Republic of the Philippines

OCCIDENTAL MINDORO STATE COLLEGE

Labangan, San Jose, Occidental Mindoro
website: www.omsc.edu.ph email address: [email protected]
Tele/Fax: (043) 457-0231 CERTIFIED TO ISO 9001:2015
CERT. NO.: 50500643 QM15

Learning Module
in
Art Appreciation

Prepared by:
Rosalinda P. Magararu, EdD
Charilie F. Gutierrez, MAT
Kristine Jeanne A. Estonactoc
Jenny Mei S. Peroy

The compilers do not own any of the contents of this learning module. Due credits and
acknowledgment are given to the authors, internet sources, and researchers listed on the
reference page. Such sources are reserved to further explain concepts and cannot be credited to
the compiler and the school. All diagrams, charts, and images are used for educational purposes
only. The sole objective of this instructional material is to facilitate independent learning and
not for monetary gains because this is NOT FOR SALE.

2020 Edition
 Republic of the Philippines
OCCIDENTAL MINDORO STATE COLLEGE
Labangan, San Jose, Occidental Mindoro
website: www.omsc.edu.ph email address: [email protected]
Tele/Fax: (043) 457-0231 CERTIFIED TO ISO 9001:2015
CERT. NO.: 50500643 QM15

APPROVAL SHEET
This Instructional Material entitled LEARNING MODULE IN ART
APPRECIATION, compiled by ROSALINDA P. MAGARARU, CHARILIE F.
GUTIERREZ, KRISTINE JEANNE A. ESTONACTOC, and JENNY MEI S.
PEROY (A.Y. 2020-2021), is recommended for production and utilization by the students
and faculty members of Occidental Mindoro State College.

PANEL OF EVALUATORS
Local Evaluation Committee

Art Appreciation

JENNY MEI S. PEROY ROSALINDA P. MAGARARU, EdD

Member Member

KRISTINE JEANNE A. ESTONACTOC

Chairperson

Overall Instructional Materials Development Committee

VENESSA S. CASANOVA, PhD MA. IMELDA C. RAYTON, MAEd

Member Member

Recommending Approval:

JESSIE S. BAROLO, JR., MAEd

Chairperson

Approved:

ELBERT C. EDANIOL, EdD

Vice President for Academic Affairs
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

REPUBLIC OF THE PHILIPPINES

OCCIDENTAL MINDORO STATE COLLEGE
Rizal Street, San Jose, Occidental Mindoro 5100
Website: www.omsc.edu.ph Email address: [email protected]
Tele/Fax: (043) 491-1460 CERTIFIED TO ISO 9001:2015
CERT. NO.: 50500643 QM15

OBE COURSE SYLLABUS

OMSC VISION
A premier higher education institution that develops locally responsive, globally competitive, and innovative professionals.
OMSC MISSION
The OMSC exists to produce intellectual and human capital by developing excellent graduates, through outcomes-based instruction, relevant research, responsive technical advisory services,
and sustainable production.

COURSE TITLE: Art Appreciation

COURSE DESCRIPTION: A study of art—its history, forms, functions, elements, as well as its social, cultural, economic, and practical dimensions—as a product of creativity, imagination, and
experience. Through interdisciplinary and multimodal approaches, this course equips students with knowledge and skills to appreciate, analyze, understand, and critique works of art. The course
also develops students’ competency in researching and curating art as well as conceptualizing, mounting, and evaluating art productions. The course aims to foster a genuine appreciation for
Philippine arts by providing them opportunities to explore the diversity and richness and their rootedness in Filipino culture.
COURSE CODE: GE06
CREDIT UNITS: 3
PRE-REQUISITE: None
COURSE OUTCOMES:
At the end of the course, the students should be able to:
 Demonstrate an understanding and appreciation of arts in general, including the function, value, and historical significance.
 Define and demonstrate the elements and principles of design.
 Explain and evaluate different theories of art.
 Situate Philippine arts in a global context.
 Analyze and appraise works of art based on aesthetic value, historical context, tradition, and social relevance.
 Mount an art exhibit (concept development, production, and postproduction, marketing, documentation, critiquing).
 Create their works of art and curate their production or exhibit.
 Utilize art for self-expression and for promoting advocacies.
 Deepen their sensitivity to self, community, and society.
 Discover and deepen their identity through art concerning their nationality, culture, and religion.
 Develop an appreciation for local arts.
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

COURSE OUTLINE
Week Desired Learning Course Content Textbooks/ References Teaching/Learning Resource Materials Assessment
Outcomes Activities
Course Orientation: Grading Manual  Discussion
system, requirements, the relevance
of the course

Internalize the Vision, Vision, Mission and Core Values Revised Edition Student
Mission, and Core Values Handbook
Familiarize oneself to the Gender and Development
concept and pragmatics of Awareness
Gender and Development
(GAD)
Criticize the position of art Lesson 1 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
and its study in the Introduction to the Study of Art and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
Humanities (discipline). Appreciation. First Edition. assisted instruction/  Digital Materials  Task/Activity: Is this
 History of Art Manila: Rex Book Store G Suite for  Module art? (identification)
Discuss and assess the  Assumption of Art: Art is Education  G Suite for  Task/Activity:
assumptions about art and Universal, Art is not nature, Art Ortiz, M. A., Erestain, T.,  Module Education Crossword puzzle of
clarify the common involves experience Guillermo, A., Montano, M., and  Activity: Art is concepts
misconception of art.  Art as Creation, Imagination, Pilar, S. A. (1976). Art: everywhere.  Task/Activity:
and Expression Perception and Appreciation. Students will identify Thinkpiece (If you
Articulate personal  Art Forms: University of the East. ISBN 971- things that they can were an artist…)
1-3 experiences or engagements Visual arts (2D and 3D), 11-0933-6 consider as “art” in  Assessment: Self-
with different samples of art. Photography (digital and their immediate portrait
analog), Performance Arts, Mittler, G. A. (2006). Art in Focus. surroundings, and
Enumerate the different art Poetry, Architecture, Dance, USA: Glencoe/McGraw-Hill explain what
forms and examine various Film, Literature, Theater, Music, aspects or
examples. and Applied Arts (fashion and Bascara, L. R., and Avillanoza, A. characteristics merit
furniture) T. (2006). Humanities and the that object as art.
Digital Arts. First Edition. Manila:
Rex Bookstore, Inc. ISBN 978-
971-23-4628-6

Understand the functions of Lesson 2 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
4-5 art for the individual as well Art: Function and Philosophy and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
 Functions of Art assisted instruction/  Digital Materials
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

as how art is significant for Art and the Individual Appreciation. First Edition. G Suite for  Module  Task/Activity:
cultures and societies. Art, Culture, and Society Manila: Rex Book Store Education  G Suite for identifying the
Art and the Physical World  Module Education function of a work of
Explain and discuss some of  Philosophy of Art Ortiz, M. A., Erestain, T., art—Rizal monument
the key philosophical Art as an Imitation (Plato) Guillermo, A., Montano, M., and  Task/Activity:
perspectives on art. Art as Representation (Aristotle) Pilar, S. A. (1976). Art: Position/Argument
Art as Disinterested Judgment Perception and Appreciation. paper (Among the
(Kant) University of the East. three philosophies of
ISBN 971-11-0933-6 art, which philosophy
you subscribe to or
Mittler, G. A. (2006). Art in Focus. agree with?)
USA: Glencoe/McGraw-Hill  Assessment:
Thinkpiece (on the
Bascara, L. R., and Avillanoza, A. significance of art for
T. (2006). Humanities and the the individual)
Digital Arts. First Edition. Manila:
Rex Bookstore, Inc. ISBN 978-
971-23-4628-6

Understand the concepts of Lesson 3 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
subject and content in works The Study of Art and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
of art.  Subject and Content of Artworks Appreciation. First Edition. assisted instruction/  Digital Materials  Task/Activity:
 Art Structure (elements, Manila: Rex Book Store G Suite for  Module Identifying subject,
Familiarize oneself with the medium, technique, and Education  G Suite for content, and form
different elements, medium, principles of design) Ortiz, M. A., Erestain, T.,  Module Education  Task/Activity:
technique, and principles of  Art Analysis and Art Criticism Guillermo, A., Montano, M., and identifying art
art. Pilar, S. A. (1976). Art: elements in different
Perception and Appreciation. works of art
6-8 Analyze and/or read works of University of the East.  Assessment: Formal
art using different ISBN 971-11-0933-6 art analysis on Juan
approaches and art theories. Luna’s The Parisian
Mittler, G. A. (2006). Art in Focus. Life
USA: Glencoe/McGraw-Hill

Bascara, L. R., and Avillanoza, A.

T. (2006). Humanities and the
Digital Arts. First Edition. Manila:
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

Rex Bookstore, Inc. ISBN 978-

971-23-4628-6
Midterm Exam
9
Distinguish the works of an Lesson 4 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
artist and artisans. The People and the Place of Art and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
 The People of Art Appreciation. First Edition. assisted instruction/  Digital Materials  Task/Activity: Match
Understand how exhibits and  The Place of Art – Exhibits and Manila: Rex Book Store G Suite for  Module the artwork with its
museums are planned, Museums Education  G Suite for artist
organized, and showcased  Awards and Citations Mittler, G. A. (2006). Art in Focus.  Module Education  Task/Activity:
for art enthusiasts.  Art as Commodity USA: Glencoe/McGraw-Hill Research paper (an
inquiry to the
10-11 Identify national and GAMBA
Bascara, L. R., and Avillanoza, A. existence of
artists’ notable works and T. (2006). Humanities and the museums)
their contribution to society. Digital Arts. First Edition. Manila:  Infographic of a local
Rex Bookstore, Inc. ISBN 978- artist
Understand how art is a 971-23-4628-6  Assessment:
commodity. Reaction paper
(“Dukot Survival”
critique)
Identify how art was used by Lesson 5 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
prehistoric people to depict Art Through Time and Space and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
everyday life.  Prehistoric, Egyptian, Greek, Appreciation. First Edition. assisted instruction/  Digital Materials  Assessment:
and Roman Arts Manila: Rex Book Store G Suite for  Module Modern/contemporary
Examine the underlying  Western Art Periods and Style Education  G Suite for artwork
historical, political, and social (Renaissance, Mannerism, Kleiner, F. S. (2013). Gardner’s  Module Education
contexts of the significant Baroque, Rococo, Romanticism, Art through the Ages: A Concise
periods or movements. Neo-classicism, Realism, Global History. 3rd Edition.
12-14 Impressionism, Post- Boston, MA: Wadsworth,
Articulate the importance of Impressionism, Symbolism, Cengage Learning
art to the development of Fauvism, Expressionism,
Western culture. Cubism, Futurism, Abstract, Bascara, L. R., and Avillanoza, A.
Photo-realism, Installation Art) T. (2006). Humanities and the
 Contemporary Art Movements Digital Arts. First Edition. Manila:
(Abstract Expressionism: Rex Bookstore, Inc. ISBN 978-
Color Fields, Action Art, Op-art, 971-23-4628-6
Kinetic Art, Gutai, Minimalism,
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

Pop Art, Minimalism, Neo-Pop

Art, Photorealism,
Conceptualism, Installation Art,
Earth Art, Street Art)
Explain how meanings can Lesson 6 Caslib, B. N. Jr., Garing, D. C.,  Lecture/ discussion  Smart TV  Critical Thinking
be derived from art and Art in Asia and Casaul, J. A. R. (2018). Art using computer-  Laptop Questions
discuss how improvisation  Culture and Art: Soulmaking, Appreciation. First Edition. assisted instruction/  Digital Materials  Task/Activity:
can make an artwork Appropriation, and Improvisation Manila: Rex Book Store G Suite for  Module Soulmaking
distinctive.  Chinese Art Education  G Suite for (individual reflective
 Japanese Art Bascara, L. R., and Avillanoza, A.  Module Education essay (8 images and
Show and classify key  Philippine Art T. (2006). Humanities and the 80 words to describe
influences on Chinese and Digital Arts. First Edition. Manila: self)
Japanese arts. Rex Bookstore, Inc. ISBN 978-  Task/Activity: Vlog
971-23-4628-6 (Asian arts)
Examine, assess, and  Task/Activity:
15-17 critique the development of
Reflection questions
Philippine art in relation to vis-à-vis Philippine
the different colonial periods arts
in history.  Assessment: Creative
output (cultural motifs
Show images, symbols, and and Filipino realities)
patterns that are recurrent in  Project—Portfolio
a genre, art form or period (include all the
(i.e., okir; sarimanok, t’nalak, requirements
landscapes, Juan de la Cruz) submitted for this
class)
Final Exam
18
SUGGESTED LEARNING RESOURCES:
 Caslib, B. N. Jr., Garing, D. C., and Casaul, J. A. R. (2018). Art Appreciation. First Edition. Manila: Rex Book Store
 Bascara, L. R., and Avillanoza, A. T. (2006). Humanities and the Digital Arts. First Edition. Manila: Rex Bookstore, Inc. ISBN 978-971-23-4628-6
 Guillermo, A. (2001). Images to Meaning: Essays on Philippine Art. Quezon City: Ateneo de Manila University Press.
 Kleiner, F. S. (2013). Gardner’s Art through the Ages: A Concise Global History. 3rd Edition. Boston, MA: Wadsworth, Cengage Learning
 Mittler, G. A. (2006). Art in Focus. USA: Glencoe/McGraw-Hill
 Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., and Pilar, S. A. (1976). Art: Perception and Appreciation. University of the East. ISBN 971-11-0933-6
COURSE REQUIREMENTS  Creative outputs
Reference No.: OMSC-COL-13 Effectivity date: November 20, 2018 Revision No. 01

 Activities
 Thinkpiece/Research papers/Critical Papers
 Art Fair/Portfolio (Final project)
Class Standing 40%
Exams 40%
Project 10%
GRADING SYSTEM
Discipline 10%
100%
Final Rating = Midterm Grade (40%) + Final Grade (60%)
Attendance
1. Students having seven (7) absences without valid reasons will be dropped from the class. Students are required to present admit to class slip
from the Office of Student Affairs and Services after being absent in the previous meeting.
2. Three (3), not necessarily consecutive, tardiness without further notice is equivalent to one (1) absence.
Incomplete Grade:
1. Students who were not able to take the midterm/final examinations will receive an incomplete grade.
2. An incomplete grade should be complied with within one year.
COURSE POLICIES Discipline
1. Students who are late for more than 15 minutes are considered absent and are not permitted to join the class.
2. Male students follow the 3x4 haircut, while a female should fix their hair in a bun with a hairnet.
3. All electronic devices should be switched to silent mode; using earplugs is strictly prohibited.
4. The proper uniform should be worn at all times; earrings are prohibited for males.
5. Eating and drinking are prohibited while in class.
6. Leaving the classroom while in the middle of discussion/activities without permission is prohibited.
7. Absentees should secure an admission slip, duly signed by the Dean, to be admitted to the class.
 Richard Rorty, who was an American philosopher and pragmatist, viewed tertiary
education as the point of individualization for scholars and academics in the post-
socialization process of primary and secondary education. In this level of pedagogy, the
recognition of the capacity of students to experience self-individualization—a process to
shape or reshape themselves with the freedom they can experience in education and
learning—is highlighted. Students are free to engage in disciplines that offer different
perspectives, schools of thought, and knowledges that are both enlightening and
humanizing where they can anchor their perspectives and/or frames of thinking.
Art Appreciation, as a General Education course subject, offers a leveling
mechanism for all students to learn and experience a discipline of humanities regardless
of the different degree programs they are pursuing. This course aims to develop an
appreciation not limited to the discipline, practice, and consumption of works of art but
goes beyond those by offering perspectives on how to view and appreciate human life
itself. Art Appreciation is both an engagement to humanities and humanity. The goal is
for the students to understand art not only at the epistemological level but also on the
practical level.
This module is divided into six major lectures (thematically organized), all of which
are subdivided into several topics of focus. The syllabus for this subject follows the
syllabus that CHED has set for the Art Appreciation GE program but with some revisions.
Moreover, the Outcome-Based Education textbook for Art Appreciation written by
Bernardo Nicolas Caslib Jr., Dorothea C. Garing, and Jezreel Anne R. Casaul, published in
2018 is the main reference for the lectures, most of the technical information included in
this instructional material is derived from the said textbook. These lectures cover the
essential knowledges on art, towards a more humanistic, analytic, and pragmatic framing
rather than a technical one (as how primary and secondary education art classes are
conducted). The lectures encourage creativity, imagination, critical thinking, analysis, and
application.
 -

Lecture 1: Introduction to the Study of Art 1

History of Art and Humanities 2
Assumptions of Art 6
Art as Creation, Imagination, and Expression 7
Art Forms 10

Lecture 2: Art: Function and Philosophy 14

Functions of Art 14
Philosophical Perspectives on Art 18

Lecture 3: The Study of Art 21

Subject and Content of Artworks 21

Art Structure 27
Art Analysis and Art Criticism 32

Lecture 4: The People and the Place of Art 37

The People of Art 37

The Place of Art – Exhibit and Museum 43
Awards and Citations 45
Art as Commodity 48

Lecture 5: Art Through Time and Space 51

Pre-historic, Egyptian, Greek, and Roman Arts 51

Western Art Periods and Movements 56
Contemporary Art Movements 62

Lecture 6: Art in Asia 69

Culture and Art 69

Chinese Art 72
Japanese Art 76
Philippine Art 79

References 87
 TOPICS
1. History of Art and Humanities
2. Assumptions of Art
3. Art as Creation, Imagination, and Expression
4. Art Forms
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. criticize the position of art and its study in the Humanities
(discipline);
2. discuss and assess the assumptions about art and clarify the
common misconception of art;
3. articulate personal experiences or engagements with different
samples of art; and
4. enumerate the different art forms and examine various examples.

