Page |i

Name: ________________________________________________________________________________
Course/Year and Section: __________________________________________________________
Email COLLEGE
Address:
OF ARTS AND SCIENCES (CAS) CENTRALContact
_________________________ PHILIPPINESNumber:
STATE UNIVERSITY (CPSU)
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Subject Teacher: ____________________________________________________________________

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This learner’s module is not for sale. No part of this material may
be reproduced in any form or by any means, including photocopying,
scanning, or other electronic means without the prior written permission to
the author or the College of Arts and Sciences, Central Philippines State
University.

LEARNER’S MODULE IN
GEC 6: ART APPRECIATION
First Semester | School Year 2021-2022

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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PHILOSOPHY
Decent affordable education for sustainable productivity
and global competitiveness under an atmosphere of
academic freedom.

CPSU QUALITY POLICY

CPSU commits to deliver quality higher and advanced education through instruction,
research, extension, production and administrative support services.
We shall endeavor to:

• Continually improve its Quality Management System (QMS) at par with

international standards;
• Provide timely, efficient and effective delivery of products and services;
• Satisfy the needs and expectations of the costumers and relevant interested
parties; and
• Uphold applicable statutory, regulatory, organizational and international
standard requirements.

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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PREFACE GEC 6
This module GEC 6-ART APPRECIATION helps open up the mindset of the
students, by reading, listening and appreciating the different perspectives and views
as well as interpretations of the art. It encourages thoughtful conversation and the
understanding that there is more than one approach to everything.

Teaching and learning this course entail not only holistic aptitude in various
principles pertinent to humanities but more essentially substantial wisdom as to what
really transpire in the world of art. This learner-friendly material likewise corroborates
with the concept that a curriculum content shall address the apparent needs of
potential tertiary students.

This module therefore aims specifically to enable students to record from first
– hand experiences and from imagination, and to select their own ideas to use in their
work; to develop creativity and imagination through a range of complex activities; to
improve the student’s ability to control materials, tools and techniques.; increase their
critical awareness of the roles and purposes of art in different times and cultures; to
develop increasing confidence in the use of visual and tactile elements and materials;
and to foster an enjoyment and appreciation of the visual arts and a knowledge of
artist, craftspeople and designers. Thus, it contains 6 interwoven units presenting
logically various competencies that purport to make a myriad of superior learners.

Module 1 – Assumptions and Nature of Arts: Creativity, and Imagination

Module 2 – Functions of Art and Philosophy
Module 3 – Artists and Artisans
Module 4 – Elements and Principles of Art
Module 5 – Art History
Module 6 – Soul Making

To ensure the effectiveness of this module to the learners, the writers formatted
each unit from course outcomes, situations requiring knowledge about the unit,
activities or enhancement exercises.

Remember, the success of this course depends on your cooperation, active

participation and authentic responses to the activities. Take time to read and spend
quality time with yourself as you go through this module.

Various sources are acknowledged in this module as used for reading

materials, pictures, images, definitions, examples and illustrations, among others and
are rightfully owned by its respective copyright holders. The authors do not represent
nor claim ownership over them.

Good luck and may you find yourself appreciates art in a conscious disciplined
way for Art is too important not to share!

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
 Page |v

MODULE PROCESS FLOW GEC 6

This module is a self-contained learning material designed for a more

meaningful learning and fun experiences toward your journey to ART
APPRECIATION.
Moreover, this material is crafted in your best interest as you take on the
challenges posed by the new normal teaching and learning environment. The content
of which are carefully selected from a wide range of topics in order to meet the target
deliverables. The assessment tasks and activities are fashioned in way where you can
work with the material even without internet connectivity and electronic gadgets.
Each lesson is structured in a way where you can both examine the concepts
and apply them in given tasks or activities. The following process flow will help you
familiarize with the parts of a lesson.

LET’S LOOK BACK

Activate prior knowledge/review of LET’S TRY SOME MORE

previous lesson
More examples and
LET’S ANALYZE AND illustrations for mastery
PREPARE
Connect prior knowledge through LET’S HAVE YOUR TURN
activities conducted.
Preparatory stage to shift focus to the Self-check of new knowledge
new topic. learned through independent
practice
LET’S DISCOVER
LET’S SUM IT UP
Acquire new knowledge/
Content Presentation Wrap-up of the lesson
learned in the forms of
LET’S DO IT reflection or evaluation
Apply new knowledge learned. LET’S EXTEND AND LINK
Give examples and illustrations
through guided practice Enrichment activities,
. supplemental readings/links
and additional exercises

As you adjust with the current set up, the module also includes study guide,
house rules and study schedule to assist you on how to go about with each of the
lessons and to help you manage your time and resources. If you have further questions
about the course, you may consult your College/Campus with their respective contact
information provided to you.
KEEP SAFE and STAY PROTECTED!

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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ACKNOWLEDGMENT GEC 6
The authors wish to express their gratitude and heartfelt thanks to the following
persons who had contributed significantly to the completion of this valuable work.
Foremost to the Almighty God the source of life, strength, wisdom creativity
and talent bestowed upon Him thus enabling Him to bring the learners to the direction
perfectly suited for them.
Special recognition is extended to the original authors/writers whose works
were used as references, sources of information, examples, and illustrations.
Special thanks to Dr. Maria Lorina B. Crobes, Dean College of Arts and
Sciences for initiating this General Education Course (GEC) Module Writeshop and for
sharing her expertise to have a unified template for the learner’s module as well as to
develop a prototype module.
Great appreciation is also extended to Dr. Josephine Asuncion Emoy, Director
of Instructional Material Production Development Center (IMPDC).
Also, to the Commission on Higher Education (CHED) for being the source of
relevant topics embedded in the CHED Course Design.
And to our students, your learning gains and the life-defining benefits that come
with it serve as our goal and inspiration. Thank you for reading this material and may
you value the hard work that many people had put into it.
Most of all, the writers and content researchers are truly indebted to the CPSU
administration, faculty and staff having their strong support headed by our beloved
President, DR. ALADINO C. MORACA. Their encouraging words, trust and
confidence toward us made this material possible in “pandemic” way. With all humility
and gratitude, “Thank You CPSU” for this valuable opportunity as we inspiringly
showcase our knowledge and skills being novice module writers. In this way, we
efficiently and effectively deliver our expected functions to the students during this
crisis in a more motivating, meaningful and rewarding ways.

Together, WE RECOVER!
CENTRAL PHILIPPINES STATE UNIVERSITY
INSTRUCTIONAL MEDIA PRODUCTION AND DEVELOPMENT CENTER (IMPDC)
Evaluation Committee
CHAIRPERSON : FERNANDO D. ABELLO, Ph.D.
Vice President for Academic Affairs

ASSISTANT CHAIRPERSON: JOSEPHINE ASUNCION R. EMOY, Ph.D.

IMPDC Chairperson

MEMBERS : MARIA LORINA B. CROBES, Ph.D.

Dean, College of Arts and Sciences

Program Heads, Peer Reviewers, External Reviewer

Editor/English Critic/Layout Artist
COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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STUDY GUIDE AND HOUSE RULES GEC 6

This module is designed and prepared for you to learn diligently, independently and
honestly. Make your quarantine moments productive by reading the contents and doing the tasks
and activities provided to you in this module. Remember that by attaining the learning outcomes
of this module will make you become a responsible and competent learner. Thus, the success
of this module depends in you!

Here are some study guides and house rules that will help you to be on track.
Start engaging yourself with the lesson having a clear mind, safe environment and healthy self.
Be sure to set realistic and measurable goals that you can actually achieve during this home-
based learning using modular instruction. Expectation versus reality matters.

Take yourself away from distractions. Have your own space at home where you can focus to
study. Make your learning environment or workplace conducive. There is no other place where
you can learn or work best than with a clean, neat, comfortable and safe environment or
workplace.

Assessments and evaluation activities must be written legibly and completely accomplished.
Make use of the spaces provided for you in the module. Be clear of what your main point is and
express it as concisely and coherent as possible.

