliberately objective manner. His ketchup series is quite popular in the art world.

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Conceptualism In turn, Pop Art also helped shape Conceptualism, which rejected the idea of art as a commodity. In conceptual art, the idea behind a work of art takes precedence. Major conceptual artists include Damien Hirst, Ai Wei Wei, and Jenny Holzer. Though this experimental movement is rooted in art of the early 21st century, it emerged as a formal movement in the 1960s and remains a major contemporary art movement today.

Although the term ‗concept art‘ had been used in the early 1960s (Henry Flynt of the Fluxus group described his performance pieces as ‗concept art‘ in 1961), it was not until the late sixties that conceptual art as a definable movement emerged. Joseph Kosuth‘s series Titled (Art as Idea as Idea) 1966–7; the proposal for an exhibition Air Show Air/Conditioning 1966–7 by English artists Terry Atkinson and Michael Baldwin (founder members of the group Art & Language); John Baldessari‘s word paintings exhibited in LA in 1968; and important group exhibitions such as that organised by art dealer Seth Siegelaub in New York in 1969, January 131: 0 Objects, 0 Painters, 0 Sculptors reflected this growing ideas-based approach to art-making.

The term conceptual art was first used to reference this distinct movement in an article written by Sol LeWitt in 1967: In conceptual art the idea or concept is the most important aspect of the work.

When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.

LeWitt, „Paragraphs on Conceptual Art‟, Artforum Vol.5, no. 10, Summer 1967, pp. 79-83 In 1973 a pioneering record of the early years of the movement appeared in the form of a book, Six Years, by the American critic Lucy Lippard. The ‗six years‘ were 1966–72. The long subtitle of the book referred to ‗so-called conceptual or information or idea art‘.

Conceptual art can be – and can look like – almost anything. This is because, unlike a painter or sculptor who will think about how best they can express their idea using paint or sculptural materials and techniques, a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea across – this could be anything from a performance to a written description. Although there is no one style or form used by conceptual artists, from the late 1960s certain trends emerged.

Performance Art Another movement with Conceptualist roots is Performance Art. Artworks that are created through actions performed by the artist or other participants, which may be live or recorded, spontaneous or scripted (TATE, n. d.). Beginning in the 1960s and retaining its popularity today, performance art is a drama-inspired approach to art. While the art form is 2GED HUM 01 – ART APPRECIATION

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performed by artists (as the name suggests), it is not solely intended as entertainment. Instead, its goal is to convey a message or idea. Predominant performance artists include Marina Abramović, Yoko Ono, and Joseph Beuys.

Marina Abramović, The Artist is Present, 2010, Museum of Modern Art, New York.

Installation Art Like performance pieces, installation art is an immersive medium of art. Installations are three-dimensional constructions that transform their surroundings and alter viewers' perceptions of space. Often, they're large-scale and site-specific, enabling artists to transform any space into a customized, interactive environment. Well-known installation artists include Yayoi Kusama, Dale Chihuly, and Bruce Munro. Below are examples of installation art created by Filipino artists.

Aze Ong

Patricia Perez Eustaquio

Earth Art A unique spin on installation art, Earth Art (or Land Art) is a movement in which artists transform natural landscapes into site-specific works of art. Robert Smithson, Christo and Jeanne-Claude, and Andy Goldsworthy are celebrated for their avant-garde earthworks.

Robert Smithson, “Spiral Jetty”

Martin Hill with Philippa Jones, “Stone Circle”

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As one of the most recent contemporary art movements, street art is a genre that gained prominence with the rise of graffiti in the 1980s. Often rooted in social activism, street art includes murals, installations, stenciled images, and stickers erected in public spaces. Key street artists include figures from the 1980s, like Jean-Michel Basquiat and Keith Haring, as well as practicing artists like Banksy and Shepard Fairey.

A street art piece by artist Pony Wave depicts two people kissing while wearing face masks on Venice Beach in Venice, California.

Martin Whatson Street Art in Greater Oslo

You have come to the end of the history of Western Art. Your assignment is to create a work of art using any style of the contemporary art. Take a photo of it for your portfolio. Be sure to write an explanation.