You might be wondering what in the world an art course subject is doing in your
degree program. Some of you may think that studying arts or developing an appreciation
for arts is a waste of time and unnecessary because it may not be relevant to your degree
program or your work later in life. At the same time, others may deem it significant
nevertheless.
Alain Badiou philosophized the nature of man in this phrase: “there are only
bodies and languages… except there are [also] truths”. The first part of this phrase
signifies man’s biological body which can be wounded and bled, a flesh and a body that
can be discarded and buried under the ground; and languages that connote the presence
of communities and cultures (because language is an aspect of culture) that make the
distinction of the ‘other’ present and interaction in diversity possible. In a sense, you are
a biological creature (your biology), and you are interacting with others (your sociality).
The second part pertains to the truths—truths that define the being in the noun, human
being. These refer to moments of transcendence that differentiate human beings with
other animals, truths that allow human beings to transcend from their biology and
sociality—to become more than bodies and languages. These truths, for Badiou, are
science, politics, art, and love. Among these truths, art and humanities are viewed as
transcendental endeavors. These disciplines move beyond the focus on the biology and
sociality of man. Art and humanities put man as a creative, observant, rational,

1
experiential, and moralistic being. Above all, the conception of these truths upholds man
as having the capacity to create and appreciate the work of his hands.
In the words of Caslib et al. (2018),
Art Appreciation, as a course, attempts to develop in students the ability to
appreciate, scrutinize, and appraise works of art[…] Toward the end of [this course],
the authors wish to contribute to the holistic development of each Filipino learner in
the hopes that every college student does not just become a skilled professional, an
expert in his field, but one who is truly human, a kind that does not just think (man
as rational) and socialize (man as homo socius) but one who appreciates the work of
the hands and the beauty that he is capable of producing and beholding.

The hope is for you to appreciate and live by art not as an epistemological body that you
need to study or learn from, but as a component of your humanity and as a manifestation
of freedom, creation, living, and being allowed in your characteristic as a transcendental
body and language.
The following discussion introduces you to concepts and perspectives regarding
the assumptions and the nature of art.

TOPIC 1: HISTORY OF ART AND HUMANITIES

WHAT IS ART? ETYMOLOGY OF THE CONCEPT

Latin word ars, which means “skills.”

ART Greek techne, from which our modern word “technology” is derived
(Ortiz et al., 1976).

There are various definitions of art, according to history:

a. Ancient Latin
Ars is a craft or specialized form of skill.
b. Medieval Latin
Ars is considered as any special form of book-learning, such as grammar or logic,
magic or astrology.
c. Renaissance Period
The word ars required the meaning that was inherent in its ancient form of craft.
d. Seventeenth-Century
In this era, the problem and idea of aesthetics, which is the study of beauty,
began to unfold distinctly from the notion of technical workmanship.
e. Eighteenth-Century
Art evolved to distinguish fine arts from useful arts.

2
THE HUMANITIES
Humanities, according to Dudley et al. (1960), constitute one of the oldest and
most important means of expression developed by man. Humanities have started even
before the term itself has been coined. Humans have long been exercising what it means
to be a human long before he was even aware of his being one (Caslib et al., 2018).
Even during primitive times, man does not just craft tools to live and survive but
also to express his or her feelings and thoughts. It was recorded in the history of humans
that we evolved not just physically but also culturally from being cave dwellers who use
tools to carve, draw and paint to humans who use exquisite paintbrush users of the
present (Caslib et al., 2018).

The Galloping Wild Boar in Altamira, Spain

This cave painting was claimed to belong to the Upper Paleolithic Age, which was found
by a Spaniard and his daughter while they were exploring the cave. They also saw pictures
of hind and bison, and this proved that pre-historic men, with their tools, already
manifested earliest attempts at recoding their innermost thoughts and interest (Caslib et
al., 2018).

SUPPLEMENTARY MATERIALS
More on the history of art:
 HISTORY OF IDEAS – Art (https://www.youtube.com/watch?v=z7ECzduUWx0)
 History of Art – Animation (https://www.youtube.com/watch?v=bI1NYSCoANU)
 The Evolution of Art (and how it Shaped the Modern World)
(https://www.youtube.com/watch?v=bkWHrWw5yTg)
 What is Art? (https://www.youtube.com/watch?v=QZQyV9BB50E)
 Who decides what art means? - Hayley Levitt
(https://www.youtube.com/watch?v=HoXyw909Qu0)

Guide question: How does the idea about art or the conceptualization of art changed or
varied through time?

3
 TASK/ACTIVITY

IS THIS ART?
Determine if the image shown is a work of art or not. Write YES or NO. If the answer is
YES, identify what kind of art it is (Art Form). There will be two answers for every item.

1. ___________________________ 2. ___________________________

3. ___________________________ 4. ___________________________

5. ___________________________ 6. ___________________________
4
7. ___________________________ 8. ___________________________

9. ___________________________ 10. ___________________________

11. ___________________________ 12. ___________________________

13. ___________________________ 14. ___________________________

 TOPIC 2: ASSUMPTIONS OF ART

Four assumptions aim to characterize the nature, temporal and spatial contexts,
and motivations for the conduct, practice, and production of art (Caslib et al., 2018 pp. 2-
8).

1. ART IS UNIVERSAL
Art has always been timeless and universal, spanning generations and
continents through and through. In every country and every generation, there
is always art. The first assumption about the humanities is that art has been
crafted by all people regardless of origin, time, place, and that it stayed on
because it is liked and enjoyed by people continuously.
2. ART IS NOT NATURE
Art is man’s expression of his reception of nature. Art is not nature. Art is made
by man, whereas nature is a given around us. Art is based on an individual’s
subjective experience of nature. It is not meant, after all, to accurately define
what a thing is like in nature. Artists are not expected to duplicate nature; they
can only reinterpret it or even distort it.
3. ART INVOLVES EXPERIENCE
Art is always an experience. Unlike fields of knowledge that involve data, art is
known by experience. Dudley et al. (1960) affirmed that “all art depends on
experience, and if one is to know art, he must know it not as fact or information
but as experience.” A work of art then cannot be abstracted from actually doing.
In order to know what an artwork is, we have to sense it, see or hear it, and see
and hear it. An important aspect of experiencing art is its sense of being highly
personal, individual, and subjective. In philosophical terms, the perception of
art is always a value judgment. It depends on who the perceiver is, his tastes,
his biases, and what he has inside him.
4. ART IS CULTURAL
A culture of particular people is expressed in art forms. It’s called material
culture referring to tangible facets of a culture where a community or ethnicity
expresses their beliefs, sociopolitical structure, concepts of gender and sex, and
worldviews, among others. Art is a facet of culture, ritual dances are part of
performative art, motifs in clothing are art, and traditional music is art.

6
 TOPIC 3: ART AS CREATION, IMAGINATION, AND EXPRESSION

ART APPRECIATION AS A WAY OF LIFE

Jean-Paul Sartre, a famous French
philosopher of the 20th century, described the role
of art as a creative work that depicts the world in a
completely different light and perspective, and the
source is due to human freedom (Greene, 1995 as
cited in Caslib et al., 2018 p. 14). Art is not the
manner of solely depicting realities and what we
find in nature. Rather it is the creation of new,
unconventional, sometimes disturbing, and
irrational perspectives of the world and human
realities. With human freedom, the practice of art is
possible—the freedom of the mind to imagine, the
freedom of the hands to create, the freedom of the
individual to showcase their art, and the freedom of
the peoples to marvel at a particular work of art.
Jean-Paul Sartre. Google Image.
Moreover, the freedom to think for ourselves, to
create things, the freedom to live in beauty, that we are not convinced to live in
uniformity, in black and white, that we are free to express, imagine and create which all
point to the freedom to do arts; freedom that recognizes our humanity and our
humanistic tendencies.
In a similar note, works of art are “part of man’s effort to lessen the drabness and
tedium of everyday living and to transform his environment into a more interesting
place to live in” (Ortiz et al., 1976). One of the most obvious significance of art for man is
its ability to make life and living seem more interesting and bearable. Art, in its many
forms, presents life in technicolor, adds a character of disruption to the repetitive
everyday life, and transforms experiences and realities of peoples that make and interact
with it.

Screencaps from the film, “Dead Poets Society” (1989)

This discussion answers the question, “Where do artists source their motivations
in doing art? From where does the artist get the idea for their artwork?”

7
ART AS CREATION

ART AND IMAGINATION

ART AS EXPRESSION AND COMUNICATION

• Man has also • Art starts in the • Art has grown out
been led by an human mind. It of man’s need to
innate craving for all begins with express himself.
order to create imagination. • Expression in the
objects that are • Through arts, however, is
delightful to imagination, one not limited to the
perceive. is able to craft revelation of
• Creation – refers something bold, emotions alone.
to the act of something new, The personal and
combining and and something social values of
re-ordering better in the the artist and his
already existing hopes of creating penetrating
materials so that something that psychological
a new object is will stimulate insights into
formed. change. human reality are
• Art is a planned Imagination also conveyed
activity. An artist allows endless through the arts.
thinks of a design, possibilities. • As in other
selects his • Something systems of
materials, and imaginary does communication,
arranges them not necessarily the artist uses
according to his mean it cannot symbols which he
design. be called art. organizes into
• Creation involves Artists use their some
constant imagination that comprehensible
correction and gives birth to equivalent of the
redirection, reality through experience that
depending on the creation. he is trying to
demands of the • In the same way convey. If the
material and the that imagination symbols are
challenges it produces art, art understood by his
poses. also inspires audience, then
imagination. communication
has been
established.
(Ortiz et al., 1976)

Also, art in any given period simultaneously reflects two things (Ortiz et al., 1976):
1. The genius of its creator. i.e., the creativity of the creator and how it reflects on
their artwork.
2. The sensibility or the characteristic values and attitudes toward important aspects
of life held by the society in which the work of art was born. i.e., social, economic,
political, religious, and scientific factors influence an artist’s artistic expression. His

8
 vision is also necessarily influenced by his cultural traditions and by his training.
Works of art have their context in time and space.

SUPPLEMENTARY MATERIALS
More on art as creation, imagination, and expression:
 What makes something art? (https://www.youtube.com/watch?v=vV2cc_fFgmA)
 UP TALKS | Art as Product of Human Experience and Imagination
(https://www.youtube.com/watch?v=GCR4vhbikzU)

Guide question: What qualifies an “art”? Are there other sources of “art” aside from
human experience and imagination?

TASK/ACTIVITY

CROSSWORD PUZZLE

Complete the crossword puzzle of concepts from the discussion of Assumptions of Art and Art as
Creation, Imagination, and Expression.

9
 TOPIC 4: ART FORMS

Eleven (11) recognized Art Forms in the 21st century (Caslib et al., 2018 pp. 18-22;
Epperson, 2019; Newhall et al., 2019).

VISUAL ART FILM

Creations that fall under this Refers to the art of putting
category are those that appeal to together successions of still
the sense of sight and are mainly images in order to create an
visual in nature. illusion of movement.
Some medium of visual arts Filmmaking focuses on its
include paintings, drawings, aesthetic, cultural, and social
letterings, printing, sculptures, value and is considered as both
digital imaging, and more. an art and an industry.

PERFORMANCE ART Some medium of visual arts

DANCE
include paintings, drawings,
ASome medium
live art and theof artist’s
visual arts
medium letterings,
Dance is printing,
a series ofsculptures,
movements
include
is mainlypaintings,
the human drawings,
body which digital imaging, and more.
that follows the rhythm of the
letterings,
he printing,
or she uses sculptures,
to perform, but
digital imaging, and more. music accompaniment.
also employs other kind of art
such as visual art, props, or sound. Dancing is a creative form that
allows people to freely express
This form of art cannot be bought themselves. It has no rules.
of traded as a commodity.

10
 ARCHITECTURE POETRY PERFORMANCE
The making of beautiful buildings. Poetry is an art from where the
artist expresses his emotions not
Buildings should embody these by using paint, charcoal, or
three important elements—plan, camera, but expresses them
construction, and design—if they through words.
wish to merit the title architecture
(Collins & Riley, 1931 as cited in The words, combined with
Caslib et al., 2018). movements, tone, volume, and
intensity of the delivery, add to
the artistic value of the poem.
THEATER
Theater uses live performers to These words are carefully
LITERARY ART
present accounts or imaginary selected to exhibit clarity and
events before a live audience. Artists
beautywho
and practice
to stimulate
literary
strong
arts
Much like in filmmaking, theater use words of
emotions tojoy,
express
anger,themselves
love,
also considers several elements and communicate
sorrow, and the listemotions
goes on to the
such as acting, gesture, lighting, readers.
sound effects, musical score,
Literary art focuses on writing
scenery, and props. Some medium of visual arts
using a unique style, not following
include paintings, drawings,
a specific format or norm.
letterings, printing, sculptures,
digital imaging, and more.
APPLIED ARTS
Incorporating elements of style MUSIC
and design to everyday items with The art concerned with combining
the aim of increasing their vocal or instrumental sounds for
aesthetical value. beauty of form or emotional
Industrial design, interior design, expression, usually according to
fashion design, and graphic design cultural standards of rhythm,
are considered applied arts. melody, and harmony.

PHOTOGRAPHY
As a means of visual communication and expression, photography has distinct
aesthetic capabilities.
The most important control is, of course, the creative photographer’s vision.
He or she chooses the vantage point and the exact moment of exposure. The
photographer perceives the essential qualities of the subject and interprets it
according to his or her judgment, taste, and involvement.

11
 SUPPLEMENTARY MATERIALS
The different art forms in context:
 Different Forms of Art We Cannot Imagine the World Without
(https://www.youtube.com/watch?v=L9uTtTTQs2I)
 The Case for Performance Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=EmMTKdUAokM)
 The Case for Video Art (https://www.youtube.com/watch?v=YcXpAHVAxwY)
 Making Simply Beautiful Photographs | National Geographic
(https://www.youtube.com/watch?v=ZNMMPXnEeno)
 What makes a poem … a poem? - Melissa Kovacs
(https://www.youtube.com/watch?v=JwhouCNq-Fc)
 Experience Medieval Art and Architecture in Picturesque Brugge | National
Geographic (https://www.youtube.com/watch?v=lfrEEe7QDJk)
 The Art of Cinema (https://www.youtube.com/watch?v=KB6qKg2xQ58)
 How and Why We Read: Crash Course English Literature #1
(https://www.youtube.com/watch?v=MSYw502dJNY)
 What Is Theater? Crash Course Theater #1
(https://www.youtube.com/watch?v=sNWrOuwzax8)
 Turning Sound Into Music—Why Do We Do It? | Short Film Showcase
(https://www.youtube.com/watch?v=ESeRaLKE7YU)

Expand your knowledge on the different art forms through these materials.