You have to be resourceful. Find other ways on how you will further understand the lessons
presented to you. You may read other references or learning materials related to the topic/lesson
you are studying. Read it over and over again until you understand the point. You may ask other
family members of friends to help you. Likewise, look for other ways on how you will answer your
activities and assessment tasks.

Attain the learning outcomes in your module. Understand every lesson in your learning module.
If you do not understand the content, readings and other activities, read it again. Accomplish all
the tasks, activities and expected outputs given to you. You need to ensure that you will not miss
any part of the module. There is no other satisfying feeling than attaining all the learning
outcomes in your module.

Take time to read and understand the assessment tools provided. Rubrics are provided for you
to be guided of how you will be graded by your teacher. Answer the assessment and evaluation
activities as best as you can. Do not settle for less.

Healthy mind and well-being matters. If you are feeling exhausted, stressed out, brain drained
and about to give up, then take a break and relax for a while. Do not push yourself to the limit.
Remember, you have more than one module to study. Take it one step at a time - no hurry.

Observe honesty and integrity. Make sure to answer or do your tasks/activities/outputs on your
own. Your family members and friends at home will support you but the tasks/activities/outputs
must be done by you.

Manage your time efficiently. You may create your own study schedule for this module in
consideration with your other modules from other courses. Set specific time where you can
answer or do the tasks/activities/outputs given to you. Do not procrastinate. Remember, it is not
others who will do the tasks/activities/outputs for you. It will be you.

End every engagement of the lesson with a smile and a motivating heart to move forward for
the next lessons. Expect to submit the accomplished modules which will be retrieved before the
end of every term without leaving given tasks unanswered. Keep yourself updated.

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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STUDY GUIDE AND HOUSE RULES GEC 6

EVALUATION

The key to successfully finish this module is in your hands. This material is designed
for you to learn diligently and independently. Aside from meeting the content and
performance standards of this course, you will be able to learn valuable skills which you
can use in your life.

To pass the course, you must:

1. read all course contents and readings, and answer the pretests and post-tests in
every unit of the module;
2. answer all the assessment and evaluation activities, without leaving or missing
any part of the module;
3. remember that the completeness of your answers to the activities and
assessments tasks will still be checked and will still be part of your grade
completion.
4. accomplish all the assessment and evaluation activities on your own;
5. read and understand the assessment tools such as rubrics before you start doing
your tasks;
6. note that cheating and dishonesty in all means are not allowed;
7. cite the authors and references you have used in your activities/tasks;
8. response to the evaluation and survey questionnaires that are included in the
module; and
9. submit the completed and accomplished module on the set time of retrieval; and
10. for queries and clarification, contact your respective subject-instructor.

GRADING SYSTEM

Students will be rated based on the grading system below as approved by the
university. It is modified in consideration with the pandemic having the following criteria.

Knowledge 40% Pre-tests and Post-tests

Skills 50% Tasks/Activities
Attitudes/Values10% Compliance and Submission of completed
and accomplished module
TOTAL 100%

The final grade computation is weighted as shown below:

A. Midterm Grade 40%

B. Final Term Grade 60%
FINAL GRADE 100% (SUM OF A & B)

Aim high and do not only settle for less. Take your part, do your best to the full
potential, without any doubt YOU CAN DO IT for WE LEARN AS ONE!

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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STUDY SCHEDULE GEC 6

Week Topic/Learning Assessment
Hours Outcomes Tasks

Module 2: Functions of Art and Philosophy

Lesson 2: Art as Representation
Week 5 Differentiate content Activity 5
from subject; and (Art Making, p.111)
(Oct. 1-7, 2021) Classify artworks
3 hours according to subject.
Lesson 3: Content in Art: Levels of Meaning
Discuss the difference Activity 6
between an artwork’s (Picture Analysis,

ART APPRECIATION
Week 6 subject and its content; p.113)
(A.

Identify the different

(Oct. 8-14, 2021) levels of meaning or
3 hours the content of art, and
Create assumptions on
the given art based on
the levels of meaning.
Module 3: Artists and Artisans: Production, Process, Medium and
Techniques
Lesson 1: Managers, Curators, Buyers, Collectors, and art Dealers
Week 6 Define the role of Activity 7
managers, curators, (Scrapbook
(Oct. 8-14, 2021) buyers, collectors, and Making, p.122)
3 hours art dealers in the world
of art; and
Differentiate between
artist and artisan.
Lesson 2: Mediums and Techniques: Approach in Visual Arts, Auditory,
and Combined Arts
Identify the medium in Activity 8
various forms of arts in (Media Application,
Week 7 visual, auditory and p.125)
combined arts;
(Oct. 15-22, 2021) Define an artist’s or
3 hours artisan’s medium and
technique, and
Create artwork using
different media in arts.
Lesson 3: GAMABA (Gawad sa Manlilikha ng Bayan)
Week 8 Identify the different Activity 9
GAMABA artists, their (Identification,
(Oct. 25-29, 2021) notable works and p.125)
hours their contribution to the
society.
COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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TABLE OF CONTENTS GEC 6

ART APPRECIATION Page

PRELIMINARIES

• Cover Page/ Disclaimer ii

• CPSU VMGO and Quality Policy iii

• Preface iv

• Module Process Flow v

• Acknowledgment vi

• Study Guide and House Rules vii

• Study Schedule ix

• Table of Contents x

MODULE 2: FUNCTIONS OF ART AND PHILOSOPHY 27

Lesson 2 Art as Representation 69

Lesson 3 Content in Art: Levels of Meaning 75

MODULE 3: ARTISTS AND ARTISANS: PRODUCTION PROCESS, 78
MEDIUM AND TECHNIQUES

Lesson 1 Managers, Curators, Buyers, Collectors, and Art Dealers 80

Lesson 2 Medium and Techniques Approach in Visual Arts, 88

Auditory, and Combined Arts

Lesson 3 GAMABA (Gawad sa Manlilikha ng Bayan) 93

COLLEGE OF ARTS AND SCIENCES (CAS) CENTRAL PHILIPPINES STATE UNIVERSITY (CPSU)
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Art as Representation
LESSON 2
(3 HOURS)
Merle A. Derrama, Ph.D.

LEARNING OUTCOMES
1. Differentiate content from subject; and

MODULE 2: FUNCTIONS OF ART AND PHILOSOPHY

2. Classify artworks according to subject.

INTRODUCTION

Representation is the use signs that stand in for and take the
place of something else. It is through representation that people
organize the world and reality through the act of naming its elements.
Signs are arranged in order to form semantic constructions and
express relations.
For many philosophers, both ancient and modern, man is
regarded as the “representational animal” or animal symbolicum, the
creature whose distinct character is the creation and the manipulation
of signs-things that “stand for” or “take the place of” something else.
Representation has been associated with aesthetics (art) and
semiotics (signs). Mitchell says “representation is an extremely
elastic notion, which extends all the way from a stone representing a
man to a novel representing the day in the life of several Dubliners”.
The term ‘representation’ carries a range of meanings and
interpretations. In literary theory, ‘representation’ is commonly defined
in three ways.
1. To look like or resemble
2. To stand in for something or someone
3. To present a second time; to re-present

The reflection on representation began with early literary

theory in the ideas of Plato and Aristotle, and has evolved into a
significant component of language, Saussurian and communication
studies (www.en.m.wikipedia.org.)

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MODULE
Art as Representation 2
LESSON
2

• Let's Discover
What does Representation mean in Art?
Representation is the use of signs that stand in for and take the place of
something else. It is through representation that people organize the world and reality
through the act of naming its elements.
Representationalism
Representationalism is a theory which stresses that art is a copy, an image, an
appearance or a reproduction of things, people, objects, nature and events.