References: Abdou, K. (2019). What is Contemporary Art? An In-Depth Look at the Modern-Day Movement. Retrieved from https://mymodernmet.com/what-is-contemporary-artdefinition/ Archaic Period. (n.d.) Retrieved from https://www.britannica.com/art/Archaic-period Art of Classical Antiquity. (n. d. ). Retrieved from http://www.visual-arts-cork.com/ancientart/classical-antiquity.htm Art

History Timeline: Western Art Movements and https://www.invaluable.com/blog/art-history-timeline/

Their

Impact.

(n.

d.)

ARTSOFTHETIMES. (2012). Retrieved from https://owlcation.com/humanities/medieval-arthistory-ancient-art-forms-of-the-middle-ages Blumberg, N. (n. d.).Baroque art and architecture. https://www.britannica.com/art/Baroque-art-and-architecture History.com Editors. (n. d.).

Classical Greece. https://www.history.com/topics/ancient-history/classical-greece

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History.com Editors. (n. d.). Impressionism. Retrieved from https://www.history.com/topics/arthistory/impressionism History.com Editors.

(2019).

Renaissance. https://www.history.com/topics/renaissance/renaissance-art

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from

Prehistoric Art. (n. d. ). Retrieved from http://www.visual-arts-cork.com/prehistoric-art.htm Ralph Goings. (n. d.). Retrieved from https://en.wikipedia.org/wiki/Ralph_Goings Realism. (n.d.)

Retrieved arthistory/chapter/rococo/ Rococo. (n. d.).

Retrieved arthistory/chapter/rococo/

from

from

https://courses.lumenlearning.com/boundless-

https://courses.lumenlearning.com/boundless-

TATE.

(n. d.). Conceptual terms/c/conceptual-art

Art.

Retrieved

from

https://www.tate.org.uk/art/art-

TATE.

(n. d.). Performance terms/p/performance-art

Art.

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Zelazko, A. (n. d.).

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APPENDIX A What is Art? Leo Tolstoy CHAPTER FIVE (excerpts). . . #1. In order correctly to define art, it is necessary, first of all, to cease to consider it as a means to pleasure and to consider it as one of the conditions of human life. Viewing it in this way we cannot fail to observe that art is one of the means of intercourse between man and man. #2. Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced, or is producing, the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. #3. Speech, transmitting the thoughts and experiences of men, serves as a means of union among them, and art acts in a similar manner. The peculiarity of this latter means of intercourse, distinguishing it from intercourse by means of words, consists in this, that whereas by words a man transmits his thoughts to another, by means of art he transmits his feelings. #4. The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man's expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. To take the simplest example; one man laughs, and another who hears becomes merry; or a man weeps, and another who hears feels sorrow. A man is excited or irritated, and another man seeing him comes to a similar state of mind. By his movements or by the sounds of his voice, a man expresses courage and determination or sadness and calmness, and this state of mind passes on to others. A man suffers, expressing his sufferings by groans and spasms, and this suffering transmits itself to other people; a man expresses his feeling of admiration, devotion, fear, respect, or love to certain objects, persons, or phenomena, and others are infected by the same feelings of admiration, devotion, fear, respect, or love to the same objects, persons, and phenomena. #5. And it is upon this capacity of man to receive another man's expression of feeling and experience those feelings himself, that the activity of art is based. #6. If a man infects another or others directly, immediately, by his appearance or by the sounds he gives vent to at the very time he experiences the feeling; if he causes another man to yawn when he himself cannot help yawning, or to laugh or cry when he himself is obliged to laugh or cry, or to suffer when he himself is suffering - that does not amount to art. #7. Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications. To take the simplest example: a boy, having experienced, let us say, fear on encountering a wolf, relates that encounter; and, in order to evoke in others the feeling he has experienced, describes himself, his condition before the encounter, the surroundings, the woods, his own lightheartedness, and then the wolf's appearance, its movements, the distance between himself and the wolf, etc. All this, if only the boy, when telling the story, again experiences the feelings he had lived through and infects the hearers and compels them to feel what the narrator had experienced is art. If even the boy had not seen a wolf but had frequently been afraid of one, and if, wishing to evoke in others the fear he had felt, he invented an encounter with a wolf and recounted it so as to make his hearers share the feelings he experienced when he feared the world, that also would be art. And just in the same way it is art if a man, having experienced either the fear of suffering or the attraction of enjoyment (whether in reality or in imagination) expresses these feelings on canvas or in marble so that others are infected by them. And it is also art if a man feels or imagines to himself feelings of delight, gladness, sorrow, despair, courage, or despondency and the transition from one to another of these feelings, and expresses these feelings by sounds so that the hearers are infected by them and experience them as they were experienced by the composer.