TASK/ACTIVITY

THINKPIECE:
The practice and appreciation for art can be derived from different motivations and can
be an ode to a particular form of art. Nevertheless, the resulting work of art is an
amalgamation of the artist’s creativity, imagination, and expression. In this task, ponder
on these questions:
a. If you were an artist, what kind of artist will you be?
b. What art field/ art form will you explore? Why?
c. How can you utilize the arts to express yourself, your community, and your
relation to others and with the earth?
Write your essay in one whole sheet of paper.
TASK/ACTIVITY RUBRIC:
Content/Relevance: 10 points
Writing technicalities (narrative, grammar): 6 points
Clarity: 4 points
Total 20 points

12
 ASSESSMENT

SELF-PORTRAIT
Channel your creativity, imagination, and expression in this task and create
something that you can acknowledge and appreciate as “art”.
Create a portrait of yourself. It can be made of any medium, drawing, painting,
sculpture, graphic design, photography—any type of visual art. You can use any art
style or elements (e.g. the addition of color, the use of other materials that cad add
aesthetic merit to your artwork, anything you think will go with the portrait you’ll
create). Portray yourself in the most creative way. Add a 5-sentences explanation of
the portrait you created.
ASSESSMENT RUBRIC:
Creativity: 20 points
Art style: 10 points
Technique: 10 points
Realism/distortion: 5 points
Narrative: 5 points
Total: 50 points
Comment:

13
 TOPICS
1. Functions of Art
2. Philosophical Perspectives on Art
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. understand the functions of art for the individual as well as how art is
significant for cultures and societies.; and
2. explain and discuss some of the key philosophical perspectives on
art.

TOPIC 1: FUNCTIONS OF ART

Compared to other activities of man, art is generally regarded as impractical, not

meant to meet the requirements of day-to-day living. Architecture, weaving, furniture-
making, and a few other crafts have obvious purposes and are therefore classified as
functional. But painting, sculpture, literature, music, and the theater arts seem to serve
no other end than to amuse or provide a pleasant escape from life’s daily problems.
Thus, they are classified as non-functional. However, all arts have a function, for man,
the maker, creates things because he has a particular need for them (Ortiz et al., 1976).
We may consider art as having the general function of satisfying:
1. Our individual needs for personal expression
2. Our social needs for display, celebration, and communication
3. Our physical needs for utilitarian objects and structures
To know the function of a particular work of art, you must be able to answer the
question, “WHAT IS IT FOR?” (Ortiz et al., 1976).
When it comes to function, different art forms come with distinctive functions. There
is no one-to-one correspondence between an artwork and its function. Some art forms
are more functional than others. Architecture, for example, as an art, is highly functional,
just like most applied arts.

14
 Roughly and broadly, the functions of art are classified into three: personal (public
display or expression), social (celebration or to affect collective behavior), and physical
(utilitarian).
ART AND THE INDIVIDUAL (THE PERSONAL FUNCTION)
The personal functions of art are varied and highly subjective. This means that its
functions depend on the person- the artist who created the art. An artist may create
artwork out of the need for self-expression. This is the case for an artist who needs to
communicate an idea to his audience. It can also be mere entertainment for his intended
audience. Often, the artist may not even intend to mean anything in his work.
Arts are vehicles for the artists’ expression of their feelings and ideas. Likewise,
for us, layman or non-artists, the arts also serve as a means of expression for us. Art helps
to educate our senses and sharpens our perception of colors, forms, textures, designs,
sounds, rhythms, and harmonies in our environment. Art makes us more aware and
appreciative of the things around us. Visual and auditory “literacy” through contact with
the arts can lead us to an intensified awareness of the beautiful in life. It can thus make
our existence less humdrum; it can refine and elevate our aesthetic taste.
Works of art make us aware of other ways of thinking, feeling, and imagining that
have never occurred to us before. They offer us fresh insights into nature and human
nature so that we gain a better understanding of ourselves and the world around us. They
help us improve our lives. This is especially true of literature, drama, and cinema, which
capture and vivify human experience (Ortiz et al., 1976).
ART, CULTURE, AND SOCIETY (THE SOCIAL FUNCTION)
One cannot conceive of a society without art, for art is closely related to every
aspect of social life (Ortiz et al., 1976).
Art performs a social function when:

It seeks or tends to influence the collective behavior of a people (INFLUENCING SOCIAL

BEHAVIOR)
 Many works of art influence the way we think, feel, or act.
 They can bring about in us decisions to collectively change, correct, or improve
upon the human condition.
 Paintings, photographs, posters, and cartoons have been used to express
humanitarian concerns as well as ideological or political comment.
It is created to be seen or used primarily in public situations (DISPLAY AND
CELEBRATION)
 One function of sculpture and painting is a commemoration of important
personages in society.

15
  Often they serve to record important historical events or reveal the ideals of
heroism and leadership that the community would want the young to emulate.
 The arts are also linked to rituals. Rituals have played an important role in
people’s lives and have influenced the growth of certain arts as well.
 Public celebrations, such as festivals, involve rituals of some kind, and these, in
turn, employ the arts.
It expresses or describes the social or collective aspect of existence as opposed to
individual and personal kinds of experiences (SOCIAL DESCRIPTION)
 Artworks are vital historical documents. They describe aspects of existence at
certain periods. Because many of them focus on facets of daily life, they tell us
what the societies that produced them were like.

Influencing Social Behavior Social Description

Display and Celebration

Pahiyas Festival. Image from Google Image.

We Can Do It Poster. Manunggul Jar. Image from Google Image.

Image from Google Image.

Art is considered to have a social function if and when it addresses a particular

collective interest as opposed to a personal interest. Political art is a very common
example of art with a social function. Art may convey messages of protest, contestation,
or whatever message the artist intends his work to carry.

ART AND THE PHYSICAL WORLD (THE PHYSICAL FUNCTION)

The physical functions of art are the easiest to spot and understand. The physical
functions of art can be found in artworks that are crafted to serve some physical purpose.
The best examples are the kitchen utensils we have at home since they were not just
displayed but also serve a physical function.

SUPPLEMENTARY MATERIALS
More on conceptualizing the functions of art:
 What is Art for? (https://www.youtube.com/watch?v=sn0bDD4gXrE)
 Cases for Political Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=RfXad3HVox4)
Guide question: Will you consider art as something
16 “political”? Or it’s just “neutral” and
unbiased?
 TASK/ACTIVITY

Identify:
1. The form of this artwork (5 points)
______________________________________________
______________________________________________
______________________________________________
______________________________________________
______________________________________________

2. The medium used (5 points)

______________________________________________
______________________________________________
______________________________________________
______________________________________________
______________________________________________

Rizal Monument. Image from Google Image.

3. The function of this work of art (10 points)
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

4. The symbolism it forwards (10 points)

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

Discuss your points in detail. Capitalize on the discussion about the functions of art.

17
 TOPIC 2: PHILOSOPHICAL PERSPECTIVES ON ART

Three (3) philosophers have their different takes on the nature, function, and purpose
of arts to human beings (Caslib et al., 2018 pp. 31-33).

PLATO: ART AS AN IMITATION

 In The Republic, a renowned masterpiece of Plato, he described the artists

as imitators and art as mere imitation or mimesis.
 Plato was convinced that artists merely reinforce the belief in copies and
discourage men to reach for the real entities in the World of Forms.
 Plato was deeply suspicious of arts and artists for two reasons:
o They appeal to the emotion rather than the rational faculty of men.
o They imitate rather than lead one to reality.
 For Plato, art is dangerous because it provides a petty replacement for the
real entities that can only be attained through reason.

ARISTOTLE: ART AS REPRESENTATION

 Aristotle considered art as an aid to philosophy in revealing truth.

 For Aristotle, all kinds of art, including poetry, music, dance, painting, and
sculpture, do not aim to represent reality as it is. What art endeavors to do
is to provide a vision of what might be or the myriad possibilities of
reality.
 Unlike Plato who thought that art is an imitation of another imitation,
Aristotle conceived of arts as representing possible versions of reality.
 Art serves two particular telos or purpose:
o Art allows for the experience of pleasure.
o Art also has an ability to be instructive and teach its audience things
about life; thus it is cognitive as well.

18
 KANT: ART AS DISINTERESTED JUDGMENT

 Kant considered that the judgment of beauty, the cornerstone of art, as

something that can be universal despite its subjectivity.
 Judgment of beauty, and therefore, art, is innately autonomous from
specific interests.
 Even aesthetic judgment is a cognitive activity.
 For Kant, when one judges a particular painting as beautiful, one in effect is
saying that the said painting has induced particular feeling of satisfaction
from him and that he expects the painting to rouse the same feeling from
anyone.

SUPPLEMENTARY MATERIALS
More on the philosophical perspectives on art through the discussion of aesthetics:
 Aesthetics: Crash Course Philosophy #31
(https://www.youtube.com/watch?v=gDL4Zf2yEa4)
Guide question: How does philosophy’s take on art helps you better understand its
essence/nature?

TASK/ACTIVITY

POSITION/ARGUMENT PAPER:
Plato, Aristotle, and Kant’s philosophical take on the nature or character of art add depth
and width to our practice, study, and understanding of art not only as a discipline but as
a human endeavor as well.
Among the three philosophical perspectives on art, which philosophy you subscribe to or
agree with?
Discuss your points and/or arguments why you subscribe or agree with that philosophical
perspective. You can cite examples and do your best to support your claims with facts. If
you are going to use other resources, don’t forget to cite them (use APA citation style)
properly.
Use this opportunity to engage yourself with this philosophical discourse by agreeing to
one and disagreeing with the other two.

19
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond paper.
(Notice to the instructor: this format serves as a parameter guide and can be adjusted to the needs and/or
conditions of the students)

TASK/ACTIVITY RUBRIC:
Content/Relevance (points, arguments, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Citation and ethical integrity 10 points
Total 50 points

ASSESSMENT

THINKPIECE
Write about the significant function or role of art for yourself. You can explore both
personal function of art (as an individual), social function of art (as a member of a
community, society, and culture), and physical function of art (as a human being
utilizing art in everyday life). You can cite examples, anecdotes, and/or experiences
that lead you to the conclusion that art works like this or like that in your life.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond
paper. (Notice to the instructor: this format serves as a parameter guide and can be adjusted to the
needs and/or conditions of the students)

TASK/ACTIVITY RUBRIC:
Content/Relevance (points, arguments, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Clarity/sense of the content 10 points
Total 50 points

20
 TOPICS
1. Subject and Content of Artworks
2. Art Structure
3. Art Analysis and Art Criticism
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. understand the concepts of subject and content in works of art;
2. familiarize themselves with the different elements, medium,
technique, and principles of art; and
3. analyze and/or read works of art using different approaches and art
theories.

TOPIC 1: SUBJECT AND CONTENT OF ARTWORKS

CONCEPTS

Subject – the visual focus or the image that may be extracted from examining
the artwork; refers to any person, object, scene, or event described or
represented in a work of art.
Content – the meaning that is communicated by the artist or the artwork
Form – the development and configuration of the artwork—how the elements
and the medium or material are put together
In simpler terms, the subject is seen as the “what”; the content is the “why”; and
the form is the “how”.
(Caslib et al., 2018 pp. 37-38)

21
 IDENTIFYING
IDENTIFYING SUBJECT,
SUBJECT, CONTENT,
CONTENT, ANDAND FORM
FORM
Noting the concepts above, take, for example, the reading of Michelangelo’s
famous marble sculpture, Pieta (image below). The subject of this sculpture is Mary and
Jesus (if we refer to the narrative of the Bible; this is when Jesus was brought down from
the cross). We can also identify the crucifixion of Jesus and the payment of humanity’s sin
as the subject, the symbolism of salvation, and redemption in the Christian faith. The
content can pertain to different perspectives, one would be on the humanity of Jesus and
the fact that He was born of a woman (Mary) even if he is equal to God (the Heavenly
Father), and as a mortal human being, he is subject to death. Lastly, the form of this work
of art is sculpture, and the material is a marble.

Michelangelo. Pieta. 1498-1499. Marble. 1.74 m x 1.95 m. St. Peter's Basilica.

TYPES
TYPES OF SUBJECT
OF SUBJECT
Painting, sculpture, and other art forms can be divided into the categories of
representational (sometimes also called figurative art, although it doesn't always contain
figures), abstract, and non-representational (or non-objective) art. Representational art
describes artworks – particularly paintings and sculptures – that are derived from real
object sources, and therefore are by definition representing something with strong visual
references to the real world. Most, but not all, abstract art is based on imagery from the
real world. The most "extreme" form of abstract art is not connected to the visible world
and is known as non-representational.

22
REPRESENTATIONAL ART NON-REPRESENTATIONAL ART

These types of art have subjects that Or non-figurative art

refer to objects or events occurring Non-representational art does not
in the real world. make a reference to the real world,
It is also termed figurative art, whether it is a person, place, thing or
because as the name suggests, the even a particular event.
figures depicted are easy to make It is stripped down to visual elements
out and decipher. such as shapes, lines, and colors that
are employed to translate a
particular feeling, emotion, and even
concept.

Johann Anton Eismann, Meerhaven. 17th century. Robert Delaunay, Le Premier Disque. 1913

This figurative or representational Delaunay's work is a primary example

work from the seventeenth century of early nonrepresentational art,
depicts easily recognizable objects– bearing no trace of any reference to
ships, people, and buildings. But anything recognizable from the real
artistic independence was advanced world. In nonrepresentational art, for
during the nineteenth century, instance, one is unlikely to find
resulting in the emergence of abstract references to naturalistic entities.
art. Three movements that
contributed heavily to the
development of these were
Romanticism, Impressionism, and
Expressionism.

23
  Representational art vs. Non-representational Art
Representational works are often favored because they are easier to recognize.
Viewers find great comfort when what they see registers are something familiar.

 The Case of Abstract Art

This is essential to discuss because it introduces the fact that representational art
and non-representational art is not a clear-cut divide; rather, they exist in a
spectrum.
As a guide, an artwork, depending on the degree of distortion or abstraction, may
be judged as leaning more toward one over the other. Abstract art is, in itself, a
departure from reality. Still, the extent of that departure determines whether it
has reached the end of the spectrum, which is non-representationality—a
complete severance for the world.

(Caslib et al., 2018 pp.40-42)

SUPPLEMENTARY MATERIALS
The spectrum of abstraction explained:
 The Case for Abstraction | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=96hl5J47c3k)

KINDS OF SUBJECT
KINDS OF SUBJECT

For artists, where do they source the subjects of their paintings? What do they
paint? Practically everything under the sun is a raw material for the artist to draw his
subject from. Most, if not all, of the visual arts, are representations of what the artists
thought and felt about the world they lived in. Or they are representations of things the
artist imagined or dreamed about. Whatever subject an artist chooses, his choice involves
some personal statement; it shows what he considers significant or aesthetically
satisfying.

24
The subjects depicted in works of art, particularly the visual arts, can be grouped into
(Ortiz et al., 1976):

1. Landscapes, seascapes, and cityscapes

2. Still life
3. Animals
4. Portraits
5. Figures
6. Everyday life
7. History and legend
8. Religion and mythology
9. Dreams and fantasies

Subject variation. Google Images.

CONTENT
CONTENT

Recognizing the subject is not necessarily grasping the content of a work of art.
Subject and content are two different things. While the subject refers to the objects
depicted by the artist, content refers to what the artist expresses or communicates on
the whole in his work. Sometimes it is spoken of as the “meaning” or the “theme” of the

25
work. The content reveals the artist’s attitude toward his subject (Caslib et al., 2018 p. 49-
51).
Subject matter may acquire different levels of meaning (Caslib et al., 2018 p. 49-51).
1. Factual meaning
The literal statement or the narrative content in the work which can be directly
apprehended because the objects presented are easily recognized.
2. Conventional meaning
This refers to the special meaning that a certain object or color has for a particular
culture or group of people.
3. Subjective meaning
Any personal meaning consciously or unconsciously conveyed by the artist using
a private symbolism which stems from his association of certain objects, actions,
or colors with past experiences.
To fully grasp the content of works of art, one must learn as much as he can about
the culture of the people that produced them and maintain an open mind.