Representation of People Representation of Things or Object

(https://tinyurl.com/y5867d9w) (https://tinyurl.com/y3bcdlc8)

Representation of Events (https://tinyurl.com/yxtnyahw)

(https://tinyurl.com/y2g3kfk4)

GEC 6: ART APPRECIATION CAS-CPSU

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MODULE
Art as Representation 2
LESSON
2

Ways of Representing Nature

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MODULE
Art as Representation 2
LESSON
2

Ways of Representing Nature:

1. Physical Alteration. It is the process of changing the physical appearance of
nature, like a natural marble that turns into a sculpture by carving and cutting.
2. Selective Modification. It is the process of enhancing the appearance of nature,
like a forest that becomes a garden by arranging and trimming the plants, or a
woman beautifying herself by putting cosmetics on her face.
3. Perceptual Interpretation. It is the process of copying nature according to the
subjective interpretation of the artist, but the resulting image is still recognizable.
What is a Subject?
The subject of art refers to any person, object, scene or event described or
represented in a work of art.
1. Representational or Objective - Arts that have subject (e.g. painting, sculpture,
graphic arts, literature and theatre arts)
2. Non-Representational or Non-Objective - Arts that do not have subject (music,
architecture and many of the functional arts)
Example of music:
Program Music – musical compositions which have subject
They do not present description, stories, or references to identifiable objects or
symbols. Rather they, appeal directly to the senses primarily because of the satisfying
organization of their sensuous and expressive elements.
Subject in a work of art is the literal, visible image in a work while content
includes the connotative, symbolic, and suggestive aspects of the image. The subject
matter is the subject of the artwork, e.g., still life, portrait, landscape etc. …’Content is
not subject or things in the painting (magaretryall.blogspot.com>2009).
In art and art criticism, form and content are considered distinct aspects of a
work of art. It mainly focuses on the physical aspects of the artwork, such as medium,
color, value, space, etc., rather than on what it communicates.
What is Content in art?
Content in a work of art refers to what is being depicted and might be helpful in
deriving a basic meaning. A still-life is a work of art depicting mostly inanimate subject
matter, typically commonplace objects that may be either natural or manmade.

Classifications of Art according to subject include: Fine Art; Visual Art; Plastic
Art; Performance Art; Applied Art and Decorative art. This category includes works of
art that are created primarily for aesthetic reasons. (Bernard, 2015)

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MODULE
Art as Representation 2
LESSON
2

A. Fine Arts
• Painting
• Sculpture
• Architecture
• Music
• Poetry
B. Visual Arts
• Advertisement, commercial prints, labels.
• Artificial flowers and plants
• Artwork applied to clothing or to other useful articles
• Bumper stickers, decals, stickers
• Cartographic works, such as maps, globes, relief models
• Cartoons, comic strips
• Collages
• Dolls, toys etc.
C. Plastic Art
• Sculpture
D. Performing Arts
• Dance (music)
• Opera (theatre and musical theatre, magic, illusion, mime, spoken word
puppetry, circus arts)
E. Applied Arts
• Industrial design (mass produced objects)
• Architecture (fine art)
• Ceramic art
• Automotive design
• Fashion design
• Calligraphy
• Interior design
• Graphic Design
F. Decorative Arts
• Ceramics
• Glassware
• Basketry
• Jewelry
• Furniture
• Textiles
• Clothing

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MODULE
Art as Representation 2
LESSON
2

• Let's Sum It Up
Representation is the use of signs that stand in for and take the place of
something else. It is through representation that people organize the world and reality
through the act of naming its elements.
At its most basic, the representational theory states that the fundamental,
definitive quality of art is the ability to capture some aspects of reality. Later theorists
would revise imitation theory, claiming that the purpose of art was not to strictly imitate
nature, but to represent it in any form.

• BIBLIOGRAPHY

Ariola, M. M.2018. Introduction to art appreciation. A Textbook in Humanities. Quezon

City: C&E Publishing House. Retrieved last August 3, 2020
Caslib, B.N., Dorothea C. Garing and Jezreel Anne R. Casaul. 2018. Art
appreciation. Manila, Philippines: Rex Book Store. Retrieved last August 3,
2020
Retrieved from https://tinyurl.com/y4cnxemt last August 5, 2020
Retrieved from https://tinyurl.com/y2qeddr9 last August 5, 2020
Retrieved from https://tinyurl.com/y4n59h77 last August 5, 2020
Retrieved from https://tinyurl.com/y4opb7xy last August 5, 2020
Retrieved from margaretryall.blogspot.com>2009/11 last August 5, 2020
Retrieved from https://e.m.wikipedia.org>wiki Plastic Arts last August 3, 2020
Retrieved from https://study.com>academy>representation last August 3, 2020
Retrieved from https://www.copyright.gov>register Visual Arts last August 3, 2020
Retrieved from https://en.mwikipedia.org>wiki Performing Arts last August 3, 2020
Retrieved from https://en.m.wikipedia.org Representation (arts) last August 5, 2020
Retrieved from https://en.m.wikipedia.org>wiki Form and Content last August 5, 2020

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Content in Art: Levels of Meaning LESSON 3

(3 HOURS)
Jordan G. Apawan, MAEd
MODULE
2
LEARNING OUTCOMES

1. Discuss the difference between an artwork’s subject and its

MODULE 2: FUNCTIONS OF ART AND PHILOSPHY

content;
2. Identify the different levels of meaning or the content of art,
and
3. Create assumptions on the given art based on the levels of
meaning.

INTRODUCTION

The primary stage of engaging with art is its perception.

Looking at art is much like any instance of taking in information or
stimulus that originates from the world around us. For most art forms,
the beginning of engagement is through looking at the artwork. The
eyes play a big role in mechanically making a vision possible.
However, like any tool, it is but one component. What makes the
difference is the awareness in the process of looking where subjectivity
is essential in navigating through the artwork. Subjectivity is illustrated
in the way that selective perception renders one or two details more
prominent than others, prompting the viewers to focus on some details
as essential or as standouts. Even the mood or the disposition or mood
of the viewer, his education, his background, and his exposure to
varying context contribute to what information is taken in and how they
are interpreted. To heard all of these in coherence and intelligibility, the
relationships of visual details presented, the ideas and feelings that
they cull, and other springs of information may be consulted.
This lesson discusses the different content in art as identified
in three different levels, factual conventional and subjective meanings.

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MODULE
Content in Art: Levels of Meaning 2
LESSON
3

• Let's Discover
To take on the challenge of understanding the content of art, it must be
reiterated that there are various levels of meaning. Read the notes below.

LEVELS OF MEANING

Conventional meaning, on
the other hand, pertains to the
acknowledged interpretation of the
art work using motifs, signs,
symbols and other cyphers as
bases of its meaning. These
conventions are established
through time, strengthen by
recurrent use and wide acceptance
by its viewers or audience and
scholars who study them.

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MODULE
Content in Art: Levels of Meaning 2
LESSON
3

Let us analyse the artwork “Birth of Venus” (1845) by Botticelli.

(https://tinyurl.com/y2syjjfk)

The Birth of Venus depicts the moment when, having emerged from the sea in
a shell, Venus lands at Paphos in Cyprus. She is blown towards the shore by Zephyrus
- god of the winds - and the breeze Aura, while a Hora of Spring stands on dry land
poised to wrap a cloak, decorated with spring flowers, around Venus to cover her
nudity. From a factual perspective, Botticelli depicted this scene from the writings of
the ancient poet, Homer and the subject matter suggests that this is mythological.
Botticelli paid much attention to her hair and hairstyle, which reflected his
interest in the way women, wore their long hair during the late fifteenth century. He
gave Venus an idealized face which is remarkably free of blemishes, and beautifully
shaded her face to distinguish a lighter side and a more shaded side. As to its
conventional meaning, this type of scene represents humanism. The artwork
practically embodies the rebirth of civilization, a new hope, geopolitical, social and
cultural shift which occurred after the Middle Age turmoil.
An interesting overlap between the conventional and subjective meaning is the
claim of Davide Lazzeri, a plastic scholar who specialises in the topic of medicine in
art. In an article published in Acta Biomedica, Lazzeri has followed up the work of
American scholars, who noticed a similarity between background details in the painting
and the anatomy of the human lungs.

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MODULE
Content in Art: Levels of Meaning 2
LESSON
3

The scholar claims that the lungs are linked to the prevailing neo-platonic
philosophy which took root at the Medici court and that connects the organs to the “first
breath, divine wind and the origin of life.” By removing the figure of Flora, on the right-
hand side of the picture, Lazzeri revealed a shape very similar to that of the human
lung, which he claims does not conform to the shape that Botticelli would have pursued
were he truly trying to catch the movement of wind through the fabric (The Italian
Insider, 2018).