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#8. The feelings with which the artist infects others may be most various - very strong or very weak, very important or very insignificant, very bad or very good: feelings of love for one's own country, self-devotion and submission to fate or to God expressed in a drama, raptures of lovers described in a novel, feelings of voluptuousness expressed in a picture, courage expressed in a triumphal march, merriment evoked by a dance, humor evoked by a funny story, the feeling of quietness transmitted by an evening landscape or by a lullaby, or the feeling of admiration evoked by a beautiful arabesque - it is all art. #9. If only the spectators or auditors are infected by the feelings which the author has felt, it is art. #10. To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling - this is the activity of art. #11. Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them. #12. Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity. #13. As, thanks to man's capacity to express thoughts by words, every man may know all that has been done for him in the realms of thought by all humanity before his day, and can in the present, thanks to this capacity to understand the thoughts of others, become a sharer in their activity and can himself hand on to his contemporaries and descendants the thoughts he has assimilated from others, as well as those which have arisen within himself; so, thanks to man's capacity to be infected with the feelings of others by means of art, all that is being lived through by his contemporaries is accessible to him, as well as the feelings experienced by men thousands of years ago, and he has also the possibility of transmitting his own feelings to others. #14. If people lacked this capacity to receive the thoughts conceived by the men who preceded them and to pass on to others their own thoughts, men would be like wild beasts, or like Kaspar Houser. #15. And if men lacked this other capacity of being infected by art, people might be almost more savage still, and, above all, more separated from, and more hostile to, one another. #16. And therefore the activity of art is a most important one, as important as the activity of speech itself and as generally diffused. #17. We are accustomed to understand art to be only what we hear and see in theaters, concerts, and exhibitions, together with buildings, statues, poems, novels. . . . But all this is but the smallest part of the art by which we communicate with each other in life. All human life is filled with works of art of every kind - from cradlesong, jest, mimicry, the ornamentation of houses, dress, and utensils, up to church services, buildings, monuments, and triumphal processions. It is all artistic activity. So that by art, in the limited sense of the word, we do not mean all human activity transmitting feelings, but only that part which we for some reason select from it and to which we attach special importance. #18. This special importance has always been given by all men to that part of this activity which transmits feelings flowing from their religious perception, and this small part of art they have specifically called art, attaching to it the full meaning of the word.

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#19. That was how man of old -- Socrates, Plato, and Aristotle - looked on art. Thus did the Hebrew prophets and the ancient Christians regard art; thus it was, and still is, understood by the Mohammedans, and thus it still is understood by religious folk among our own peasantry. #20. Some teachers of mankind - as Plato in his Republic and people such as the primitive Christians, the strict Mohammedans, and the Buddhists -- have gone so far as to repudiate all art. #21. People viewing art in this way (in contradiction to the prevalent view of today which regards any art as good if only it affords pleasure) considered, and consider, that art (as contrasted with speech, which need not be listened to) is so highly dangerous in its power to infect people against their wills that mankind will lose far less by banishing all art than by tolerating each and every art. #22. Evidently such people were wrong in repudiating all art, for they denied that which cannot be denied - one of the indispensable means of communication, without which mankind could not exist. But not less wrong are the people of civilized European society of our class and day in favoring any art if it but serves beauty, i.e., gives people pleasure. #23. Formerly people feared lest among the works of art there might chance to be some causing corruption, and they prohibited art altogether. Now they only fear lest they should be deprived of any enjoyment art can afford, and patronize any art. And I think the last error is much grosser than the first and that its consequences are far more harmful.