TASK/ACTIVITY

Identify the following. Write your answers in one

whole sheet of paper.
1. Subject (the type of subject and kind of
subject) [10 points]
2. Content (read through the three meanings—
factual, conventional, and subjective) [15
points]
3. Form [10 points]

Benedicto Cabrebra. Woman Eating. 1975.

Print on Paper

26
 TOPIC 2: ART STRUCTURE

Art elements are the basic components or building blocks that make up a
particular art structure. In this part, we will look at the different elements that make up
the respective practices of different art forms, such as visual arts, music, poetry, film, and
literature.

VISUAL ARTS

The elements of visual arts are color, value, line, texture, shape, form, and space. Artists
use the elements of art to express their ideas. The principles of art are the different ways
the elements can be used in a work of art: balance, emphasis, harmony, variety,
gradation, movement, rhythm, and proportion.

Art Elements and Principles. Image from Zart.

ART ELEMENT: LINE

Refers to a point moving at an identifiable path – it has length and direction. Although a
line is “simple,” it has a variation of view of its orientation/direction, shape, and thickness.
Horizontal and Vertical Lines - refers to the orientation of the
line. Horizontal lines are normally associated with rest or
calm, while Vertical lines mean exaltation or aspiration for
action.

27
 Diagonal and crooked lines – diagonal lines convey
movement and instability, although the progression can be
seen. Crooked or jagged lines, on the other hand, are
reminiscent of violence, conflict, or struggle.

Curved Lines- these are lines that bend or coil. They allude to
softness, grace, flexibility, or even sensuality.

ART ELEMENT: SHAPE AND FORM

Shape refers to two dimensions: height and width. At the same time, Form refers to
three-dimension: high, width, and depth.

Geometric shapes find the origin in a mathematical

proposition. These include shapes such as squares, triangles,
cubes, circles, spheres, and cones, among others.

Organic shapes are those readily occurring in nature. Often

irregular and asymmetrical.

ART ELEMENT: SPACE

Space refers to the shape, and form is space. It is usually inferred from a sense of depth.
Realspace is three dimensional.
ART ELEMENT: COLOR
Color is perhaps one of the elements that enhance the
appeal of an artwork. This element is a property of light,
as it is reflected off the object. Much of what we know
about colors begin with the notion of a Color Theory.

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ART ELEMENT: TEXTURE

Like space, texture can be either real or implied. This element in an artwork is experienced
through the sense of touch (and sight). The texture is commonly associated with textiles.
ART PRINCIPLE: BALANCE
Balance refers to the distribution of the visual elements
because of their placement in relation to each other.
Symmetrical – used on one side is reflected on the other.
Asymmetrical – not the same (or of the same weight) on the
side, putting the heaviness.
Radial – central point in the composition

ART PRINCIPLE: SCALE AND PROPORTION

Scale – size in relation to what is normal for the figure or object
in question.

Proportion – the size of the components or object in relation to

one another

Proportion can be:

Natural – realistic size of the visual elements in the artwork.
Exaggerated – unusual size relations of visual elements; most
common to those to follow canons of perfection, the size-
relation of elements or objects.

ART PRINCIPLE: EMPHASIS AND CONTRAST

Emphasis - allows the attention of the viewer to a
focal point.
Contrast – the disparity between the elements that
figure into the composition.

ART PRINCIPLE: EMPHASIS AND CONTRAST

Unity – intended to imbue a sense of accord or

completeness from the artwork
Variety – principle that aims to retain the interest by
allowing patched or areas that both excite and allow
the eye to rest.

29
Harmony - Elements or objects achieve a sense of flow
and interconnectedness.

Movement - the direction of the viewing eye as it goes through

the artwork, often guided by areas or elements that are
emphasized.

Rhythm - element is repeated, creating implied movement.

ART PRINCIPLE: REPETITION AND PATTER

Repetition – elements may appear in an artwork in a
recurring manner.
Pattern – the image created out of repetition

MUSIC POETRY
 TIMBRE – sound quality;  RHYTHM – sound quality; the
related to the type of natural rise and fall of delivering
instrument used the language
 PITCH – highness or lowness of  METER – stressed (longer) and
sound unstressed (shorter) syllabic
 MELODY – refers to the linear pattern
(horizontal) presentation of  LINE – basic unit of a poem
pitch  STANZA – layers of sound or
 HARMONY – vertical, it arises melody—paragraph of the prose
when pitches are combined to (poetry)
form chords  RYME – the similarity of sound
 RHYTHM – the pulse of music; (phoneme) of the middle or end
long or short beat, tempo, syllables of a set of successive lines
and/or meter  IMAGERY – word pictures derived
 DYNAMICS – refers to the from the description or narrative
loudness or quietness of music employed in the poem
 TEXTURE – layers of sound or  FIGURES OF SPEECH – alliteration,
melody metaphor, simile, hyperbole,
personification

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 FILM LITERATURE

 Plot  Plot
 Character  Character
 Theme  Theme
 Setting/context  Setting/context
 Conflict & resolution  Conflict & resolution
 Music score or soundtrack  Imagery
 Visual elements related to the  Point of view
cinematography

SUPPLEMENTARY MATERIALS
A quick guide to the elements and principles of visual arts:
 The Elements of Art . . . Defined!
(https://www.youtube.com/watch?v=iSbm21bhXVk)
 The Principles of Design . . . Defined!
(https://www.youtube.com/watch?v=k1npitnxdQs)

TASK/ACTIVITY

 Check out Hokusai’s Great Wave off Kanagawa;

 listen to Erik Satie’s Gymnopédie no. 1;
 read the poem “Manghuhuli Ako Ng Sinag Ng Araw” by John Enrico Torralba;
 read a short story written by Haruki Murakami “On Seeing the 100% Perfect Girl
One Beautiful April Morning”; and
 try to identify the different elements for the respective forms of art. There is
nothing to accomplish here, just experience these works of art and assess if you
can identify their structure and make sense of the different art elements discussed
above.

31
 TOPIC 3: ART ANALYSIS AND ART CRITICISM

READING THE
READING IMAGE
THE IMAGE
Understanding art has to do with reading the visual work as a re-presentation of
the world, an artistic construct, and signifying practice conveying a complex of ideas,
feelings, values, attitudes, moods, and atmosphere that derive from world views and
ideologies. Since art is a vital part of our lives, we need to know and understand it better
(Ortiz et al., 1976).

Understanding a work of art may involve a great deal of research. Moreover, the
meaning of important work can grow with time, as viewing it becomes a process of
continual discovery, which is part of the pleasure art gives (Ortiz et al., 1976).

TWO (2) INTERRELATED ASPECTS IN THE STUDY OF ART:

SPECIFICITY
• Art has its particular language or vocabulary that has to do with the media,
techniques, and visual elements of art and that constitutes it as a distinct area of
knowledge and signifying practice. It is what constitutes art as a particular human
activity different from others.
HISTORICAL CONTEXT SHAPED BY SOCIAL, ECONOMIC,
AND POLITICAL FORCES
• While art has specificity, it is at the same time historically situated and shaped by
social, economic, and political forces. The study of the formal elements alone will
not lead to a full understanding of the work, in the same way that the exclusive
32
study of the social determinants risks collapsing the artistic into the sociological.
 Meaning in art is a complex of intellectual, emotional, and sensory significations,
which the work conveys and to which the viewer responds, bringing in the breadth of his
cultural background, artistic exposure and training, and human experience in a dialogic
relationship with the artwork. One may speak of a work’s “horizon of meaning”
(Eagleton, 1991), implying a range of possible significations that work may accommodate
(Ortiz et al., 1976).

ARTART
ANALYSIS AND
ANALYSIS ARTART
AND CRITICISM
CRITICISM

 Terms are used interchangeably; art analysis is the process of undertaking art
criticism.
 In a general conceptual take, ART CRITICISM is defined as the analysis and
evaluation of works of art. More subtly, art criticism is often tied to theory; it is
interpretive, involving the effort to understand a particular work of art from a
theoretical perspective and to establish it’s significant in the history of art.
 ART ANALYSIS (as a concept) is still used to denote the study, reading, or
understanding of a work of art.
 Art Criticism is responding to, interpreting meaning, and making critical
judgments about specific works of art.
 Art Critics help viewers perceive, interpret, and judge artworks. They carefully
study works of art, searching for aesthetic qualities the qualities that can increase
their understanding of the works and serve as the criteria on which their judgment
is based.

(Barrett, 1994; Mittler, 2006)

AESTHETIC THEORIES

Aesthetics is a branch of philosophy concerned with identifying the clues within

artworks that can be used to understand, judge, and defend judgments about those works
(Mittler, 2006 pp. 91-92).

33
Aesthetics theories used in art criticism:

REALISM FORMALISM EMOTIONALISM

• Also Imitationalism, • Formalism holds that • Also Expressionism
Representationalism the most important • Other aestheticians
• Some aestheticians aspect of a work of art and art critics contend
and art critics feel that is the effective use of that the success of an
the most important the principles of art to artwork depends on
thing about a work of arrange the elements its ability to
art is the realistic of art. communicate an
presentation of • They believe that an emotion or idea to the
subject matter or the effective design viewer.
literal qualities. depends on how well • This theory, called
• They feel that a the artist has arranged emotionalism, places
successful work must the colors, values, the greatest
look like, and remind lines, textures, shapes, importance on the
viewers of, what can forms and space expressive qualities,
be seen in the real relationships used in or the feeling, moods,
world. the work. and ideas
• People with this view • For critics who use communicated to the
feel an artwork should this theory, successful viewer by a work of
imitate life, that it work of art need not art.
should look lifelike look lifelike, but it
before it can be must use the
considered successful. elements and
principles effectively
to achieve an overall
unity.

FORMAL ART ANALYSIS: ON STUDYING ART AND WRITING ANALYSIS

Works of art are not only created for the functions it serves for the artist and the
audience/viewer. As a humanistic endeavor, art demands study, critique, analysis, and
understanding in hopes that what came out of these analyses will, in turn, be utilized and
applied in the process of creating artworks.

There are four key dimensions explored and accomplished in the conduct of art
analysis: description, analysis, interpretation, and judgment (Mittler, 2006 p. 86-90).

34
 1. DESCRIPTION

 Pure description of the work of art, no value judgment

 Answers the question, “What do you see?”
 What is in the work? Discuss the elements of art found in the artwork. What
are the materials or medium used?
 When, where, by whom the work was done?
 Who is the subject matter or model?

1. 2.
DESCRIPTION
ANALYSIS

 Discover the unique features in the work of art. Determine the artistic style.
 Answers the question, “How did the artist do it?”
 How are the elements organized? What principles of design and organization
are utilized?
 Analyze the figures and objects in the image.
 What is the background of the subject matter or model?

3.1.
INTERPRETATION
DESCRIPTION

 Establishing the broader context for the work of art.

 Answers the question, “Why did the artist create it and what does it mean?”
 What is the main theme or idea behind this piece?
 What are the possible mood and/or emotion conveyed in the artwork?
 How are the artist and the artwork influenced by their environment?

1.4.DESCRIPTION
JUDGMENT

 Give your judgment that is based upon consideration of all the aesthetic
qualities found in the work of art, and the context and content of the artwork.
 Does it have a strong aesthetic value and artistic merit?
 Is the art piece important? What makes it important?
 What are the issues or values presented? Is the artist effective in presenting
issues or concepts through the art piece?
 Does it change your perspective about art and its role in society? How?
 What are your realizations?

35
 SUPPLEMENTARY MATERIALS
Undertaking art analysis and art criticism (examples on how to read images):
 The Death of Socrates: How To Read A Painting
(https://www.youtube.com/watch?v=rKhfFBbVtFg)
 Why is Vermeer's "Girl with the Pearl Earring" considered a masterpiece? - James
Earle (https://www.youtube.com/watch?v=pM_IzEAv5d4)
 Why is this painting so captivating? - James Earle and Christina Bozsik
(https://www.youtube.com/watch?v=loMy3sbW64g)

ASSESSMENT

FORMAL ART ANALYSIS

Study the artwork and write a formal art analysis. Be guided by the four key dimensions (description,
analysis, interpretation, and judgment), the questions they try to answer, and art criticism
dimensions they explore.
Format:
Letter size, Times New Roman, Single Space, 12 font size
First page: Name, Course & Section, Date of Submission, Image of the artwork.
The analysis should be at least 2 pages, excluding the reference page and the first page.

Juan Luna. The Parisian Life. 1892. Oil on canvas. 57 cm × 79 cm. National Museum of Fine Arts, Manila

 DESCRIPTION (What is in the work? Discuss the elements of art found in the artwork. What are the
materials or medium used? When, where, and by whom the work was done? Who is the subject
matter or model?)
 ANALYSIS (Discover the unique features in the work of art. Determine the artistic style. How are
the elements organized? What principles of design and organization are utilized? Analyze the
figures and objects in the image. What is the background of the subject matter or model?)
 INTEPRETATION (Based on its composition, discuss its expressive quality. What are the possible
mood and/or emotion conveyed in the artwork? How are the artists and the artwork influenced by
their environment or context?)
 JUDGMENT (Give your judgment that is based upon consideration of all the aesthetic qualities
found in the work of art, and the context and content of the artwork. Does it have strong aesthetic
value and artistic merit? Is the art piece important? What makes it important? What are the issues
or values presented? Is the artist effective36in presenting issues or concepts through the art piece?
Does it change your perspective about art and its role in society? How? What are your
realizations?)
 TOPICS
1. The People of Art
2. The Place of Art – Exhibits and Museums
3. Awards and Citations
4. Art as Commodity
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. distinguish the works of an artist and artisans;
2. understand how exhibits and museums are planned, organized, and
showcased for art enthusiasts;
3. identify national and GAMBA artists’ notable works and their
contribution to society; and
4. understand how art is a commodity.

TOPIC 1: THE PEOPLE OF ART

“Art when really understood is the province of every human being. It is simply a
question of doing things, anything, well. It is not an outside, extra thing. When the artist
is alive in any person, whatever his kind of work may be, he becomes an inventive,
searching, daring, self-expressing creature. He becomes interesting to people. He
disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those
who are not artists are trying to close the book he opens it, shows there are more pages
possible.” Robert Henri, The Art Spirit (1923), as cited in (Caslib et al., 2018 p.54).

Arguably, one type of knowledge that fuels the 21st century is creativity. Art and
artists had a long way in the history of mankind. The impulse to create is at the core of
human civilization, much like the influence to communicate through language (Caslib et
al., 2018 p. 56).

37
UNDERSTANDING AND CORRECTING MISNOMER

As we go deeper into the art scene, it is important to come up with an

understanding of what art is. The definition of art is among the long-standing debates in
the art discipline and artist circle. It is as if the concept cannot be limited to what makes
it up, the practices it involves, and the works it produces. In this part, the discussion
centers on the development of the concept “art” throughout history vis-à-vis the current
conceptual use of the term. This discussion aims to shed light on prevailing misnomers
concerning art. It is important to address these misnomers because they can lead to
confusion, which is why this discussion tries to answer what differentiates an art with a
craft, and an artist with an artisan/craftsman as well.

Is there a difference between art and craft? – Laura Morelli. TEDEd Youtube channel.
https://www.youtube.com/watch?v=tVdw60eCnJI

THE ARTIST AND THE ARTISAN

A. ARTIST
The word “artist” is generally defined as an art
practitioner, such as a painter, sculptor,
choreographer, dancer, writer, poet,
musicians, and the like who produces or
creates indirectly functional arts with
aesthetic value using imagination.
Artists are creative individuals who use their
imagination and skills to communicate in an
art form. Artists look to many sources for
inspiration. Some look forward to their natural
and cultural environment for ideas; others

38
 look within themselves for creative motivation.
Artists exhibit the courage to take risks. They are willing to work intensely for a
long time to achieve their goals. Some artists are self-taught (folk-artist) because
they are not educated in traditional artistic methods. Just like the artists, the
artisan learns skills and techniques from some other artist, but eventually, both
artist and artisans develop their unique styles.