• Let's Sum It Up

It is essential that we should always remember what we have learned in this

lesson. Take note that in this lesson we have acquired knowledge on the levels of
meaning such as factual, conventional, and subjective meaning.
The most common is what we called factual meaning which pertains to the most
rudimentary level of meaning.
Conventional meaning pertains to the acknowledged interpretation of the
artwork using motifs, signs, symbols, and other bases of its meaning whereas
subjectivities are consulted, of a variety of meaning may arise when a particular work
of art is read.

• BIBLIOGRAPHY

Caslib, BN., Garing D, & Casual J. (2018). Art appreciation, First Edition: Rex Book
Store Inc. Subject and Content of Art. Pp. 37 – 53. Retrieved last August 1,
2020.
Cummings, E. (2015). Study.com. Retrieved last August 2, 2020, from
https://tinyurl.com/y3fnnnls.
McArdle, T. (2020). Subjects in Art: Explore Different Subjects in Art from Past to
Present — Art is Fun. Art is Fun. Retrieved last July 3, 2020, from
https://www.art-is-fun.com/subjects-in-art.
Stewart, J. (2018). The Story Behind Raphael’s Masterpiece ‘The School of Athens’.
My Modern Met. Retrieved last July 31, 2020, from
https://mymodernmet.com/school-of-athens-raphael/.
Encyclopaedia of Old Master Painters. Harmen van Steenwyck: Biography of Vanitas
Still Life Painter. Visual-arts-cork.com. Retrieved last July 14, 2020, from
http://www.visual-arts-cork.com/old-masters/harmen-van-steenwyck.htm.
The Italian Insider, (2018). Scholar uncovers hidden symbolism in Botticelli Venus.
Italianinsider.it. Retrieved last September 4, 2020, from
http://www.italianinsider.it/?q=node/6552.
Retrieved from https://tinyurl.com/bruj6c6 last September 5, 2020.

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MODULE
3
ARTISTS AND ARTISANS: PRODUCTION
PROCESS, MEDIUM AND TECHNIQUES

In the advent of technology, it is remarkable what has

been made possible. With a click of a button, an array of
overwhelming information is made available, informing every
aspect of human life. In the fast –paced and highly complex
twenty-first century, there, there is a real and nagging fear that
soon, everything may very well be replaced by computers and
robots that can arguably do things with more precision, at a
shorter amount of time and less capital in the long term. This
notion is contested by what are arguably the most resilient
qualities of man, which is his creativity and imagination. As
long as there is a cultivation of both of these qualities, no robot
or artificial intelligence can replace man just yet. The art is one
of the most significant ways in which we try to grapple with how
the present unfolds. In Robert Henri’s The Art Spirit as cited
by Caslib, Garing & Casaul (2018) that “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 interested to
other 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.” There is a gap when one continues to
persist, with the idea that art is something that is detached
from every day. In what has been reduced to a blur, it became
more integral that man pursues a better understanding of the
world where he lives. One of the avenues that makes this both
possible and exciting is the engagement with art and culture
(Caslib, Garing and Casaul, 2018).
This Unit will introduce the artists and artisans’ choice of
material and the manner by which they use materials are at
the heart of making art, and that these involve process and
transformation. For example, artists transform clay into
pottery, as well as stone into a statue, or bamboo into a nipa
hut, and sound into music. Attention to mediums and
techniques involves all our senses (sensing), which enable us
to understand
GEC 6: ART or make sense of a work of art.
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Managers, Curators, Buyers, Collectors,

and Art Dealers LESSON 1
(3 HOURS)
Dinah Mae G. Flores

LEARNING OUTCOMES

MODULE 3: ARTISTS AND ARTISANS: PRODUCTION

1. Define the role of managers, curators, buyers, collectors, and
art dealers in the world of art; and
2. Differentiate between artist and artisan.

PROCESS, MEDIUM, AND TECHNIQUES

INTRODUCTION

What life does art offers you? What do you want to be?
Art plays an important role in human lives. It creates
meaningful and creative life in this world full of challenges and
hardships. It serves as the alternative remedy to someone who finds
life empty.
Art brings completeness and opportunity to those who find
themselves inexpressive to share their emotions. It also helps
individual in finding their passion in life and/or the career they wanted
to be.
Art provides ample opportunity to discover our purpose in this
world and gives us a chance to makes life more beautiful, livelier, and
productive.
Let the nature of arts brighten your life as you continue to live
in this wonderful world. Be the creator of your own journey in the world
of art and/or in your life.
According to Rodrigues (2018) individual artists and artisans
make up the largest segment of the creative sector. They play a salient
role in the world of art that needs to be appreciated.
In this unit, we will see what kind of creator are you, an artist
or artisan? We will learn the different figures and its role in the art
market. Everyone has a different role or ways in promoting arts to the
world, so what’s yours?

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Managers, Curators, Buyers, Collectors, MODULE

and Art Dealers 3
LESSON
1

• Let's Discover
Let us now begin to explore and discover some figures/players in the world of
art.
There are two (2) artistic careers in the world of art, the artist and the artisan.
What is an Artist and Artisan?
Bocog, Deraco, & Baguio, (2019) defined artist as a person who performs all
forms of creative arts while artisan are skilled workers that are involved in skilled trade
using their hands in making things, installing things, repairing things and maintaining
things with the help of tools, equipment or machinery.

Artists are more engaged into the imaginative way; they are the one who love
creativity by thoughts and communicate arts using their skills. They are considered as
the art practitioner who produces art with aesthetic value and have a vast imagination
in terms of creative arts. They are the painter, dancer, musician, singer, sculptor,
choreographer, dancer, writer, designer, and those who unintentionally function arts
using their imagination. Some of a well-known artist in the world of art are:

Leonardo Da Vinci is Vincent Van Gogh is a

a famous painter, architect, well-known painter. Among his
sculptor, inventor, and famous works are The Starry Night,
draftsman. His famous art works Sunflower, and Irises.
are Mona Lisa Da Vinci Code,
and The Last Supper.
(https://tinyurl.com/y252cb53) (https://tinyurl.com/yxou4l4l)
Pablo Picasso is a well-
Michaelangelo is known Spanish painter, sculptor,
also a famous painter, architect, ceramicist, stage designer, poet, and
and poet. Some of his famous a playwright. Some of his famous
works are David, Creation of
works are Guernica, The Young
Adam, and St. Peter’s Basilica. Ladies of Avignon, and The Weeping
Woman.
(https://tinyurl.com/y3u9zva3) (https://tinyurl.com/yyem4v6n)

However, Artisans are considered as a skilled worker. They made art by hands
and received payment for it. Basically, artisans are the physical workers who produces
art through their hands with skill, experience, and ability, they can create useful and
beautiful things for gratification and amazement of the viewers’ eyes. They are also
called as craftsman such plumber, carpenter, weaver, tailor, embroiderer, carver, and
anyone who makes useful, relevant, and necessary goods that makes our daily life
easier. Below are some examples of the artisans’ craft.
1. Glass Blowing 4. Quilling 7. Knife Making
2. Origami 5. Clock Making 8. Wood Carving
3. Calligraphy 6. Lace Making 9. Pyrography

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Managers, Curators, Buyers, Collectors, MODULE

3
LESSON and Art Dealers
1

In the world of art, the artists and artisans are the two group of artistic careers
where some jobs/figures belong. Hence, there are also some figures that plays an
important part in the art market or in the world of art such as manager, curator, buyer,
collector, and art dealer. These figures engaged in the art market not actually creating
arts by themselves but instead they are using their skills, expertise, and knowledge of
art to make a living. Now, let us know each figure and its roles in the art market.
ART MANAGER
Who wants to become an Art Manager?
Art Manager sometimes called art
directors, works for art galleries, ad
agencies, motion picture companies,
graphic design firms, publishing
organizations some are self-employed
(shorturl.at/pFUWZ). Obviously, art
manager is the one who manage the art
department and functions both as a
business and artistic figure. The one who
has a control, led a team and expected to Art Manager (https://tinyurl.com/y2k5u5qg)
go or think beyond the box for the success and improvement of the department or
organization. Being an art manager is a crucial role in the art market since this job
requires a great managerial skill, performs research, monitor, and plans the marketing
targets that can bring success/failure (poor managerial skill) to the department.