CHAPTER FIFTEEN #24. Art, in our society, has been so perverted that not only has bad art come to be considered good, but even the very perception of what art really is has been lost. In order to be able to speak about the art of our society, it is, therefore, first of all necessary to distinguish art from counterfeit art. #25. There is one indubitable indication distinguishing real art from its counterfeit, namely, the infectiousness of art. If a man, without exercising effort and without altering his standpoint on reading, hearing, or seeing another man's work, experiences a mental condition which unites him with that man and with other people who also partake of that work of art, then the object evoking that condition is a work of art. And however poetical, realistic, effectful, or interesting a work may be, it is not a work of art if it does not evoke that feeling (quite distinct from all other feelings) of joy and of spiritual union with another (the author) and with others (those who are also infected by it). #26. It is true that this indication is an internal one, and that there are people who have forgotten what the action of real art is, who expect something else form art (in our society the great majority are in this state), and that therefore such people may mistake for this aesthetic feeling the feeling of diversion and a certain excitement which they receive from counterfeits of art. But though it is impossible to undeceive these people, just as it is impossible to convince a man suffering from "Daltonism" [a type of color blindness] that green is not red, yet, for all that, this indication remains perfectly definite to those whose feeling for art is neither perverted nor atrophied, and it clearly distinguishes the feeling produced by art from all other feelings. #27. The chief peculiarity of this feeling is that the receiver of a true artistic impression is so united to the artist that he feels as if the work were his own and not someone else's - as if what it expresses were just what he had long been wishing to express. A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist - not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art. #28. If a man is infected by the author's condition of soul, if he feels this emotion and this union with others, then the object which has effected this is art; but if there be no such infection, if there be not this union with the author and with others who are moved by the same work - then it 2GED HUM 01 – ART APPRECIATION

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is not art. And not only is infection a sure sign of art, but the degree of infectiousness is also the sole measure of excellence in art. #29. The stronger the infection, the better is the art as art, speaking now apart from its subject matter, i.e., not considering the quality of the feelings it transmits. #30. And the degree of the infectiousness of art depends on three conditions: 1. On the greater or lesser individuality of the feeling transmitted; 2. on the greater or lesser clearness with which the feeling is transmitted; 3. on the sincerity of the artist, i.e., on the greater or lesser force with which the artist himself feels the emotion he transmits. #31. The more individual the feeling transmitted the more strongly does it act on the receiver; the more individual the state of soul into which he is transferred, the more pleasure does the receiver obtain, and therefore the more readily and strongly does he join in it. #32. The clearness of expression assists infection because the receiver, who mingles in consciousness with the author, is the better satisfied the more clearly the feeling is transmitted, which, as it seems to him, he has long known and felt, and for which he has only now found expression. #33. But most of all is the degree of infectiousness of art increased by the degree of sincerity in the artist. As soon as the spectator, hearer, or reader feels that the artist is infected by his own production, and writes, sings, or plays for himself, and not merely to act on others, this mental condition of the artist infects the receiver; and contrariwise, as soon as the spectator, reader, or hearer feels that the author is not writing, singing, or playing for his own satisfaction - does not himself feel what he wishes to express - but is doing it for him, the receiver, a resistance immediately springs up, and the most individual and the newest feelings and the cleverest technique not only fail to produce any infection but actually repel. #34. I have mentioned three conditions of contagiousness in art, but they may be all summed up into one, the last, sincerity, i.e., that the artist should be impelled by an inner need to express his feeling. That condition includes the first; for if the artist is sincere he will express the feeling as he experienced it. And as each man is different from everyone else, his feeling will be individual for everyone else; and the more individual it is - the more the artist has drawn it from the depths of his nature - the more sympathetic and sincere will it be. And this same sincerity will impel the artist to find a clear expression of the feeling which he wishes to transmit. #35. Therefore this third condition - sincerity - is the most important of the three. It is always complied with in peasant art, and this explains why such art always acts so powerfully; but it is a condition almost entirely absent from our upper-class art, which is continually produced by artists actuated by personal aims of covetousness or vanity. #36. Such are the three conditions which divide art from its counterfeits, and which also decide the quality of every work of art apart from its subject matter. #37. The absence of any one of these conditions excludes a work form the category of art and relegates it to that of art's counterfeits. If the work does not transmit the artist's peculiarity of feeling and is therefore not individual, if it is unintelligibly expressed, or if it has not proceeded from the author's inner need for expression - it is not a work of art. If all these conditions are present, even in the smallest degree, then the work, even if a weak one, is yet a work of art. #38. The presence in various degrees of these three conditions - individuality, clearness, and sincerity - decides the merit of a work of art as art, apart from subject matter. All works of art take rank of merit according to the degree in which they fulfill the first, the second, and the third of these conditions. In one the individuality of the feeling transmitted may predominate; in another, clearness of expression; in a third, sincerity; while a fourth may have sincerity and individuality but be deficient in clearness; a fifth, individuality and clearness but less sincerity; and so forth, in all possible degrees and combinations.