B. ARTISAN
An artisan is a craftsman, such as a carpenter,
carver, plumber, blacksmith, weaver,
embroiderer, and the like who produces
directly functional and or decorative arts.
Artisan helps us in meeting our basic needs,
such as food, clothing, dwelling, furniture, and
kitchen utensils; they craft everything that
makes our life easy. The artisan’s works are
useful, relevant, and essential in our daily life.

KEY ACTORS OF THE ART MARKET

We are examining the social, economic, political, and aesthetic dynamics of the
key personalities of the art world, namely, the artist, museum manager, curator, art
buyer, art collector, art dealer, and connoisseur.

ARTIST
The creator of the artwork;
Engages in pre-production, production, and post-production processes vis-à-vis their
artwork.
MUSEUM MANAGER
Manages the entire operation of a museum or an exhibit (maintenance, promotions,
audience accommodation).
CURATOR
Does the research and plans the presentation or how the artifacts/artworks will be
showcased in the museum;
The role of the curator is more of the interpretation and development of artwork(s) or
the collection(s) through establishing the significance, relationship, and relevance of
these materials—in isolation and/or as part of a wider narrative.
The curator, who is manager or overseer and usually a curator or keeper of a cultural
heritage institution (gallery, museum, library or archive) is a content specialist charged
with an institution’s collections, selecting art to be displayed in the museum, organizing
art exhibitions in galleries or public places, researching the artist and writing catalogs
and involved with the interpretation of heritage.

39
 ART BUYER
Initially assess and survey artwork that collectors are interested in; it is their role to
oversee the sale of the artwork, on behalf of the collector who may either be too busy
or who would rather keep his identity hidden.
An art buyer is a professional who is knowledgeable in the art, who may scout talents
for an advertising agency seeking to employ an art director, or who may look for
artwork for collector or company.
ART COLLECTOR
A collector who has established himself as someone who not only appreciates art but
knows art, understands its behavior and patterns, becoming a key player in making or
breaking an artist’s career, or shaping the course of a museum’s collection (through
pledges of support and donation).
ART DEALER
The direct hand is in the distribution and circulation of the artworks through a variety
of means, such as direct sales, through galleries, and auction houses.
An art dealer is a person or a company that buys and sells works of art. Art dealers often
study the history of art before starting their careers. They keep up with the trends in
the market and are knowledgeable about the style of art that people want to buy. They
figure out how much they should pay for a piece and then estimate the resale price. To
determine the artwork’s value, the dealer inspects the objects or paintings closely and
compare the fine details with similar pieces.
CONNOISSEUR
A critic of art; knowledgeable and competent enough to pass sound judgment on a
work of art.

(Caslib et al., 2018 p. 63-69)

THE CREATIVE PROCESS

Robert Fritz enumerated the steps in the creative process and said that creating is
a skill that can be learned and developed. Like any other skill, we learn by practice and
hands-on experience – we can learn to create by creating. Fritz presented five stages in
the creative process.
1. Conceive the result you want to create. Creation starts at the end. We need to
have an idea of what we want to create. We need a vision – individual or collective
– that we want to realize.
2. Know what currently exists. It is difficult to create something novel and/or original
in any area of knowledge without being aware of what is being done in that area.
3. Take action. Having a wonderful idea or vision is not enough. You have to do
something to make it real, generate criticism.
4. Develop your creativity. Every new creation gives you fresh thoughts and
knowledge of your creative process.

40
 5. Learn the rhythms of the creative process. There are three (3) fundamental stages
in every creative process: Germination, Assimilation, and Completion.

SUPPLEMENTARY MATERIALS
The key actors of the art market in context:
 The Art Market (in Four Parts): Galleries
(https://www.youtube.com/watch?v=053TUT6QUJw)
 The Art Market (in Four Parts): Auctions
(https://www.youtube.com/watch?v=sN6iyccbZJI)
 The Art Market (in Four Parts): Art Fairs
(https://www.youtube.com/watch?v=AKHQPX-Zr4M)
 The Art Market (in Four Parts): Patrons
(https://www.youtube.com/watch?v=PXi7Kjlsz9A)
Guide question: What are the roles assumed by the key actors of the art market in these
contexts?

TASK/ACTIVITY

Match the artwork with its artist. Encircle the letter that corresponds to your answer.

41
________________________________________________________________________

42
 TOPIC 2: THE PLACE OF ART—EXHIBIT AND MUSEUM

The artworld is seen as a socio-economic network. One of the most common

platforms to engage with art is through exhibitions, either at museums or galleries.

An exhibit in BenCab Museum (Baguio City). Photo by Jenny Peroy.

The predominant role that museums are mandated to fulfill is the display of
artworks for the education of the public and the appreciation of these objects only, both
in isolation or as part of a collection and a wider narrative rendered by its inclusion in
exhibitions or informed by museum programming (i.e., lectures, workshops, screenings,
etc.) (Caslib et al., 2018 p. 69).
“Exhibitions act as the catalyst of art and ideas to the public; they represent a
way of displaying and contextualizing art that makes it relevant and accessible to
contemporary audiences. The art exhibition, by its nature, holds a mirror up to society,
reflecting its interests and concerns while at the same time challenging its ideologies and
preconceptions. Keeping art relevant to society and a diverse audience at any given point
in history is one of the main goals of the art exhibition and one of the reasons it is so
important to the history of art.” (Cline, 2012 as cited in Caslib et al., 2018 p. 70-71).
Exhibitions create an opportunity in which the different roles in the art world get
to meet, interact, and even enter into a discussion.

SUPPLEMENTARY MATERIALS
On planning, organizing, and curationg exhibits:
 The Case for Museums | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=tcTqaCwBBcQ)
 Curating an Exhibition (https://www.youtube.com/watch?v=yDaY6KraDW0)
Guide question: What are the steps taken by curators and museums in planning and
organizing art exhibits?
43
 TASK/ACTIVITY

AN INQUIRY TO THE EXISTENCE OF MUSEUMS (RESEARCH PAPER)

There are numerous museums here in the country. In cities, many museums are
institutionalized as centers of history, education, and recreation. Moreover, private
collections are exhibited to showcase the artistry of independent and budding artists. In
this activity, research on a museum of your choice. There are many museums in the
country, and many have accessible online sites that you can visit to gather information
for this activity. Research on the following aspects:
a. The history of the museum that you have chosen.
b. Who owns the museum, and where can we find it?
c. What kind of artworks or art forms do they showcase and/or exhibit in their
venue?
d. Who has access to this museum?

Upon knowing the details about the museum you have research on, answer this question:
What do you think is the purpose of a museum? Why do you think museums are
important…
a. for people;
b. for society and culture; and
c. for the discipline and practice of arts?

Explore each aspect and discuss your points and/or arguments in detail. Include a photo
of the museum you have chosen. Do not forget to cite your references, use APA citation
style.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond paper.
(Notice to the instructor: this format serves as a parameter guide and can be adjusted to the needs and/or
conditions of the students)

TASK/ACTIVITY RUBRIC:
Content/Relevance (points, data, discussion): 25 points
Writing technicalities (format, narrative, grammar): 15 points
Citation and ethical integrity 10 points
Total 50 points

44
 TOPIC 3: AWARDS AND CITATIONS

Gawad Manlilikha ng Bayan Awardees

In order to honor artists of indigenous and traditional forms of art, the National
Commission on Culture and the Arts awards the “Manlilika ng Bayan” distinction to
“citizen engaged in any traditional art uniquely Filipino whose distinctive skills have
reached such a high level of technical and artistic excellence and have been passed on to
and widely practiced by the present generation in his/her community with the same
degree of technical and artistic competence” (NCCA, 2015 as cited in Caslib et al., 2018).
The Gawad sa Manlilikha ng Bayan awardees include Ginaw Bilog (Hanunoo ambahan
practitioner), Masino Intaray (Pala’wan musician), Lang Dulay (T’boli textile weaver)
among others.

Modern artists Juan Luna (left) and Felix Resurreccion Hidalgo (right) both flourished in the art scenes of Europe and the Philippines.
They practiced neoclassicism, impressionism, romanticism, realism, and history painting, among others, in most of their artworks.

45
 To date, there are 73 National Artists (Order of National Artists) all of whom
practiced contemporary arts (the 1960s to present) in the different art forms—visual arts
(painting, sculpture, mixed media), architecture, music, dance, film, literature, and
theater. In terms of visual arts, art styles varied from abstract, realism, cubism,
romanticism, and fauvism, among others. Painters Juan Luna and Félix Resurrección
Hidalgo, on the other hand, are considered as modern Filipino artists (1860s to 1960s),
who practiced romanticism and impressionism (Luna), and neoclassicism and
impressionism (Hidalgo) during their days.

Order of National Artists Awardees

Some of these contemporary and national artists are:

 Fernando Amorsolo (visual arts – painting)
 Guillermo E. Tolentino (sculpture)
 Lino Brocka (film)
 Vicente Manansala (visual arts – painting)
 Jose Maceda (music)
 Francisca Reyes-Aquino (dance)
 Virgilio Almario (literature)
 Daisy Avellana (theater)
 Juan Nakpil (architecture)
 Benedicto Cabrera (visual arts – painting)
 Kidlat Tahimik (film)
Outside the National Artist circle, many contemporary and local artists flourish in the
streets, in social media, and independent art scene. Many of their works of art lean
towards the digital medium, which becomes more accessible to Filipinos, especially to
millennials and generation z people who spend most of their time using the online
platforms. Contemporary artists utilize art to express their thoughts and ideas, represent
current social milieu, challenge socio-economic and political realities, and/or practice art
for art’s sake. These artists are continually shaping the Filipino contemporary art scene.
46
 SUPPLEMENTARY MATERIALS
Documentaries and clips about National Artists and GAMABA Awardees:
 UNTV Life: KNC Show - National Artists of the Philippines
(https://www.youtube.com/watch?v=Qnq4hvU05qM)
 National Artists Special | full video (https://www.youtube.com/watch?v=BeDtBb1-
D0s)
 LOREN LEGARDA: Dayaw Season 4 Episode 2 - "Living Treasures (part 1)"
(https://www.youtube.com/watch?v=PL4H4o568X0)
 LOREN LEGARDA: Dayaw Season 4 Episode 3 - "Living Treasures (part 2)"
(https://www.youtube.com/watch?v=M1nRDVTJbKg)
 Gawad sa Manlilikha ng Bayan or GAMABA
(https://www.youtube.com/watch?v=7yKyVIGG7Nk)

TASK/ACTIVITY

INFOGRAPHIC OF A LOCAL ARTIST

In this activity, you will create an infographic, a poster, or a brochure about a local artist,
either a GAMABA awardee or a National Artist. In your infographic or brochure, include
the following details:
a. The artist’s profile (name, age, hometown/province, ethnicity, etc.) and
award/distinction.
b. The artist’s notable artwork and/or art form (provide details about their work and
art form)
c. The artist’s contribution to the discipline and practice of arts in the Philippines.
You can create your infographic/poster/brochure manually or digitally. Make sure to add
creative elements on your infographic/poster/brochure that will catch the interest of
people to read through it. You can include photographs, texts, quotations, graphics, and
colors (any creative elements).
The standard size for the medium is 8.5 x 11 inches (the size of a short bond paper). You
can use any base medium that you prefer. If you do your infographic/poster/brochure
digitally, print it later on for submission.
TASK/ACTIVITY RUBRIC:
Content/Relevance (required data): 30 points
Creative elements: 20 points
Format: 10 points
Total 60 points

47
 TOPIC 4: ART AS COMMODITY

Art’s otherworldliness—aesthetic, spiritual, or transcendental qualities—seem in

painful contradiction with its appearance in the marketplace. Strange incongruities of
thought arise: works of art are described as ‘priceless’ even though whenever they are
offered for sale in the auction rooms, they fetch prices (Walker, 1987).
It is generally assumed that when artists make art, they are motivated by the
highest ideals (inner necessity, self-expression, the desire to comment politically, etc.),
hence they are not expected to admit “I did this for the money.” Nonetheless, artists have
to eat, and therefore making money from art may be one reasonable motive for
producing it (Walker, 1987).
Most of the artworks produced by professional artists within the context of the
Western economic systems become COMMODITIES once they leave the artist’s studio
and are sold to collectors and museums via the dealer/private art gallery system of
marketing and distribution (Walker, 1987).
Commodity as conceptualized by Karl Marx in his book, Das
Kapital (1867 as cited in Walker, 1987):
1. They are articles of utility: physical objects existing outside
of us possessing properties which satisfy human wants or
needs of some sort; in short, they have use-value.
2. They are depositories of value, that is, they can be
exchanged for other commodities considered to be of equal
value, or they can be exchanged for money; in short, they
have exchange-values (has pure social reality and derives
from the human labor expended in their production).
Karl Marx pop art. Image from Google
Image.

WHY WORKS OF ART ARE NOT CHEAP OR FREE?

Following the economic statement, “there is no free lunch,” digital artist

fatharaniyasmin’20 laid the points why art is not free in several illustrations.

48
 SUPPLEMENTARY MATERIALS
Videos and articles on art as commodity:
 The formula for selling a million-dollar work of art
(https://www.youtube.com/watch?v=rCT-UL2M8Gc)
 Why Modern Art Is So Expensive | So Expensive
(https://www.youtube.com/watch?v=YooFwA7xj18)
 LOOK: This ‘kaning tutong’ artwork costs P90,000 (https://news.abs-
cbn.com/life/02/21/20/look-this-kaning-tutong-artwork-costs-p90000)
 The P90,000 Kaning Tutong Wins Art Fair Philippines 2020
(https://www.esquiremag.ph/culture/books-and-art/art-fair-philippines-2020-
manny-montelibano-dukot-survival-a00203-20200220)

Guide question: Who decides the price of an artwork? What are the criteria used in
deciding the prices of an artwork?

49
 ASSESSMENT

REACTION PAPER
In last year’s Art Fair Philippines, the top artwork, “Dukot Survival” by Visayan artist
Manny Montelibano, cost a whooping Php 90, 000. “Dukot Survival” is an installation
art of preserved ‘kaning tutong’ with small plastic human figures inside encased in a
glass box. The artwork echoes social realities and perspectives.

Manny Montelibano. Dukot Survival. 2018. Installation art. Preserved overcooked rice & human figures

As an expectator and an individual developing his/her appreciation for art,

hypothetically, would you buy this work of art for Php 90, 000?
In your reaction paper, share your thoughts and/or reaction about this event in the
Philippine art scene.
What do you think about this work of art?
Is it worth its price?
Does it merit the title or term “art”?
Is Manny Montelibano an artist or an artisan?
If you have the resources, would you buy this work?
If you are a museum curator, would you display this in your venue?
How do you think works like this shape and/or affect your preconception or
idea about art?
These are several aspects that you can explore in your reaction paper.
Format: 500 words. Times New Roman. 12 font size. Single-space. In short bond paper.
(Notice to the instructor: this format serves as a parameter guide and can be adjusted to the needs and/or
conditions of the students)

TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 25 points
Writing technicalities (narrative, grammar): 15 points
Format 10 points
Total 50 50 points
 TOPICS
1. Prehistoric, Egyptian, Greek and Roman Arts
2. Western Art Periods and Style
3. Contemporary Art Movements
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. identify how art was used by prehistoric people to depict everyday
life;
2. examine the underlying historical, political, and social contexts of
the significant periods or movements; and
3. articulate the importance of art to the development of Western
culture.

TOPIC 1: PRE-HISTORIC, EGYPTIAN, GREEK, AND ROMAN ARTS

Throughout man’s history, there are notable artifacts that point us to the idea of
man’s long study and practice of arts. Throughout time, the motivation for the conduct
of art varied and changed alongside social, economic, political, cultural, intellectual, and
affective changes. Presented below is a chronological presentation of Pre-historic,
Egyptian, Greek, and Roman arts, which is predominantly a history of the West and how
the Western art scene developed through time.

STONE AGE
• The unearthing of archaeological artifacts and
(14,000-2,000 BCE) remains provides modern society a glimpse of
their beliefs, practices, and activities of early
PALEOLITHIC (late years civilizations.
of the Old Stone Age) • The early people produced such materials that
MESOLITHIC (Middle reflect their attitudes and belief systems on
Stone Age)
spiritual, social, political, and economic
NEOLITHIC (New Stone
Age)
matters.