What does an Art Manager do?

The bestsampleresume.com enumerated some responsibilities that an art

manager must do.
1. Supervise the designs of art that will come to the department.
2. Has to make the final design and approve the artwork for whatever project he
or she is working on.
3. Hire a team of artists or have to work with a team that is already existing.
4. Coordinate with clients on their requirements and make designs accordingly.
5. Must first make a sample layout, show it to the client and only then can they
start work on it.
6. Keep a close eye on what the other artists are doing and make sure it is in
compliance with the original idea.
7. Make sure that the teams meet the deadlines for submitting their work.
8. Make a final presentation of the work to the client on the project.
9. Make payments to the team of artist if they were working on a freelance basis
with them.

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Managers, Curators, Buyers, Collectors, MODULE

LESSON and Art Dealers 3
1

If the art manager is in-charge in managing the whole department, we also have
an art curator who manages art works/artefacts at the museum or gallery.
ART CURATOR
So, what is an Art Curator?
According to
jobhero.com an Art Curator is
responsible for implementing
and managing art exhibitions
and collections, typically at
museums, by collecting,
organizing, evaluating and
cataloging arts, collectibles and
historical items. Art curator is the
one who makes sure that every
exhibits/collection at the
museum are in place.
Art Curator (https://tinyurl.com/y5od3vy3)
He/she is also in-charge in administering, organizing, and making the art
collections available to public. Being an art curator requires more knowledge in arts
because he/she speaks in behalf of the art work. They tell a story about a certain art
work to the visitors for them to know why or how this particular art was made and what
does it portray or mean.
What exactly an Art Curator do?
Susan Kendzulak of the thebalancecareer.com identifies the different roles and
responsibilities of an art curator that she/he must perform:
• Manage collections by recording and cataloging artwork and items in
collections.
• Research objects to document identification and authentication.
• Develop, plan, and execute various exhibitions.
• Write acquisition and exhibition proposals.
• Plan the presentation and installation of artwork and objects.
• Create labels and interpretive materials for artwork.
• Train docents and other museum staff on the exhibition's presentation and
information.
• Publish research and information to journals, catalogs, and books.
• Have updated information about the art market and in-depth knowledge of the
collections and exhibitions they manage.
• Develop and oversee educational programs and plans to cultivate donors for
their organization.

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Managers, Curators, Buyers, Collectors, MODULE

and Art Dealers 3
LESSON
1

Another figure that plays an important part in the marketing world of art are
those art buyers.
ART BUYER
What do we mean when we say Art Buyer?
An art buyer is an individual who
discovers and purchase art works for a
client to suit in accordance with their taste
(shorturl.at/cftzB). He/she appraise and
determines the quality and value of an
artwork with monetary appropriateness.
What does an Art Buyer do in the art
market?
ginahessburg.com cites an
important roles that an art buyer plays in
the art market. Art Buyer (https://tinyurl.com/yylmj4qb)
1. Produce commercial advertising projects while maintaining creative integrity
within a budge.
2. Support creativity and manage expectations with all partners.
Being an art buyer also requires financial stability and have an eyes in
evaluating a certain piece of art.
ART COLLECTOR
The cycle of art market will not be completed if there is no art collector, who
preserves and support the arts.
Well, what is to be an Art Collector? An art collector
defines by the
monayoussefgallery.com, as a
person who loves certain
pieces of art/paintings and
collect art not necessary to sell
later but the chance is there.
Art collector loves to collect
artworks for his/her personal
purposes or because of
passion in arts. He or she
sometimes collect artworks for
the idea to establish a gallery,
Art Collector (https://tinyurl.com/y2qfc3ew) museum or for house display.

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Managers, Curators, Buyers, Collectors, MODULE

LESSON and Art Dealers 3
1

Art Collectors involvement in art industry is undeniably because of their artistic

knowledge that creates a greater impact and contributed a lot in the art world.
They play an important role in the art industry since they are capable of
influencing other people with their passion and choices in arts. Claire Michelizza of
Tafter Journal identify some roles that of an art collector in the art industry. These are
the following:
1. Can discover an unknown artist who will be able to sell artworks on the other
market.
2. Determine the interest of a work and can participate to the recognition of an
artist.
3. They hired a large staff to deal with their artistic interests.
Being an art collector, one must have a deep artistic knowledge and strong
passion in collecting valuable things such as artworks and artefacts
ART DEALER
Art dealer works closely with the art collector because they collaborate in finding
artworks that are beneficial to both of them.
What it is to be an Art Dealer?
As defined by the
monayoussefgallery.com, art dealer
is the person who buys art at the right
time with the right price and sells it at
the right time with the right price, but
not necessary deal with artists on a
personal level. Art dealers are more
focus in making profits out of arts than
making arts as their interest.

What are the roles of an Art Dealer? Art Dealer (https://tinyurl.com/y3hkq5je)

Art Acacia provides some important roles of an art dealer in the art market,
these are as follows:
1. Facilitate art sales by connecting represented artists with galleries, museums,
collectors or corporations.
2. Use their connections with wealthy collectors and important museums to help
propel artists’ careers.
3. Predict and influence future market trends.
4. Ties to art institutions and art non-profits to exhibit their represented artists’
works.

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Managers, Curators, Buyers, Collectors, MODULE

3
LESSON and Art Dealers
1

• Let's Sum It Up
Every human being in this world has its purpose and career to take as they go
along their journey in life. As society moves along there are different jobs arises and
we have different sectors where we can practice our expertise and pursue our field of
interest. The art industry is one of the sectors where artists and artisans belong, along
with it, there are also jobs and figures that take part in keeping arts more open and
known to public. We are not only talking about the art itself instead how this art makes
or helps people change their lives and open different opportunities not only for the
artists and artisans and but the people who works with it.
As what we have learned, the art manager, curator, buyer, collector, and art
dealer are the identified figures that composed the cycle of business in the art market
of the art world.
First, the art manager who supervise the art department and performs
managerial stuff, conduct research, and plans the market targets to reach the
company’s goals.
Second, the art curator who interprets the artworks for the clients or guests,
manage artworks arrangement, and in-charge in exhibitions.
Third, the art buyer who discover and purchase artworks according to the taste
of his/her clientele and also who evaluate artefacts quality and value.
Fourth, the art collector who loves to collect artworks either for business or
personal purposes and they are also capable of influencing other people with their
passion and artistic choices. With their passion they can help artists and artisans to be
discovered and recognized in the world of art.
Fifth, the art dealer who buys and sells artworks to make money. This job is
more engaged in making business
These jobs/figures are the key components of the art market because they are
not only discovering artists and artisans but also preserving arts as well as making
profit out of it.

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Managers, Curators, Buyers, Collectors,

LESSON and Art Dealers
1

• BIBLIOGRAPHY
Rodrigues, Abby Irene T., (2018). Rethinking the Creative Economy: The Diverse
Economies of Artists and Artisans in Rural Massachusetts. Retrieved from
shorturl.at/dDP34 last August 15, 2020.
Bocog, J., Deraco, A.J., Baguio, M., (2019). Art Appreciation. Retrieved from
shorturl.at/agq24 August 15, 2020.
Michelizza, C., (2014). Describe the role of collectors in the XXI century, in terms of
effects on the art market, influence on artistic creation, diffusion and knowledge
of artists and artworks. Retrieved from https://tinyurl.com/y64crnau last August
16, 2020.
Retrieved from shorturl.at/cdxB9 last August 16, 2020.
Retrieved from https://tinyurl.com/y3ntznjt last August 16, 2020.
Retrieved from https://tinyurl.com/y3zf2zxo last August 17, 2020.
Retrieved from https://tinyurl.com/y5x74l38 last August 17, 2020.
Retrieved from https://tinyurl.com/y5kssxbk last August 17, 2020.
Retrieved from https://tinyurl.com/yxrmge6r last August 17, 2020.
Retrieved from https://tinyurl.com/y5od3vy3 last August 17, 2020.
Retrieved from https://tinyurl.com/y6q5xmc9 last August 17, 2020.
Retrieved from http://www.ginahessburg.com/faqs last August 19, 2020.