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#39. Thus is art divided from that which is not art, and thus is the quality of art as art decided, independently of its subject matter, i.e., apart from whether the feelings it transmits are good or bad. #40. But how are we to define good and bad art with reference to its subject matter?

DISCUSSION QUESTIONS 1. Tolstoy characterizes art in terms of the relationship of the observer/perceiver both to the artist and to others who perceive the work. What is the nature of that relationship?

2. He believes that art is an important condition of human life, as it is used to communicate human feelings or emotions. What are examples of this communication? Precisely how does this communication work, according to Tolstoy? What is needed for successful communication of emotions through art?

3. We communicate our feelings and emotions in ways other than art. What are examples of some of those other ways? What is unusual about the communication through art?

4. This artistic communication uses "external signs," according to Tolstoy (#11). What might be examples of these "signs." How are the "signs" used by artists different from, say, traffic signs or directional arrows in a public building? How is this "communication" with "external signs" different from "expression" with "external signs"? (#12) 5. Art is not about the production of "pleasure," Tolstoy claims. Use the "find" command on your browser (or word-processing program) to search for the passages where he refers to "pleasure." What does he seem to mean by "pleasure"? Is he consistent in these passages in his usage of "pleasure"? What does he seem so hostile to this as a way of understanding art?

6. Tolstoy lists several other proposals for understanding art that he rejects. (#12) Does his proposal seem more compelling than those he rejects? Why? 7. Tolstoy seems to accept a hierarchy in which there is "art" of everyday life and higher art imbued with religious perception (#17-18). Is this a plausible distinction? Is it consistent with distinctions you make? Does it explain the cultural importance of art?

8. Tolstoy discusses Plato's views on art (#19-23). What elements of Plato's view does he consider he? Does he agree with Plato on any of his views on art? With what does he disagree?

9. How does Tolstoy propose that we distinguish "real art" from "counterfeit art" (#24-28)?

Is this a workable test? What problems do you see with it? Can you think of counterexamples that would challenge his view of how to make this distinction?

10. Tolstoy uses the test of infectiousness, not only as a descriptive measure for what should count as art, but also as a standard for good art (#28-32). What does he mean by this standard? How does he suggest we apply this test to evaluate art? Is this a useful proposal for evaluating the quality of art? If you disagree with this proposal, how would you challenge it?

11. How does "sincerity" function in Tolstoy's theory? Use the "find" command to consider all the passages where he refers to "sincerity." Is this a useful proposal for understanding and appreciating art? Can we ever be deceived about an artist's sincerity? How would Tolstoy respond to such a concern about deception?

12. Tolstoy values what he calls "peasant art" because of its sincerity (#35). Compare Tolstoy's discussion of "peasant art" with the praise by Clive Bell less than twenty years later of "primitive art" (Art, #16). Is their reasoning similar in any ways? How is it different? Do you think their praise of such art was coincidental?

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APPENDIX B What is Philippine About Philippine Art LEO BENESA What makes Philippine Art Filipino? To what extent is Philippine art derivative of Western art? Is there anything ―Filipino‖ about, for example, the Manila Wyeth school, the so-called magic realists? How about the paintings of Fernando Amorsolo, Carlos Francisco and Hemando R. Ocampo, all of whom have been identified in a big way with the native sensibility?

The questions above are merely a rephrasing of the old problem of national identity in the visual or plastic arts. Admittedly, the issue is not as hot as it used to be, say, in the 1950s and 1960s.

But it is a question that will always haunt art watchers hereabouts, and which usually surfaces in art forums.

Genre used to be a major consideration in determining the ―Filipino-ness‖ of a work of art at least in painting. The idea was that the depiction of scenes of everyday life and the surroundings without idealizing them was closest in spirit to the Filipino soul and native soil. (What saves the local magic realists from being completely derivative is their sense of genre.)