51
 • The transition from being nomads to
permanent settlers has brought changes to the
activities of man, in turn, changes to the
materials they use and the artworks they have
created—the first sign of early civilization.
• An attempt to record everyday life through
paintings and sculptures that depict humans,
animals, and natural habitats.
• Central to the representation of early
civilizations would be the establishing of
Venus of Willendorf, Paleolithic possible linkages among art, religion, and life.

Lascaux Cave Painting, Paleolithic Stonehenge, Neolithic

ANCIENT EGYPTIAN ART OLD KINGDOM – Egyptian tomb sculptures, pyramids

MIDDLE KINGDOM – Portrait sculpture and fresco
(5000 BCE - 300 CE) paintings
NEW KINGDOM – Sculptures with life-like features

• Egyptians recognized the integral role of the Nile River in their lives. It is
this indispensability and utility that eventually led to the belief that the
Nile is to be worshipped as a god. With this came the notion that art was
something that can be ascribed and associated with religion.
• Most of the artworks created centers on the social structure and the
ruler, which is the pharaoh, and to the gods, they believe in.

Great Pyramid of Giza, Old Kingdom Narmer Palette, Old Kingdom

52
 Tomb fresco, Middle Kingdom

Tomb sculpture, Old Kingdom

Colossal statue of
Menkaura, Old
Kingdom

King Tutankhamun, New Kingdom

Bust of Nefertiti, New Kingdom

The gods Osiris, Anubis, and

Horus, from a tomb painting,
Middle Kingdom

Blue-painted storage jar, New

Kingdom

ANCIENT GREEK ART GEOMETRIC PERIOD – geometric shapes and patterns

ARCHAIC PERIOD – human figures
(900-30 BCE) CLASSICAL PERIOD – peak of Greek sculpture and
architecture
HELLENIST PERIOD – showcasing emotions and depicting
reality

• Greeks valued poetry, drama, and philosophy

• For those who want to be involved in the arts—painting, sculpture, and
architecture—one is required to have a certain skill set and body of
knowledge.

53
 Interior (tondo) of a red figure kylix,
depicting Herakles and Athena,
Pyxis, Geometric Period Pyxis, Geometric Period Geometric Period

The Strangford Apollo, The Moschophoros or calf-bearer, Peplos Kore, Archaic Period
Archaic Period Archaic Period

The Artemision Bronze, either

Poseidon or Zeus, Classical
Period

Venus Braschi, Classical Statue of Hermes, Classical

Period Period

54
Laocoön and His Sons, Hellenist Period Pergamon Altar, Hellenist Period

ANCIENT ROMAN ART

• Principle of realism in most of their
(509 BCE - 300 CE) works, highlighting the features of
human beings.
• Roman art encompasses a variety of
media including marble, painting,
mosaic, gems, silver and bronze
work, and terracotta among others.

Augustus of Prima Porta Marble bust of a man

Bust of Antinous

Colosseum Roman Forum

55
 SUPPLEMENTARY MATERIALS
101s on Prehistoric, Egyptian, Greek, and Roman arts:
 Cave Art 101 | National Geographic
(https://www.youtube.com/watch?v=ZjejoT1gFOc)
 Ancient Egypt 101 | National Geographic
(https://www.youtube.com/watch?v=hO1tzmi1V5g)
 Ancient Greece 101 | National Geographic
(https://www.youtube.com/watch?v=6bDrYTXQLu8)
 Ancient Rome 101 | National Geographic
(https://www.youtube.com/watch?v=GXoEpNjgKzg)
 Ancient Greece in 18 minutes (https://www.youtube.com/watch?v=gFRxmi4uCGo)
 Ancient Rome in 20 minutes (https://www.youtube.com/watch?v=46ZXl-V4qwY)

Guide question: What differentiate each civilization’s practice of art? What are the
common themes explored through the artworks?

TOPIC 2: WESTERN ART PERIODS AND MOVEMENTS

The West has numerous art periods and art movements spanning centuries of
practicing, studying, and developing the field of the arts. These periods and movements
were shaped by predominant social, economic, political, and intellectual climates or
orientations of their own times. Nevertheless, the difference in periods and movements
made the field of arts more heterogeneous and/or varied, which people who appreciate
arts enjoy even today.

MEDIEVAL PERIOD (c.1100-1450)

 A period characterized by ignorance

and darkness.
 The church was the central figure and
authority of the period—the most
important products of the Medieval
Period would have to be copied from
the Christian scriptures.
 During this time, great cathedrals
were built.
 The cathedrals can be categorized
into two periods Romanesque (1050-
1200) and Gothic (1200-1500).
 Notable artists: Cimabue, Giotto, Giotto. Lamentation. 1303. Scrovegni (Arena) Chapel,
Nicola Pisano, and Benedetto Antelami Padua. Fresco mural painting

56
 RENAISSANCE ART (c. 1300-1600)

 During this period, artists valued the “individual” as a

subject of arts, leaned more towards non-religious
works of art.
 Heavily influenced by humanism, a shift to empower
the “individual.”
 Most artworks emphasized naturalism (great
emphasis on the proportionality of the human body).
 Three-dimensionality in Renaissance works of art.
 A revival of Roman theatrical plays.
 Notable artists: Leonardo da Vinci, Michelangelo,
Raphael, Donatello, Sandro Botticelli, Jan van Eyck,
Leonardo da Vinci. Mona Lisa. 1503.
Albrecht Dürer, and Caravaggio 77 cm x 53 cm. Louvre Museum
(since 1797). Portrait painting

MANNERISM (c. 1520-1600)

 As the Renaissance ended, artists started directly
copying subjects from existing works of art.
 Most artworks displayed distorted figures, two-
dimensional spaces, discordant hues and colors,
and a lack of defined focal point.
 Notable artists: El Greco, Paolo Veronese, Bronzino,
Parmigianino, Tintoretto, and Pontormo

Parmigianino. Madonna dal collo lungo.

1534–1535. Uffizi Gallery. Oil paint

BAROQUE AND ROCOCO (c. 1600–1750)

 It has a different style and technique from Renaissance art—most artists used
colorful palettes and ornamentation in their works.
 Motion and space were taken into consideration by artists like the use of dramatic
lighting and the concept of time.
 Baroque music flourished through the likes of Vivaldi, Corelli, Bach, Handel, and
Monteverdi.
 Notable artists: Johannes Vermeer, Caravaggio, Gian Lorenzo Bernini, Rembrandt,
Diego Velasques, and Anthony van Dyck

57
 (Baroque) Diego Velazquez. Las Meninas. (Rococo) Jean-Honore Fragonard. The Swing.
1656. 3.18 m x 2.76 m. Museo Nacional del 1767. 81 cm x 64 cm. The Wallace Collection.
Prado Oil paint

NEOCLASSICISM (c. late 1600–1700)

 The art movement which aimed to revive

and rekindle the influences of Greek and
Roman into art and architecture.
 This movement was a reaction to the
artwork produced during the Baroque
Period—a veer away from the extravagance
in terms of style and form of the Baroque
Period.
 Notable artists: Jacques-Louis David,
Lorenzo Bartolini, Antonio Canova, and
Jean-Baptiste Pigalle
Jacques-Louis David. Death of Marat. 1793. 1.62
m x 1.28 m. Musée Oldmasters Museum
ROMANTICISM (c. late 1700–mid 1800)

 Romanticists have highlighted heroic

elements into their work.
 The major and central themes of
Romanticism include the emphasis on
the goodness of mankind—promoted
justice, equality, and social order.
 Artists emphasized the emotions and
feelings of man.
 Notable artists: Juan Luna, Francisco
Goya, J. M. W. Turner, William Blake,
John Constable, Theodore Gericault, Eugene Delacroix. Liberty leading the people. 1830. 2.6 m
x 3.25 m. Louvre Museum
and Caspar David Friedrich
58
 REALISM (c. late 1800s–early 1900s)

 As a style of work focuses on the accuracy of

details that depicts and somehow mirrors
reality.
 The emphasis is placed on observable traits that
can concrete through artworks.
 There is a move to combine both art and life in
artistic works since the modern world is suitable
for subjects of art.
 Notable artists: Edouard Manet, Gustave Gustave Courbet. La rencontre (Bonjour
Courbet, Auguste Rodin, and Jean-François Monsieur Courbet). 1854. 1.29 m x 1.49 m.
Oil paint
Millet
IMPRESSIONISM (c. late 1800s)
 Impressionist artists incorporated
scientific principles to achieve a more
distinct representation of the color.
 The distinctive characteristic of this
style is that it allows the artist to
emphasize the immediate
impression he has of a particular
event or scene.
 Notable artists: Claude Monet, Henri
Matisse, Berthe Morisot, Paul
Cezanne, Piet Mondrian, Juan Luna,
and Pierre-Auguste Renoir Claude Monet. Impression, Sunrise. 1872. 48 cm x 63 cm.
Musée Marmottan Monet

POST-IMPRESSIONISM (c. late 1800-early 1900)

 Most artists that belong to this

movement started as impressionists
but later on saw the inherent
limitations and flaws of
impressionism.
 Development of individual style that
emphasized defining from with the
use of broken colors and short brush
strikes.
 Notable artists: Vincent van Gogh,
Paul Cezanne, Georges Seurat, Paul
Vincent van Gogh. Starry Night. 1889. 73.7 cm × 92.1
Gauguin, Camille Pissarro, and Henri cm. The Museum of Modern Art. Oil paint
Toulouse-Lautrec

59
NEO-IMPRESSIONISM (c. late 1800-early 1900)

 Response to empirical realism of impressionism.

 Most painters who subscribe to such movement rely on systematic and scientific
techniques that have a predetermined visual effect not only on the artwork itself
but also on how the audience perceives the art.
 Notable artists: Georges Seurat, Henri-Edmond Cross, Maximilien Luce, and
Camille Pissarro.

Georges Seurat. A Sunday on La Grande Jatte. 1884. 207.6 cm × 308 cm.

Art Institute of Chicago. Oil on canvas

ART NOUVEAU (c. 1890-1910)

 This ornamental style of art was a break

from the conservative historicism, which
was the prevailing and dominant themes of
most Western artworks.
 Notable artists: Gustav Klimt, Alphonse
Mucha, Charles Rennie Mackintosh, and
Victor Horta

Gustav Klimt. The Kiss (Lovers). 1907–1908. 180

cm × 180 cm. Österreichische Galerie
Belvedere, Vienna. Oil and gold leaf on canvas.

60
 FAUVISM (c. 1904-1910)

 What makes fauvists revolutionary is that they

used pure and vibrant colors by applying straight
from the paint tubes directly to the canvas—this
is done to produce a sense of an explosion of
colors in the canvas.
 Most fauvist works reject the conservative and
traditional renderings of three-dimensional
space.
 Notable artists: Henri Matisse, Andre Derain,
Georges Braque, and Kees van Dongen
Henri Matisse. Woman with a Hat.
1905. 81 cm x 60 cm. San Francisco
Museum of Modern Art. Oil on canvas

CUBISM (c. 1907-1914)

 Cubism highlighted the two-dimensional

surface of the picture plane—focusing on a
flat surface was a rejection of the
dominant techniques, e.g., use of
perspective, foreshortening, and
modeling.
 Notable artists: Pablo Picasso, Georges
Braque, Salvador Dali, Piet Mondrian, Frida
Kahlo, Marcel Duchamp, Vicente
Manansala, Ang Kiukok, and Cesar Legaspi
Pablo Picasso. Les Demoiselles d'Avignon. 1907.
244 x 234 cm. The Museum of Modern Art. Oil on
canvas

FUTURISM (c. early 1900)

 Highlighted the speed, energy, dynamism,

and power of machines.
 Common themes in this movement are
restlessness and the fast-pace of modern
life.
 Notable artists: Umberto Boccioni,
Giacomo Balla, Gino Severini, Carlo Carra,
and Luigi Russolo
Gino Severini, 1912, Dynamic Hieroglyphic of
the Bal Tabarin, oil on canvas with sequins,
161.6 x 156.2 cm (63.6 x 61.5 in.), Museum of
(Caslib et al., 2018 pp. 188-126) Modern Art, New York

61
 SUPPLEMENTARY MATERIALS
Timelines of art periods and movements:
 Art Periods and Art Movements | LittleArtTalks
(https://www.youtube.com/watch?v=dfX1tvloLNA)
 How Art Arrived At Jackson Pollock
(https://www.youtube.com/watch?v=Q1irNBh2qg8)
 A timeline of visual art movements
(https://www.youtube.com/watch?v=zyabu9mU1bk)
Guide question: What’s the difference between art period and art movement?

TOPIC 3: CONTEMPORARY ART MOVEMENTS

In everyday language, the terms “modern” and “contemporary” are often used
interchangeably. In the context of art, however, they designate two distinct moments in
art history. There are specific definitions for both terms, and these definitions will help us
to establish an understanding of the images and themes that emerge in.
MODERN ART
Modern art dates from the late nineteenth through the early twentieth centuries
and refers to work that was entirely different from that which preceded it. This art broke
with convention, dealt with a new subject matter, focused on conceptual concerns, and
changed the position of the artist within society. Modernism began as a trend of thought
that emphasized the power of human beings to create, improve, and reshape their
environment, with the aid of scientific knowledge, technology, and practical
experimentation. Thus, in its essence, it is both progressive and optimistic.
The movement was initially an ideological reaction to the dehumanizing effects of
late-nineteenth-century industrialization. Otherworld events further inspired the
movement, including World War I (1914–1918) and World War II (1939–1945); huge
improvements in industry and technology as compared to the nineteenth century; the
rise in the power and influence of international corporations; increasing
interconnectedness across the globe in the form of cultural exchanges, transportation,
and communication; the spread of popular culture from Europe and North America
elsewhere; and the “Westernization” of many formerly traditional societies.
Modern art reflects a tendency toward abstract and nonrepresentational
depictions of the world. Many styles of art developed during the modern period, including
impressionism, fauvism, cubism, expressionism, surrealism, pop art, op art, art nouveau,
and art deco.

62
CONTEMPORARY ART
The term “contemporary art” is generally regarded as referring to work made
between 1970 and the present. It also implies art that is made by living artists, but
essentially contemporary art is seen as something that has never been done before. There
is no unifying ideology in contemporary art, and there are no schools, periods, or styles
as are associated with modern art. However, certain trends have emerged in
contemporary works.
Contemporary art emphasizes a rejection of the commercialization of the art
world, but it is often connected to the contemporary consumer-driven society.
Contemporary art often reflects a strong social consciousness, including themes such as
feminism, multiculturalism, globalization, bioengineering, and AIDS awareness. It
incorporates the widespread use of a variety of technology-based media. Contemporary
art blurs the distinctions between painting and sculpture through the use of everyday
objects and other non-traditional media in the final product.
Also, contemporary art includes large-scale installations that emphasize the
importance of an architectural context for art. Contemporary art often makes a
connection to the future, but it parallels many developments in contemporary society.
Contemporary artworks to explore our understanding and perception of art. This kind of
art challenges, defies, and excites; it crosses boundaries and asks us to question the
meanings of “high” and “low” art. Contemporary art breeds controversy and confronts
the viewer with challenging questions. This art forces a relationship to form among the
art, the artist, and the viewer. From this relationship, works of art gain new meaning.
Contemporary art unites new technologies and materials with traditional styles and
processes. The study of contemporary art can help people think in new directions by
focusing on the process of looking at and analyzing art, and contemporary artists hope
that viewers can translate these skills into their everyday lives.

CONTEMPORARY ART MOVEMENTS

Action painting underscored the

process of creation in that it showed
the physicality, direction, and most
often the spontaneity of the actions
that made the drips and strokes
possible.

Jackson Pollock. Number 1A. 1948. 172.7 ×

264.2 cm. The Museum of Modern Art, New
York City. Oil and enamel on canvas

63
Color fields emphasized the emotional power of the colors.
From the vivid demarcation to the more toned-down
transition, these bands of colors were skin to the effect of
landscapes.