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Medium and Techniques Approach in

Visual Arts, Auditory, and Combined Arts LESSON 2
(3 HOURS)
Rachel T. Robles

LEARNING OUTCOMES

MODULE 3: ARTISTS AND ARTISANS: PRODUCTION

1. Identify the medium in various forms of arts in visual, auditory
and combined arts;
2. Define an artist’s or artisan’s medium and technique, and
3. Create artwork using different media in arts.

PROCESS, MEDIUM, AND TECHNIQUES

INTRODUCTION
What's in a Work of Art?
In art, a medium is the material that artists use to create their
art. It's that simple. Whatever a piece of art is made out of is its
medium. The plural of medium is media. So, one piece of art can be
made of one medium or several media. If you've ever been to an art
museum or gallery, you've probably seen those little signs next to
each piece that look something like this:

‘Oil in canvass’

‘Tempera on Wood'

'Ink on Silk's’

All of these items are media. They describe each item the artist
used to make the art. Therefore, oil and canvas are both medias used
to describe that particular work. Sometimes this can be a very
important part of how the piece of art is interpreted. Different materials
carry different significance. For example, if a certain wood is
considered sacred, then using it indicates that this piece of art is very
special. Or if an artist uses an uncommon medium, say garbage, it
helps that artist make a statement.

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MODULE
Medium and Techniques of Arts 3
LESSON
2

• Let's Discover
Me dium
Medium can refer to both to the type of art (e.g. painting, sculpture,
printmaking), as well as the materials an artwork is made from. In relation to art, this
term has two principal overlapping, even slightly confusing meanings. Painting,
sculpture, drawing, printmaking, are all media of art in the sense of a type of art. The
term medium also refers to the liquid in which the pigment is suspended to make paint.
So, the medium of the medium of oil paint is linseed oil.
Techniques
The means, method, process, or technique by which a material was used in the
creation of a work.

What's in a Work of Art?

In art, a medium is the material that artists use to create their art. It's that
simple. Whatever a piece of art is made out of is its medium. The plural of medium
is media. So, one piece of art can be made of one medium or several media. If you've
ever been to an art museum or gallery, you've probably seen those little signs next to
each piece that look something like this:
'Oil on Canvas', 'Tempera on Wood', 'Ink on Silk'
All of these items are media. They describe each item the artist used to make
the art. Therefore, oil and canvas are both medias used to describe that particular work.
Sometimes this can be a very important part of how the piece of art is interpreted.

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MODULE
Medium and Techniques of Arts 3
LESSON
2

Different materials carry different significance. For example, if a certain wood

is considered sacred, then using it indicates that this piece of art is very special. Or if
an artist uses an uncommon medium, say garbage, it helps that artist make a
statement.

Common Media
Oil painting is the process of painting with pigments that are held together with
a type of oil that dries when exposed to air, called drying oil. When the oil is mixed with
a powdered pigment, it creates a color of paint. Different pigments create different
colors. Since prehistoric times, natural pigments, such as minerals and shells, were
used. After the industrial revolution, people were able to create new colors using
machines that could create synthetic pigments.
The first artists to use oil as a base for their paints were Indian and Chinese
Buddhists, working in Afghanistan as early as the fifth century. By the 15th century,
painters in the Netherlands began using oils for their paintings, and this soon took off
as the most popular medium in Europe during the Italian Renaissance. Since then, oil
paints have been the most common media in Western art. Oil paints are almost always
used to paint canvas, a woven fabric.
Tempera is another common medium. Before oil painting became popular,
most painting was done with tempera paints. Rather than oil, the pigments are held
together with a sticky material, most commonly egg yolk. Egg yolk holds the pigments
together, but it dries very fast and can sometimes give the paint a slightly yellow color.
Nevertheless, it was a very common way to make paint before oils came around and
is still used by many artists who enjoy working with fast-drying paints to create certain
effects. Tempera is often used to paint wood, another common medium before the
Italian Renaissance.
In sculpture, marble is one of the most common media. Marble is a soft stone
that is easy for sculptors to carve, chip, and polish into smooth and beautiful works of
art. Small impurities in the white marble can give the sculpture unique color and shine.
The Italian artist Michelangelo Buonarroti (1475-1564) was one of the most
famous sculptors of all time and famous for saying that he could see an image in a
block of marble and that it was his job to remove the excess.

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MODULE
Medium and Techniques of Arts 3
LESSON
2

List of Mediums of Arts

Painting Drawing Sculpture

(these don’t necessarily (these don’t necessarily have to
have to be done on •
be done on paper-explore other Pottery
canvas-explore other surfaces) • Ceramics
surfaces) • Charcoal • Terracotta
• Oil • Graphite • Wood carving
• Acrylic • Pencil • Balsa wood
• Watercolour • Conte crayons • Found objects
• Gouache • Pen and Ink • Assemblage
• Tempera • India Ink (with brush) • Installation art
• Fresco painting • Chalk • Earth Art
• Murals • Chalk pastels • Jewelry
• Oil pastels • Mosaics
• Colour pencils • Polymer clay
• Markers • Paper
• Plaster
Textiles Photography/Film/Technology • PVC piping
• Weaving • Black and white Digital • Resin
• Macramé • Photoshop • Glass
• Fashion design • Graphic design - Stained glass
• Batik • Video art - Blown glass
• Marbeling - Animation
• stamping - Clay animation Metal
- Stop motion • Silver
photography • Nickel
• Copper
Printing Other
• Wires
• Screen-printing • Mixed media
• Aluminum foil
• Mono-printing • Collage
• Bronze
• Block printing • Paper cutting
• Fiberglass
• Etching • Scrimshaw Wax
• Lithography • Fimo Stone
• Spray-paint • gold leafing Soap
• Airbrush • glues Marble
• transparencies Concrete
Gelatine
Styrofoam
Relief sculpture
Ready-mades

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MODULE
Medium and Techniques of Arts 3
LESSON
2

• Let's Sum It Up
Medium, which comes from the latin word medium, denote the means by which an
artist communicates his idea.
On the basis of medium, the arts are primarily classified as visual and auditory.
Visual arts are those whose mediums can be seen and which occupy space. The
auditory arts are those whose mediums can be heard and which are expressed in time.
All arts convey meaning and these may be enjoyed through either the visual on
the auditory sense or both.
Technique is the manner in which the artist controls his medium to achieve the
desired effect. It is the ability with which he fulfils the technical requirements of his
particular work of art. It has something to do with the way he manipulates his medium
to express his ideas in the artwork.

• BIBLIOGRAPHY
Ariola, M. (2014). Introduction to art appreciation. Second Edition. C & E Publishing,
Inc. Retrieved last August 2, 2020.
Monarch Painting, (2019). "Choose The Best Paint Brush | World's Finest Handcrafted
Paint Brushes". | Australia's Finest Handcrafted Brushes, Rollers &
Accessories. Retrieved last August 2, 2020.
Retrieved from https://tinyurl.com/yy8lglpt last August 2, 2020.
Retrieved from https://tinyurl.com/y4rxrn4j last August 2, 2020.
Retrieved from https://tinyurl.com/yy8lglpt last August 2, 2020.
Retrieved from https://tinyurl.com/y5thcpoo last August 3, 2020.
Retrieved from https://tinyurl.com/y2ymla79 last August 3, 2020.
Retrieved from https://tinyurl.com/yxr3am64 last August 3, 2020.
Retrieved from https://tinyurl.com/y5qwk4tk last August 4, 2020.
Retrieved from https://tinyurl.com/y2mpghz4 last August 4, 2020.
Retrieved from https://www.tate.org.uk/art/art-terms/m/medium last August 5, 2020.