Thus, the pastoral or rural paintings of Amorsolo for a long time were considered to be most expressive of the ethos of the race and the predominantly agricultural countryside. On the other hand, the Filipino-ness of Francisco‘s paintings inheres in his heroic-epic feeling for history and myth.

It is true that the Angono painter also did genre subjects, as in his paintings of festivals and other town or poblacion happenings. But he was most at home doing subjects dealing with the history of the race, as well as its prehistory redolent with the musk of myth and legend.

Because of the abstract language or imagery used, it is not as easy pinpointing the reason why some critics have described Ocampo as ―the most Filipino‖ painter ever. We have to shift from content to style here, to Ocampo‘s unique painterly approach which is the most original hereabouts in spite of its surrealistic and cubistic beginnings and underpinnings.

We know for a fact that Ocampo was no espouser of ―nationalistic‖ causes insofar as art was concerned. As the lately departed painter from Maypajo used to tell us, whatever you are painting or sculpting, if you are a good artist, your work will automatically be Filipino.

Indeed Amorsolo, Francisco and Ocampo were very Filipino in their art because they felt strongly about what they were doing and painted well and memorably. In other words, insofar as the critics and historians are concerned, the three were painters first and bearers of messages second, or painters and message-bearers in equal measure.

A great deal of the confusion in cultural identity stems from the fact that Philippine art belongs to the western tradition in its use of paint and canvas and other materials, as well as in such influences as impressionism, expressionism, surrealism, cubism, pop, minimalism and so on.

The fact is that all the modern art movements in the ASEAN region were inspired by Western models. Indonesia‘s pioneering contemporary painters, Sudjojono and Affandi (the equivalents of our Edades and Ocampo), used easel and canvas and are no less Indonesian thereby.

Malaysia‘s Mohidin and Thailand‘s Srisouta are also west-oriented, but they have not lost their Asian, and national identities because of it.

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How about our expatriates? Can the Spoliarium, executed by Juan Luna while in Europe, be considered a Filipino painting? Is Macario Vitalis less, or no longer, Filipino, living and painting in a village by the Breton sea for the last 40 to 50 years? Hasn‘t Bencab become more ―Filipino‖ living and painting in London? Is Tabuena in San Miguel de Allende now to be considered a Mexican painter? Choose your wild.

Reference/s: From the NCCA-published book by Benesa – What is Philippine about Philippine Art? and Other Essays (originally from Philippine Daily Express, January 12, 1979, p. 17-18). For inquiries on the book, contact Glenn Maboloc of Public Affairs at 527-2192 local 614 or email address paid@ncca.gov.ph. Available also at all National Bookstores.

About the Author: Leo Benesa is a poet, essayist, and above all, a professional art critic. His works in art criticism include his column for the Weekend of Daily Express. He was one of the founders of the International Association of Art Critics. Among his books are Joya Drawings (1975), Galo B. Ocampo: 50 Years of Art, The Printmakers (1975), The Art of Fine Prints: A View of 25 Years (1980), and Okir: The Epiphany of Philippine Graphic Art (1981).

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APPENDIX C Guide in Making the Advocacy Video

Activity

:

Advocacy Video

Outcomes

:

Develop appreciation and critical understanding of the fundamentals, nature, styles, and mediums of different art forms in relation to their sociohistorical milieu.

Provide opportunities to develop 21st century skills: Creativity, Collaboration, Communication, Critical Thinking, and ICT Literacy.

Realize the role and function of art in one‘s life

What is an advocacy video?

It is a video for a specific purpose – to help create the change you want to see in the world.

What to do: 1. Pre-production(40%) o Make a storyboard. This will show the flow of your video. o Tell the world about your advocacy through a short video. Your advocacy should be about the pandemic.  Ask Google on how to make a storyboard.  http://digitalwriting101.net/content/developing-storyboards/  http://www.jasonohler.com/pdfs/storyboard_template.pdf 2. Production (50%)  Shoot your film. The duration must be only 2 minutes. Do not make it long. Nobody wants to watch a boring video.

3. Post-production (10%)  Add transitions. The audio must be clear. It must have title and credits.

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