Mark Rothko. White Center (Yellow, Pink and

Lavender on Rose). 1950. 2.06 m x 1.41 m.
Private collection. Oil paint

Creating energy was at the center of op-art or optical

art (the early 1960s onward). Much like was
discussed in the lesson on elements of art that
dimension can be implied even on the two-
dimensional surface of the plane, op-art relied on
creating an illusion to inform the experience of the
artwork using color, pattern, and other perspective
tricks that artists had on their sleeves.
Bridget Riley. Movement in Squares. 1961. 123.2
x 121.2cm. The Museum of Fine Arts, Houston.
Tempera on hardboard

The quest for actual movement in the works created

was responded to by kinetic art (the early 1950s
onward). Harnessing the current and direction of the
wind, components of the predominantly sculptural
artwork, most were mobiles and even motor-driven
machines, was an example oh how art and technology
can be brought together. Artists known for creating
kinetic art were Naum Gabo, Alexander Calder, Jean
Tinguely, Bridget Riley, and Nicolas Schoffer.

Kinetic art. Gyula Kosice. Röyi. 1944.

w64 x h120 x d15 cm (overall). The
Museum of Fine Arts, Houston. Wood
joined with bolts and wing nuts

64
 Gutai (the 1950s-1970s) which means embodiment or
concreteness, preceded the later forms of performance
and conceptual art. The goal was not only to explore the
materiality of the implements used in the performance, but
also to hold a deeper desire to make sense of the
relationship that is struck between the body, the
movements, and the spirit of their interaction during the
process of creation.
Gutai. Shozo Shimamoto. Holes.
1954. 892 × 699 mm. Oil paint on
paper

Another movement was minimalism which cropped up in

the early 1960s in New York and saw artists testing the
boundaries of various media. It was seen as an extreme type
of abstraction that favored geometric shapes, color fields,
and the use of objects and materials that had an "industrial"
the sparse.

Dan Flavin. A Primary Picture. 1964. Red, yellow, and blue

fluorescent light,2 ft. (61 cm) high, 4 ft. (122 cm) wide

The other movement is pop art. It first

emerged in the 1950s but found it footing
in the 1960s. It drew inspiration, sources,
and even materials from commercial
culture, making it one of the most
identifiable and relatable movements in
art history. Artists became increasingly
critical about how what was being
exhibited in art spaces had no relationship
with real life.
Andy Warhol. Campbell's Soup Cans. 1962. 51 cm × 41 cm.
The Museum of Modern Art. Synthetic polymer paint on
canvas

65
In the 1980s, there was a renewed interest in pop art—
neo-pop art—specifically to Andy Warhol's works and
his contemporaries. What made it different in pop art
was that it appropriated some of the first ideas of Dada
in which ready-made material was used for the artwork.

Jeff Koons. Puppy. 1992. 12 meters 40 cm x 830 cm x 910 cm.

Stainless steel, soil and flowering plants

The resurgence of
figurative art, where realistic deceptions are chosen,
is proof of how varied and fragmented
postmodernism is. In photorealism, painstaking
attention to details is aimed without asserting an
artist's style. This drawing and paintings are so
immaculate in their precision that it starts to look
like it is a photo without a direct reference to the
artist who created it.

Ralph Goings. Flowered table top. 1978. 25.4

x 25.4 cm. Watercolor and graphite on paper

Other movements were informed and shaped by pop art, such as conceptualism. As
opposed to celebrating commodities as references to real life, conceptualism fought
against the idea that art is a commodity. This movement is also brought to the fore issues
brought about art institutions such as museums, galleries where works are peddled and
circulated.

Joseph Kosuth. Clock (One and Five), English/Latin Version. 1965

66
Compared to the format of the traditional art, installation
art is a kind of immersive work where the environment or
space of which the viewer steps into or interacts with
(going around installation art) is transformed or altered.
Usually, large-scale installation art makes use of a host of
subjects, materials, conditions, and even light and aural
components.
Installation art. Marcel Duchamp Fountain, 1917, photograph by Alfred
Stieglitz at 291 (art gallery) following the 1917 Society of Independent
Artists exhibit

Sometimes considered as kind or spin-off

installation art, earth art (or land art) is
when the natural environment or a specific
site or space is transformed by the artist. It
is a kind of human intervention into a
specific landscape or terrain. Earth art is
different from environmental art in the
sense that it does not focus on the subject
( environmental issues or concerns ) but
rather on landscape manipulation and the
materials used, taken directly from the
Andy Goldsworthy. Touching North. 1989. 246 x 310 cm. ground or vegetation ( rocks or twigs).

Street art is related to graffiti art as it is a

by-product of the rise of graffiti in the
1980s. Artworks created are not traditional
in format but are informed by illustrative,
painterly, and print techniques and even a
variety of media (even video projections).
Some of the examples of this include
murals, stenciled images, stickers, and
installations, or installative/sculptural
Jeft Aerosol. Chuuuttt!!! 2012. Paris, France
objects usually out of common objects and
techniques.

67
 SUPPLEMENTARY MATERIALS
Learning more about Contemporary Art Movements:
 How to Learn About Contemporary Art | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=An3L7hQdkOg)

Guide question: How do we understand contemporary art and the artworks associated
with it?

ASSESSMENT

MODERN/CONTEMPORARY ARTWORK
The different art periods and movements have produced variety and diversity in
works of art and on how artists present the world, their experiences, and imagination,
among others. In this requirement, create a work of art inspired by any art period or
movement. You can utilize any material (it doesn’t have to be new, you can reuse or
recycle materials found in your home). You can incorporate many art elements and
principles of design. At the end, you should be able to establish that your artwork
belongs to any of the art period or movement of your choice.
The standard size for the medium is 8.5 x 11 inches (size of a short bond paper).
Include a title of your work, a proper documentation, and a 5-sentences description
of your work in relation to the art period or art movement that your artwork is
inspired by or anchored to.
ASSESSMENT RUBRIC:
Creativity: 20 points
Art style: 10 points
Technique: 10 points
Realism/distortion: 5 points
Narrative: 5 points
Total: 50 points

68
 TOPICS
1. Culture and Art (Soulmaking, Appropriation, and Improvisation)
2. Chinese Art
3. Japanese Art
4. Philippine Art
LEARNING OUTCOMES
At the end of the lesson, students should be able to:
1. explain how meanings can be derived from art and discuss how
improvisation can make an artwork distinctive;
2. show and classify key influences on Chinese and Japanese arts;
3. examine, assess, and critique the development of Philippine art in
relation to the different colonial periods in history; and
4. show images, symbols, and patterns that are recurrent in a genre,
art form or period (i.e., okir, sarimanok, t’nalak, landscapes, Juan
de la Cruz).

TOPIC 1: CULTURE AND ART

SOULMAKING: MAKING AND DERIVING MEANING FROM ART

According to Jadulco (2019), soulmaking is an alternative venue for knowing
ourselves and looking into the depths and real meaning of what we are doing for everyday
life. Soulmaking also helps develop the artist in oneself through awakening the art that
has been undeveloped for many years.
When it comes to art, for people to make sense of the work, it would require
understanding the visual elements where art was grounded on, especially the principles
of design. Without such understanding, it would be difficult to appreciate the fullness and
entirety of visual art (Caslib et al., 2018).
Also, it is important to note that the audience of the artwork must have a certain
level of awareness to the style which refers to the distinctive handling of media and

69
elements, the form which is what the audience sees, and content or the subject matter
which has the underlying meanings or themes (Caslib et al., 2018).
IMPROVISATION
Improvisation can be defined as doing something without prior preparation. There
is a decision to act upon something that may not necessarily be planned. Within the
present context, improvisation has become an integral part of the arts (Caslib et al., 2018).
For some artists, infusing spontaneity and improvisation adds up to the totality of
the artwork. The unexpectedness of the changes brought about by improvisation brings
the artwork a distinctive quality that creates its individuality and identity (Caslib et al.,
2018).
APPROPRIATION
During the 20th century, people started raising the question of whether or not the
act of deriving meaning gives the ownership of the artwork to the viewer rather than the
artist himself. This notion paved the way for the emergence of appropriation artists who
seem to promote the idea that the authorship relies on the viewer. If this is the case, then
appropriation artists can take as much as he wants from an existing artwork (Caslib et al.,
2018).
There have been art movements throughout history that tried to break away from
the norms of visual arts. Improvisations have led artists to find other mediums and
avenues to showcase their creative expression (Caslib et al., 2018).
The authorship relies on the viewer in terms of putting up the details of the works
and integrating them into their own. This will lead to the questioning of the intentions of
the appropriation artist since issues of plagiarism or forgery sometimes arise.

e.g. Andy Warhol’s “Campbell Soup Can Series”

70
 SUPPLEMENTARY MATERIALS
Soulmaking, appropriation, and improvisation in context:
 Art 101: What is appropriation? (not the cultural kind)
(https://www.youtube.com/watch?v=3CLhXyetzz0)
 The Meaning of Appropriation in Art | Art Terms | LittleArtTalks
(https://www.youtube.com/watch?v=OpjzJdojNS8)
 The art of improvisation | Rapid Fire Theatre | TEDxEdmonton
(https://www.youtube.com/watch?v=d3TsyT_EDBc)

Guide question: What do you think about the practice of appropriation? Does it removes
“originality” in works of art and artists or does it distorts or reshapes a sense of “creativity”
in the art scene?

TASK/ACTIVITY

SOUL-MAKING (8 PHOTOS, 80 WORDS)

Soul-making is all about knowing and understanding oneself concerning one’s experience,
study, practice, and appreciation of arts. It comes as an in-depth reflection of how the
individual perceives and understands his/her daily life in relation to the things that
humanize him/her and that include the arts.
In this activity, you will present eight (8) photos of yourself—it’s up to you on how you
will present it but make sure it’s creative enough—with an 80-words essay about yourself.
The goal is for you to describe your ‘self’ through 8 photos and 80 words. It’s about telling
people about your ‘self’ and at the same time, reflecting upon your ‘self’. This activity tries
to target the idea that an understanding and appreciation of the ‘self’ will also lead to a
more reflective and appreciative take on life and living.
You can either do this by paper or by an audio-visual presentation. Just make sure you
follow the 8 photos, 8 words format.
ASSESSMENT RUBRIC:
Creativity: 20 points
Photos: 15 points
Narrative (80-word count) 15 points
Total: 50 points

71
 TOPIC 2: CHINESE ART

It is not only in the West that the field and practice of art have flourished, but art styles
and practices in Asia also have equal merit and appreciation. Throughout history, art
has played an integral role to capture, record, and communicate events, activities,
traditions, and even belief systems of various groups of people.
Religious beliefs have inspired an abundance of imagery that uplifts and comforts.
Different religions such as Hinduism, Buddhism, and Islam have spread through Asia,
inspiring individual expressions of prescribed imagery, and as well as different temples,
sculptures, and ritual objects (Art Gallery NSW, 2019).

Aside from the impact brought by the religions in Asia, the text has also shaped its
art. One best example is calligraphy which is an early art of writing. Different scripts, from
ancient Sanskrit to contemporary ‘Chinglish’, have been valued for their aesthetic
expression as well as their content, and are synonymous with specific cultures (Art Gallery
NSW, 2019).

Respect for craft, skill, or artisanship has been maintained in different Asian
cultures. The range of media used across Asia is immense, and many have long artistic
traditions behind them. Certain materials tend to associated with the art of specific
countries because – again, often through patronage – extraordinary heights of artistry
and innovation were realized: from the lacquer of Japan; jade and porcelain for China;
and textiles for Indonesia (Art Gallery NSW, 2019).

In the West, artistic values have been shaped by the Renaissance, which put fine
art more relevant than others such as decorative art and design. On the other hand, in
Asian cultures, such hierarchies are irrelevant, which is one reason Asian galleries in
museums display objects of many kinds in many media and do not have its focus only on
fine arts. For instance, in traditional China, the principle of qi, or spirit resonance, has
determined the artistic merit of landscape painting, while in Japan the aesthetics of tea
masters has created a permanent legacy, and in India, the theory of rasa (flavor), has been
a measure of artistic merit (Art Gallery NSW, 2019).

Asian art, particularly Chinese and Japanese arts, has helped in the establishment
of their identities as people. One common thing between the two cultures is the emphasis
on religion and how man is regarded as an integral part of society. The Philippines, on the
other hand, has undergone some changes when it comes to the art scene. From the time
of the early Filipinos to contemporary times, art has been used in a myriad of ways (Art
Gallery NSW, 2019).

72
 History shows that China has been at the leading edge of development especially
in terms of cultural development. Inhabitants of China in the past were able to produce
primitive artisan works. Chinese art involves different art forms such as calligraphy,
painting, pottery, sculpture, bronzes, jade carving, architecture, and other fine
or decorative art forms over the centuries. One of the outstanding characteristics of
Chinese art is the extent to which it reflects the class structure that has existed at different
times in Chinese history (Art Gallery NSW, 2019).
Up to the Warring States period (475–221 BCE), the artworks for the royal and
feudal courts were produced by anonymous craftsmen. It is believed that during
the Shang and early Zhou periods the production of ritual bronzes was exclusively
regulated under the authority of the court, which could grant or withhold authorization
for production by regional workshops among the various states or others who paid fealty
to the court (Encyclopedia Britannica, 2018).
During the Warring States period and the Han dynasty (206 BCE–220 CE), the
growth of a land-owning and merchant class brought new patrons. After the Han dynasty,
the concept of cultural practice emerged as the product of the leisure of the educated
gentry, many of whom were amateur practitioners of the arts
of poetry, music, calligraphy, and, eventually, painting. At this time a distinction began to
arise between the lower-class professional and the elite amateur artist. Gradually one
tradition became identified with the artists and craftsmen who worked for the court or
sold their work for profit (Encyclopedia Britannica, 2018).
In the Song dynasty (960–1279), as a medium of highly individual expression,
painting and calligraphy also became important media of exchange in a social economy
where the giving of gifts was central to the building of an interpersonal network. The skill
and expressive practice of calligraphy and painting like skills in letter, poetry or music

73
helped establish one’s status in a society of learned individuals (Encyclopedia Britannica,
2018).
One effect of the revolutions of the 20th century was the breaking down of the
class barriers between amateur and professional. During the Cultural Revolution of 1966–
76, literati art and artists were denigrated and an emphasis was placed on anonymous,
proletarian-made art like that of the Tang dynasty (618–907) and earlier (Encyclopedia
Britannica, 2018).
THE ROLE OF LINEARITY IN CHINESE ART
Painting in China is essentially a linear art. The painters of most periods were not
concerned with striving for originality or conveying a sense of reality and three-
dimensional mass through aids such as shading and perspective; rather, they focused on
using silk or paper to transmit, through the rhythmic movement of the brushstroke, an
awareness of the inner life of things (Encyclopedia Britannica, 2018).
The Chinese painter uses essentially the same materials as the calligrapher such
as brush, ink, and silk or paper and the Chinese judge his work by the same criteria they
use for the calligrapher, basically the vitality and expressiveness of the brushstroke itself
and the harmonious rhythm of the whole composition (Encyclopedia Britannica, 2018).

Zhang Zeduan. Along the River During the Qingming Festival. 1085–1145. 25.5 cm × 525 cm. Palace
Museum, Beijing. Ink and color on silk; handscroll

Another art form which observes linearity is calligraphy. It is undeniable that

calligraphy, or writing as fine art, has been considered supreme among the visual arts in
China. Not only does it require immense skill and fine judgment, but it is also regarded as
uniquely revealing of the character and breadth of the cultivation of the writer. Another
reason is that the appreciation and production of calligraphy require lofty personal
qualities and unusual aesthetic sensitivity. On the other hand, the comprehension of its
finer points is thought to require experience and sensibility of a high order (Encyclopedia
Britannica, 2018).