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GAMABA
(Gawad sa Manlilikha ng Bayan) LESSON 3
(3 HOUR)
Romelyn May L. Cuizon, LPT

LEARNING OUTCOMES

MODULE 3: ARTISTS AND ARTISANS: PRODUCTION

1. Identify the different GAMABA artists, their notable works and
their contribution to the society.

PROCESS, MEDIUM, AND TECHNIQUES

INTRODUCTION

As with any organized endeavor, the arts and culture have

entered into a phase in which another aspect of its practice can be
realized. After an artist has spent considerable time in honing his skills,
establishing the relevance of the body of his works, and even gaining
respect from his/her colleagues in the art world; he/she may be
considered or nominated for awards and citations. One of the most
common measures in which artists and other creative producers are
given incentives and honour for their work is through state-initiated and
given awards and citations (Caslib et.al., 2018)
This lesson will introduce to you the different notable Filipino
artists, their works and contributions in the society. Knowing about
these artists who have dedicated their lives to the cultivation of the arts
through their great creativity, imagination and passion throughout the
history, is one way of appreciating them and taking pride of their
hardworks.
Let’s explore the wider world of the Arts and Culture!

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• Let's Discover
What is Gamaba?

Gawad sa Manlilikha ng Bayan also known as the National Living Treasures, is

the award given to a person or a group of artists that is recognized by the Philippine
government for their contributions to the nation’s cultural heritage (Maestro Valle Rey,
2019).
On April 1992, the Gawad sa Manlilikha ng Bayan or the National Living
Treasures Award was institutionalized through Republic Act No. 7355. Tasked with the
administration and implementation of the Award is the National Commission for Culture
and the Arts, the highest policy-making and coordinating body for culture and the arts
of the State. The NCCA, through the Gawad sa Manlilikha ng Bayan Executive
Council, conducts the search for the finest traditional artists of the land, adopts a
program that will ensure the transfer of their skills to others, and undertakes measures
to promote a genuine appreciation of and instill pride among our people about the
genius of the Manlilikha ng Bayan (https://tinyurl.com/y42sobte).
The RA 7355 implies that a citizen engaging in any traditional art which is
uniquely Filipino whose distinctive skills will reach such a high level of technical and
artistic excellence and is passed on to and widely practice by the generation of today
in his/her community with the same level of technical and artistic competence.

GAMABA Emblem National Artist of the Philippines Emblem NCCA Emblem

The award was first given to three outstanding artists in music and poetry in
1993. They are Ginaw Bilog (a master of Ambahan poetry), Masino Intaray (a master
of various traditional musical instruments of the Palawan people); and Samaon
Sulaiman (a master of kutyapi and other instruments (Caslib et.al. 2018). Its roots came
from the 1988 National Folk Artists Award which was organized by the Rotary Club of
Makati-Ayala.

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Let’s go more into detail of these following artists and their contribution to the
society.

GINAW BILOG (+ 2003)

Poet A Hanunuo Mangyan of
Hanunuo Mangyan Mansalay, Oriental Mindoro
Panaytayan, Oriental Mindoro Awarded for faithfully
1993 preserving the Hanunuo
Mangyan script and
ambahan poetry.
He has promoted the local
script and poetry so that the
art will not be lost but
preserved for posterity.

MASINO INTARAY (+ 2013)

Musician and Storyteller A Pala'wan of Brookes
Pala’wan Point, Palawan
Brookes Point, Palawan He was awarded for his
1993 exemplary skills in basal or
gong music ensemble
He was also recognized for
his versatility as musician,
poet, epic chanter and
storyteller of the kulilal and
bagittraditions of the
Pala'wan.

SALINTA MONON (+ 2009)

Textile Weaver A Tagabawa Bagobo of
Tagabawa Bagobo Bansalan, Davao del Sur
Bansalan, Davao del Sur She was awarded for fully
1998 demonstrating the creative
and expressive aspects of
the Bagobo abaca ikat
weaving called inabalat a
time when such art is
threatened with extinction.

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SAMAON SULAIMAN (+ 2011) A Magindanao of Mama sa

Musician pano, Maguindanao.
Magindanao He was awarded for his
Mama sa Pano, Maguindanao outstanding artistry and
1993 dedication to his chosen
instrument, the Magindanao
kutyapi.
Kutyapi is a two-stringed
plucked lute, regarded as one
of the most technically
demanding and difficult to
master among Filipino
traditional instruments.
LANG DULAY (+2015) A T'boli of Lake Sebu, South
Textile Weaver Cotabato, was awarded for
T’boli weaving the abaca ikatcloth
Lake Sebu, South Cotabato called t'nalak
1998 She has produced creations
which remain faithful to the
T’boli tradition as manifested
in the complexity of her
design, fineness of
workmanship and quality of
finish.

ALONZO SACLAG A Kalinga of Lubuagan,

Musician and Dancer Kalinga was awarded for his
Kalinga mastery of the Kalinga dance
Lubuagan, Kalinga and the performing arts.
2000 He was also recognized for
his persistence to create and
nurture a greater
consciousness and
appreciation of Kalinga
culture among the Kalinga
themselves and beyond their
borders.

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FEDERICO CABALLERO
Epic Chanter A Panay-Bukidnon of Calinog,
Sulod-Bukidnon lloilowas awarded for his
Calinog, Iloilo mastery of chanting the
2000 sugidanon, the epic tradition of
Central Panay.
He ceaselessly worked for the
documentation of the epics of
his people painstakingly
piecing together the elements
of this oral tradition nearly lost.

DARHATA SAWABI (+ 2005)

Textile Weaver Of barangay Parang, Jolo
Tausug Island, Sulu province
Parang, Sulu Has preserved the art of
2004 pissyabit weaving.
It is difficult art of tapestry
weaving that creates the
traditional squares used by the
Tausug for ornamentation.

UWANG AHADAS
Musician A Yakan of Lamitan, Basilan
Yakan was awarded for his dexterity in
Lamitan, Basilan playing Yakan musical
2000 instruments such as the
kwintangan, gabbang, agung,
kwintangankayu, tuntungan
among others
He has a deep knowledge of
the aesthetic possibilities and
social contexts of those
instruments.

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HAJA AMINA APPI (+ 2013)

of Ungos Matata, Tandubas,
Mat Weaver(Gawad sa Manlilikha ng Bayan)
Tawi-Tawi
Sama
She recognized as the master
Tandubas, Tawi-Tawi
mat weaver among the Sama
2004
indigenous community of
Ungos Matata.
Her colourful mats with their
complex geometric patterns
exhibit her precise sense of
design, proportion and
symmetry and sensitivity to
color.
EDUARDO MUTUC
Metalsmith A Kapampangan from Central
Kapampangan Luzon is recognized for
Apalit Pampanga reviving the Spanish colonial-
2004 era craft of Plateria.
This self-taught master
craftsman found his calling in
producing religious and
secular art in silver, bronze and
wood.

YABING MASALON DULO Fu Yabing was born in an

Ikat Weaver, 2016 Amgu-o where the plant and
(born 8 August 1914) animal life were differentiated
to minute degrees by the locals
in the vocabulary of their
tongue, Blaan.
She encouraged skill and
imagination.
Among all the peoples who
used to ikat in Mindanao, ikat is
an extinct form of art-making,
community-making,
equilibrium-making. Blaan ikat
dyeing is an extinct form of
human endeavor in a world
gone the way of the forests.

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LESSON
Each time Teofilo Garcia
3 TEOFILO GARCIA
leaves his farm in San Quintin,
Casque Maker
Abra, he makes it a point to
Ilocano
wear a tabungaw, a unique,
San Quintin, Abra
functional and elegant
2012
headpiece that shields him
GAMABAfrom the rain and the sun.
It is made of the native gourd,
(Gawad sa Manlilikha ng Bayan)
hollowed out, polished, and
varnished to a bright orange
sheen to improve its weather
resistance. The inside is lined
with finely woven rattan
matting, and the brim sports a
subtle bamboo weave for
accent.
Because he takes pride in
wearing his creations,
hundreds have sought him out
at his home to order their own
native all-weather headgear.
His clients have worn his work,
sent them as gifts to their
relatives abroad, and showed
them off as a masterpiece of
Filipino craftsmanship.
He has been a master artisan
since he learned how to make
gourd casques and weave
baskets from his grandfather
at the age of 15.
It takes at least seven days to
finish one tabungaw,
assuming that all the materials
are available. He uses only
simple hand tools that he
designed himself and he is
involved in each stage of the
production.