74
 The aesthetics of line in
calligraphy and painting have had a
significant influence on the other arts in
China. From the motifs that adorn
the ritual bronzes, in the flow of the
drapery over the surface
of Buddhist sculpture, and in the
decoration of lacquerware, pottery,
to cloisonné enamel (wares decorated
with the enamel of different colors
separated by strips of metal), it is the
rhythmic movement of the line,
following the natural movement of the
artist’s or craftsman’s hand, that to a Tang Dynasty copy of 新婦地黃湯帖 by Wang Xianzhi,
large extent determines the form and currently in the Taito Ward Calligraphy Museum (台東区立
gives to Chinese art as a whole its 書道博物館).
remarkable harmony and unity of style
(Encyclopedia Britannica, 2018).
CHARACTERISTIC, THEMES, AND SYMBOLS OF CHINESE ART
In early times Chinese art often served as a means to submit to the will of heaven
through ritual and sacrifice. For instance, they have bronze vessels for sacrifices to heaven
and to the spirits of clan ancestors, who were believed to influence the living for good if
the rites were properly and regularly performed (Encyclopedia Britannica, 2018).
Chinese society, specifically
agricultural, has always laid a great focus on
understanding the pattern of nature and
living by it. It was believed that the world of
nature was seen as the
visible manifestation of the workings of a
higher power through the generative
interaction of the yin-yang (female-male)
dualism. As it developed, the purpose of
Chinese art turned from propitiation and
sacrifice to the expression of human
understanding of these forces, in the form of
painting of landscapes, bamboo, birds,
and flowers. This might be called Wang Xizhi watching geese; by Qian Xuan; 1235-
the metaphysical, Daoist aspect of Chinese before 1307; handscroll (ink, color and gold on
painting (Encyclopedia Britannica, 2018). paper); Metropolitan Museum of Art (New York City)

75
 Particularly in early times, art also had social and moral functions. The earliest wall
paintings referred to in ancient texts depicted benevolent emperors, sages, virtuous
ministers, loyal generals, and their evil opposites as examples and warnings to the living
(Encyclopedia Britannica, 2018).
Critical to all artistic considerations was the belief that the energy and rhythm
generated in artistic practice allied the practitioner with the ultimate source of that
energy, drawn forth from earthly and heavenly sources and from the sacred Dao itself.
Calligraphy and painting, especially, could rejuvenate the artist or damage him spiritually,
according to the rightness of his practice and the character of the man (Encyclopedia
Britannica, 2018).

SUPPLEMENTARY MATERIALS
Knowing more about Chinese Art:
 [Eng&Chi] 中国艺术大观 水墨意境 纪录片 Chinese Art and Painting BBC
Documentary (https://www.youtube.com/watch?v=VEfI4-lZLcc)
 Arts: Ancient Chinese Art | The New York Times
(https://www.youtube.com/watch?v=WPmED0GbYUs)
 How was it made? Silk Painting
(https://www.youtube.com/watch?v=C_Dn2OkwlQg)

Guide question: What do you think is unique about the Chinese works of art?

TOPIC 3: JAPANESE ART

Art in Japan has undergone a series of transitions and periodization. From being
an isolated nation to that of embracing Western influences and modernization, Japan has
transitioned into a modern cultural mixing pot. It is evident how the Japanese were able
to infuse local and indigenous materials with modern Western subjects and focal points.
It has a long history as much as the culture of the country of the Rising Sun, which starts
from the beginning of human settlements, in about 10,000 BC, to the present (Art
Japanese, 2018).

76
 Historically, Japan has been subject to sudden invasions of new and alien ideas
(one of the probable reasons is its geographical and cultural characteristics) followed by
long periods of contacts minimized with the outside world. Over time the Japanese have
developed the ability to absorb, imitate, and finally assimilate those elements of foreign
culture that complemented their aesthetic preferences making its art include a wide
range of styles and means of expression, from ceramics, sculpture, painting, and
calligraphy on silk and paper, the ukiyo-e woodblock prints, origami too, more recently,
manga along with a myriad of other types of artwork (Art Japanese, 2018).

Hara on the Tokaido, ukiyo-e prints by Hiroshige

Nature, specifically mountains, has been a favorite subject of Japanese art since
its earliest days. For Japanese people, nature is not a secular subject. Shinto was the
77
exclusive faith of the Japanese people before Buddhism was introduced from China in the
6th century. At its core, Shinto is the reverence for the kami, or deities, who are believed
to reside in natural features, such as mountains, rivers, trees, and rocks. An image of a
natural scene is not just a landscape, but rather a portrait of the sacred world, and the
kami who live within it (Art Japanese, 2018).

This veneration for the natural world took on many layers of new meaning with
the introduction of Chinese styles of art – along with many other aspects of Chinese
culture – throughout the first millennium (Inside Japan, n.d.).

The first examples of complex art in Japan were produced in the centuries VII and
VIII in connection with Buddhism. But until the end of the fifteenth century, both religious
and secular art had flourished. In the state organization that emerged under the
leadership of the Tokugawa shogunate after the Onin War (1467-1477) organized religion
began to play a much less important role in people's lives, and the arts that survived were
primarily of secular expression (Inside Japan, n.d.).

The painting, practiced by amateur and professional, is the preferred artistic

expression in Japan. Even today like in ancient times, the Japanese wrote with a brush
rather than a pen, and their familiarity with the use of brush techniques has made them
particularly sensitive to the aesthetic values of painting. With the rise of popular culture
in the Edo period, the style of ukiyo-e woodblock prints became an important art form
and its techniques were refined to produce colorful
prints of practically every topic, from daily news to
the issues of school books (Inside Japan, n.d.).

The use of sculpture in Japan has almost

always been due to their religion and its use has
waned along with the diminishing importance of
traditional Buddhism (Inside Japan, n.d.).

The ceramics, among the best in the world,

represent the first known artifacts of Japanese
culture. In architecture, the Japanese have always
expressed clearly their ancestral preference for
natural materials and the harmonic interaction
between the interior and exterior space (Inside Taishakuten Śakra, 839, Tō-ji
Japan, n.d.).

SUPPLEMENTARY MATERIALS
Knowing more about Japanese Art:
 Better Know the Great Wave | The Art Assignment | PBS Digital Studios
(https://www.youtube.com/watch?v=d1ufFlXIWjA)
 The Art of Single Stroke Painting in Japan | National Geographic
(https://www.youtube.com/watch?v=g7H8IhGZnpM)
78
Guide question: What makes Japanese prints and visual arts so captivating?
 TASK/ACTIVITY

VLOG: ASIAN ARTS

In your vlog, present and discuss one (1) Chinese or Japanese work of art. This can be
about a film, animation, music, literature, dance, or visual arts. With your chosen work of
art, discuss the following aspects:
a. The artwork
b. The artist/director/author/performer of the artwork. Include a short introduction
about them
c. Description of the work of art (what we have to know about this work of art)
d. Your thoughts about the work of art you have chosen—talk about your your
reaction, analysis, criticism, and comments.
You can add creative elements or effects in your vlog. Make sure you present the
following aspects mentioned. The vlog duration should be 3 to 5 minutes.
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 20 points
Quality of the vlog (format) 15 points
Creativity and presentation 15 points
Total 50 points

TOPIC 4: PHILIPPINE ART

The heterogeneity in ethnicity, languages, cultures, beliefs, social structures, and

worldviews in the Philippines shaped the same variations and differences in art practices
and production. Every ethnolinguistic group in the country offers creativity, artistry, and
meaningfulness in their long-standing and somehow persistent works of art, which, for
the majority, is protected by the ideals of tradition and future generation’s continuous
doing of it. Most art forms used by ethnolinguistic groups include pottery, weaving,
carving, and the use of metalwork and jewelry.

79
 Some of the traditional and/or indigenous artworks practiced by the different ethno-linguistic groups in the
country. All works of art are shaped by the belief system, social structure, the relationship of the peoples with
their environment, and their creativity among others.

PAINTING
In the last half of the 19th century, Filipino painters showed enough maturity of
concept and technique to merit critical acclaim. Towards the end of the Spanish regime,
two Filipino painters won recognition in Europe – Felix Resurreccion Hidalgo and Juan
Luna. Hidalgo’s Antigone and Luna’s Spoliarium were both acclaimed in Europe as
masterpieces of Filipino painting. In 1884, Luna won the first Gold Medal at the Exposicion
Nacional de Bellas Artes for his Spoliarium. This monumental painting shows fallen
gladiators being dragged to an unseen pile of corpses in a chamber beneath the Roman
arena. Also, Damian Domingo was recognized as the “Father of Filipino painting” (Artes
de las Filipinas, n.d.).

Juan Luna’s Spoliarium

80
 After World War II, the Neo-Realist school of painting emerged, with such notable
members as Vicente Manansala, Hernando R. Ocampo, Victor Edades, Arturo Rogerio Luz,
Jose T. Joya, and others. The name of Jose Joya (1931 - 1995) is synonymous to the best
in Philippine abstract expressionist art. He produced an excellent body of bold and lyrical
works (Artes de las Filipinas, n.d.).

SCULPTURE

Philippine sculpture reached its peak

through the works of Guillermo Tolentino (1890-
1976). His well-known masterpiece is
the Bonifacio Monument, which is a group
sculpture composed of numerous figures put
together around a central obelisk. The principal
figure is Andres Bonifacio, leader of the
revolution against Spain in 1896. Behind him
stands Emilio Jacinto, the brains of the
Katipunan. The Bonifacio Monument - completed
in 1933 marked the apex of Tolentino's career
(Artes de las Filipinas, n.d.).

Bonifacion Monument

Napoleon Abueva, born in 1930, is one of the pioneering modernists in sculpture and one
of Tolentino's pupils. He used various media and his stylization bordered on the abstract
as in Allegorical Harpoon, in which the dominant horizontal thrust of the figure evokes
the vitality of primitive forms (Artes de las Filipinas, n.d.).

81
Abueva's famous work is Fredesvinda, which was included in the First ASEAN Sculpture
Symposium held in Fort Canning Hill, Singapore, from March 27 to April 26, 1981 (Artes
de las Filipinas, n.d.).

MUSIC
With the death of Nicanor Abelardo and Francisco Santiago, the two greatest
Filipino composers, Filipino music has been struggling. However, the efforts of such
musicians as Antonio J. Molina, Felipe P. Padilla de Leon, Lucio San Pedro, and others,
using folk literature and folk songs, have contributed to the revival of Filipino music (Artes
de las Filipinas, n.d.).
The Philippines is rich in sound-producing instruments, such as percussions, flutes, and
stringed instruments. Here are some examples:
Gongs. There are two types used in the
Philippines. One is the flat gong which is a narrow-
rimmed gong without central protrusion and
found exclusively in the north. The other has a boss
or central protrusion with a narrow or very wide
rim, widely used only in the southern Philippines.

Kulintang (gong-chime)

Kutyapi. This is a two-stringed plucked lute, commonly found in Maganoy, Maguindanao.

It is one of the most technically demanding and difficult to master among Filipino

82
traditional instruments. However, kutyapi music is rich in melodic and rhythmic sound
and is deeply poetic in inspiration.

Kutyapi (two-stringed plucked lute)

DANCE
Native dances occur in
amazing diversity throughout the
Philippines. Many of them are of
varied origins and functions. Some are
part of a tribal rite or sacrifice; others
are in native feasts and festivals to
conciliate the spirits, seek deliverance
from plague or mark births and
deaths; and still, others have a lighter
burden to carry: flirtation or
courtship, or to lighten the tasks of
planting or harvesting (Artes de las
Darangan Cultural Troupe Dancers
Filipinas, n.d.).

METALWORKS
This is generally inlay in silver and gold
or black. Brass is much used for common
things, such as bowls and trays, ladders,
weapons, gongs, and other musical
instruments. Best examples of these are the
weapons and household utensils of Muslims
(Artes de las Filipinas, n.d.).

83
SARI-MANOK
It is the legendary bird or artificial
cock that has become an important
symbol of Maranaw art. It is depicted as a
fowl with wings and feathered tail,
holding a fish on its beak or talons. The
head is profusely decorated with scroll,
leaf, and spiral motifs (Artes de las
Filipinas, n.d.).

SAMAL MAT
The traditional mats in the country show the artistry and the exquisite skills of the
native weavers. One example is the Samal mat which is considered design-wise as one of
the most interesting traditions in the whole country. The Samals are Muslims occupying
the bigger islands in Tawi-Tawi and are generally engaged in trade and agriculture. The
Samal mat uses the leaves of the pandanus plant which grows abundantly in the area. It
has four general patterns: (1) stripes; (2) multicolored squares; (3) a checkered pattern
of white and other colors; and (4) a zigzag pattern (Artes de las Filipinas, n.d.).

CONTEMPORARY FILIPINO ART SCENE

The practice of arts changes over time. Many works of art created as an answer to
or a reaction to pressing social, economic, political, and intellectual conditions. Modern
and contemporary artists have been developing and influencing different art styles. The
move to the philosophy “art for art’s sake” opened the art scene for new, unconventional,
ideological, and symbolic works of art.

84
 Similar to this is the flourishing of the independent art scenes in music, literature,
poetry performance, filmmaking, and photography, among others. The revamp of Original
Pilipino Music ushered in a new sound of Filipino makata lyricism and quality music
production, which allows the promotion and love for local music to be at par with the
music produced in the international scene. Literature and poetry performances likewise
root their breadth and beauty in Filipino social realities and ideals, opening a wide array
of narratives. The Filipino film industry offered more variety, unique plots as well as
concepts, and more age-group appropriated films. These films reflect and represent
social, economic, political, and cultural Filipino realities, among others. Other than that,
a range of amusing and entertaining contents. Photography flourished as well, alongside
greater access to technology, which paved the way for individuals to pursue fine arts
photography.
All of these art forms are practiced in the contemporary with levels of creativity,
artistry, sophistication, and production. Indeed, art is shaped by its context, yet its
essence is not context-bound.

SUPPLEMENTARY MATERIALS
Knowing more about Philippine Arts:
 TUKLAS: Sining Saysay - Philippine History in Art
(https://www.youtube.com/watch?v=ZN75VyLipIU)
 What's The Big Idea? Mid-century modern art and the Philippine Art Gallery
(https://www.youtube.com/watch?v=OHVER68AFa4)
 Important Philippine Art (https://www.youtube.com/watch?v=TxFrdm251HI)

Guide question: How can you say that a particular work of art is a Philippine art? What are
the themes or motifs commonly found in these works of art?

TASK/ACTIVITY

Reflect on the following questions:

1. How do these works of art shape and maintain the identity of a Filipino and the
Filipino nation?
2. How can we better promote, practice, and take care of our traditional/indigenous
works of art vis-à-vis our promotion and consumption of contemporary works of
art?
3. How can we protect the integrity of our traditional/indigenous works of arts and
artists in light of the commercialization of traditional art practices?

85
Write your answers in one whole sheet of paper. Explain your points and your ideas in
detail. Your answer in each number should not be lower than 150 words.
TASK/ACTIVITY RUBRIC:
Content/Relevance (points, ideas, discussion): 10 points
Writing technicalities (narrative, grammar): 6 points
Format 4 points
20 points for each number (60 points in total)

ASSESSMENT

CULTURAL MOTIFS AND FILIPINO REALITIES

In this artwork, you are allowed to interpret the theme in different art forms. You can
make visual art, poem, song, short story, short film, and/or fine art photography.
For this creative output, the idea or theme centers on incorporating cultural motifs
found in folk and indigenous works of art as art styles and designs of your output.
This applies to those who will choose the visual arts option. Your work of art can be
inspired by patterns found in traditional art practices like textiles, clothing, vintas,
tattooing, pottery, and metalworks among others.
On the other hand, your output can be a representation of different Filipino realities.
A visual art, poem, short story, short film, song, or fine art photography that
represents a particular Filipino reality can be created.
There will be no restrictions when it comes to the medium or the use of materials.
Include a title and a short description of your artwork.
ASSESSMENT RUBRIC:
Art form: 15 points
Content, adherence to the theme: 40 points
Creativity: 30 points
Artistry (interplay of design, medium, art elements): 15 points
Total 100 points

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 REFERENCES

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Bascara, L. R., and Avillanoza, A. T. (2006). Humanities and the Digital Arts. First Edition.
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Manila: Rex Book Store
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Inside Japan (n.d.). Guide to Traditional Japanese Art. Retrieved from
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Newhall, B., Gernsheim, H.E.R., Grundberg, A., and Rosenblum, N. (2019). History of
photography. Encyclopaedia Britannica, Inc. Retrieved from
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Ortiz, M. A., Erestain, T., Guillermo, A., Montano, M., and Pilar, S. A. (1976). Art:
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