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LESSON
3 2012 Gawad sa Manlilikha ng
MAGDALENA GAMAYO
Textile Weaver Bayan awardee, Magdalena
Ilocano Gamayo still owes a lot to the
Pinili, Ilocos Norte land and the annual harvest.
2012 Despite her status as a master
GAMABA weaver,
enough.
weaving alone is not

(Gawad sa ManlilikhaMagdalena
ng Bayan) has to rely on local
merchants with their limited
supplies. She used to spin
her own cotton and brushed it
with beeswax to make it
stronger, but after the Second
World War, she now relies on
a market-bought thread.
Magdalena prefers to work
with linen because it is
obedient to the master
weaver’s touch.
Magdalena has been relying
on her instincts, practiced
hands, and innate skills for
years, starting at the age 16
when she learned the art of
weaving from her aunt. She
was never formally taught but
picked up the art on her own
by copying the patterns.
Magdalena has taught herself
the traditional patterns
of binakol, inuritan (geometric
design), kusikos (spiral forms
similar to oranges), and sinan-
sabong (flowers), which is the
most challenging pattern.

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LESSON
3 Apuh Ambalang, as she is called
AMBALANG AUSALIN
Textile Weaver, 2016 by her community of weavers, is
(born 4 March 1943) highly esteemed in all of Lamitan.
She is able to bring forth all
designs and actualize all textile
categories typical to the Yakan.
She can execute the suwah
GAMABA bekkat (cross-stitch-like
embellishment) and suwah
(Gawad sa Manlilikha ng(embroidery-like
pendan Bayan)
embellishment) techniques of
the bunga sama category.
She is also renowned for weaving
the sinalu’an. This is a design or
category of weave with stripes of
the diamond twill technique.
The seputangan is her other
exemplary specialty, as it was her
mother’s too. This cloth is a meter
square in size with
geometric designs, and is the
most expensive part of the Yakan
female ensemble because of its
detailed design.
The Yakan value nature as the
mother of art and in their weaving,
record the pure beauty of nature.
Each cloth patterning is symbolic
of the palay, unhusked rice, which
also signals power, social status,
and self-expression. The
minuteness and compressed
detail of a motif or
design symbolize the Yakan’s
sense of “community,”
“togetherness,” or “harmony.”

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LESSON
3
ESTELITA BANTILAN She was at birth, seventy-
Mat Weaver, 2016 two years
(born 17 October 1940) ago, Labnai Tumndan.
It was a recognizable name in
the language, Blaan, spoken in
the montane hamlet
GAMABA of Mlasang.
The child Labnai, already
(Gawad sa Manlilikha ng Bayan)
precocious in mat weaving,
took on the name Estelita in
the 1950s.
When Estelita married,
becoming Mrs. Bantilan, she
raised a family in the foreign
faith. But she kept to her mat
weaving.
Estelita also carried on
because mats were her gifts of
choice to people she
cherished.
She was never wont to
monetize her mats.
She carved out considerable
time from domestic and
farming responsibilities to
accomplish some of the
biggest, most subtly beautiful
mats to be seen anywhere in
Southeast Asia today.
Estelita’s demeanor —
characterized by alertness,
focus, and a calm that appears
to permeate her entire body —
is key to understanding mat
weaving itself, among the
Sarangani Blaan and the rest
of the Filipinos who still know
the art.

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How does one become a Manlilikha Ng Bayan?

To become a Manlilikha ng Bayan, an individual or group candidate must

a. Possess a mastery of tools and materials needed for the traditional, folk art
and be a maker of works of extraordinary technical quality;
b. Have consistently produced works of superior quality over significant period;
c. Have engaged in a traditional and folk art which has been in existence and
documented for at least fifty (50) years;
d. Command respect and inspire admiration of the country with his character
and integrity;
e. Must have transferred and/or willing to transfer to other members of the
community the skills in the traditional and folk arts for which the community
has become nationally known.
f. However, a candidate who, due to age or infirmity, has left him/her/them
incapable of teaching further his/her/their craft, may still be recognized
provided that he/she/they must possess the qualifications as enumerated
above.

Categories

The Award may cover traditional and folk arts in the areas of performing arts
and craft. Consideration shall be made for adequate representation in geographic
distribution and different artistic categories.

Ad Hoc Panel of Experts

To ensure a fair selection of potential awardees, the Gawad sa Manlilikha ng
Bayan Executive Council shall be assisted by an Ad Hoc Panel of Expert consisting of
experts in the traditional and folk arts categories. The names of those selected to
become members of the Ad Hoc Panel of Expert shall be submitted to the NCCA Board
of Commissioners for proper designation. The term of the members shall expire upon
completion of the search and selection process.

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What are the benefits and privileges of an Awardee?

For the individual awardee:

a. The rank and title of Manlilikha ng Bayan, as proclaimed by the President

of the Philippines in accordance with Executive Order No. 236 or Honors
Code of the Philippines;
b. The GAMABA gold-plated medallion minted by the Bangko Sentral ng
Pilipinas (BSP) and citation;
c. A lifetime emolument and materials and physical benefits comparable in
value to those received by the highest officers of the land such as:
▪ A minimum cash award of Two Hundred Thousand Pesos (Php
200,000.00), net of taxes.
▪ A minimum lifetime personal monthly stipend of Fifty Thousand Pesos
(Php 50,000.00).
d. Medical and hospitalization benefits not exceeding Php 750,000.00 per
year. A state funeral, the arrangements for and the expenses of which shall
be borne by the Government, upon the death of the Manlilikha ng Bayan;
and
e. A place of honor, in line with protocol precedence, in state functions,
national commemoration ceremonies and all other cultural presentations.

For the group awardee:

a. The rank and title of Manlilikha ng Bayan, as proclaimed by the President

of the Philippines in accordance with Executive Order No. 236 or Honors
Code of the Philippines;
b. The GAMABA plaque for the group;
c. A one-time award of Two Hundred Thousand Pesos (Php 200,000.00), net
of taxes;
d. The group shall designate its leader who will represent and attend events
and functions on behalf of the group. The said representative will also have
a place of honor, in line with protocol precedence, in state functions,
national commemoration ceremonies and all other cultural presentations.

The evolution of the artist throughout the history is one of the most interesting
progressions in the affairs of man. From the banalities of the works he/she created to
assist and inform every day, he was caught in the midst of prevailing and shifting
ideologies and utilized the power of the creativity and imagination in attempt to grapple
with the world around him. There is much responsibility and expectation ascribed to
artists (Caslib et.al. 2018).

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• Let's Sum It Up
The National Living Treasure Award alternatively known as the Gawad sa
Manlilikha ng Bayan (GAMABA); this “Award for the Creators of the Country is
conferred to a person or group of artists recognized by the Government of the
Philippines for their contributions to the country’s intangible cultural heritage. The
award was established on April 1992 through Republic Act No. 7355 under the
administration and implementation of the National Commission for culture and the arts
(NCAA) through the Gawad sa manlilikha ng bayan committee and an Adhoc panel of
experts. The very purpose of this award is to give honor and pride to those traditional
folk artists and to preserve their works, skills and crafts.

• BIBLIOGRAPHY

Caslib, B.N., Dorothea C. Garing & Jezreel Anne R. Casul (2018). Art appreciation
– First Edition. Rex Book Store, Inc., Sampaloc, Manila. Retrieved last August
3, 2020.
Maestro Valle Rey (2019). What is GAMABA? Retrieved from
https://tinyurl.com/y54cmngm last August 3, 2020.
GAMABA Guidelines. Retrieved from https://tinyurl.com/y55veavg last August 3, 2020
GAMABA Awardees. Retrieved from https://aboutphilippines.orgfilesGamaba-
Awardees.pdf last August 4, 2020.
Gawad sa Manlilikha ng Bayan. Retrieved from https://ncca.gov.ph/about-culture-and-
arts/culture-profile/gamaba/ last August 4, 2020.

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