Module 3

Subject and Content

I. Objectives

1. Define and differentiate subject and content;

2. Identify and describe the types, sources, and kinds of subject;
3. Discuss the content (different levels of meaning) in art; and,
4. Recognize the importance of subject and content in understanding and
appreciating art.
 ARTS 1100 (Art Appreciation)

II. Discussion

[adapted from Caslib Jr., B., Garing, D. C., & Casaul, J. R. (2018). Art Appreciation. Manila: Rex
Bookstore, Inc.]

The basic yet most important thing that an individual can do to

understand and appreciate an artwork, specifically visual arts, is simply by
looking at it. Moreover, a person can give value and meaning to an artwork by
tapping his/her schema—emotions, memories, knowledge of the world, among
others.
Aside from the aforementioned, to fully comprehend a work of art, an
individual must look at its components: subject, form, and content. This lesson
focuses primarily on the subject and content of visual art.
As mentioned by Caslib Jr. et al (2018, p. 38), “subject refers to the visual
focus or the image that may be extracted from examining the artwork, while
content is the meaning that is communicated by the artist or the artwork.”

Subject
[with excerpts from Art fundamentals: theory and practice. 12th ed. by Ocvirk, O. G., Stinson, R.E.,

Wigg, P. R., Bone, R. O., & Cayton D. L. (2013) and Art Appreciation by Caslib Jr., B., Garing, D. C., &
Casaul, J. R. (2018)]

 Subject refers to the topic, focus, or image presented in an artwork.

 It is the basic idea contained in the work of art.
 Different visual arts may have different subjects; it could be a place,
person, thing, or idea.
1. Types of Subject
 Ocvirk et al (2013) identified two types of subject:
a. Representational (also called as objective or figurative)
 These are subjects or images that look as close as possible to their
counterparts in the real world.

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 Easily identified and recognized by the audience because they may

have encountered/seen/experienced the image or event
represented in the artwork.
 Thus, artworks that portray/present people, objects, or events that
exist or occur in the real world are called representational art.
 However, note that some representational art employs varying
levels of abstraction. Meaning, the images or subjects portrayed in
the artwork look less like the object from which they are derived.
(See Fig. 3 on page 4)
 Some examples of representational art are as follows:

Fig. 1 Charles Sheeler, Composition around Red (Pennsylvania), 1958. Oil on canvas, 26 3 33 in.
Source: https://www.mmfadocents.com/blount-gallery5.html

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 ARTS 1100 (Art Appreciation)

Fig 2. Fernando Amorsolo, Palay Maiden, 1920. Oil on canvas

Source: https://qph.fs.quoracdn.net/main-qimg-39301eefe8209e08be2e75a31efc894e.web

Fig. 3 DeLoss McGraw, Mother and Child “Bleak and Lonely Heights” in August Moving Sunlight, 2002. Gouache on paper, 20 x
30 in.
Source: (Copied from Art fundamentals: theory and practice. 12th ed. by Ocvirk, O. G., Stinson, R.E., Wigg, P. R., Bone, R. O., &
Cayton D. L. 2013, p. 164)

b. Non-representational (also called as non-objective or non-figurative)

 These are subjects or images that do not refer to any object, person,
place, or event in the physical world. They do not rely on imitation
or representation.
 In contrast with representational art, Caslib Jr. et al (2018, p. 41)
stated that non-representational art is “stripped down to visual
elements such as shapes, lines, and colors that are employed to
translate a particular feeling, emotion, and even concept.”
 The audience/observer may have some difficulty in identifying or
recognizing the subject in non-representational art.
 Some examples of non-representational art are as follows:

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Fig 4. Vasily Kandinsky, Composition VIII, 1923. Oil on canvas.

Source: https://images.weserv.nl/?url=https://www.guggenheim.org/wp-content/uploads/1923/01/37.262_ph_web-1.jpg&w=870

Fig 5. Jackson Pollock, Autumn Rhythm (Number 30), 1950. Oil on canvas, 8 ft. 9 in. x 17 ft. 3 in.
Source: https://www.jackson-pollock.org/autumn-rhythm.jsp

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2. Sources and Kinds of Subject

a. Nature/Environment
 An artist may draw inspiration from his/her interaction with the
environment or the physical world.
 He/She may depict different kinds of subjects such as people,
animals, plants, landscape, seascape, and even cityscape.
 As mentioned by Caslib Jr. et al (2018, pp. 43-44), Vincent van
Gogh is one of the artists attuned with nature while Claude Monet,
Camille Pissarro, Paul Cézanne, and JMW Turner are known for
their landscapes and seascape artworks.
 Moreover, Fernando Amorsolo and Fabian de la Rosa are famous
for their paintings depicting rural scenes, people in the fields, and
the like (Caslib Jr. et al 2018, p. 44).

Fig 6. Vincent van Gogh, Die Ebene von Auvers, 1890. Oil on canvas
Source: https://commons.wikimedia.org/wiki/File:Vincent_van_Gogh_-_Die_Ebene_von_Auvers_-_1007_-
_%C3%96sterreichische_Galerie_Belvedere.jpg

b. Still life
 Artists may draw inspiration from inanimate subjects such as food,
flowers, plants, candles, glass, books, and so on.

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 Still-life painting is said to represent or depict inanimate objects for

the sake of their qualities of form, color, texture, and composition.
(Encyclopædia Britannica, 2021).

Fig 7. Paul Cézanne, The Basket of Apples, 1893. Oil on canvas

Source: https://www.superprof.com/blog/still-life-artists/

c. (Greek and Roman) Mythology

 Some paintings, sculptures, and even literary works depict and/or
visualize the heroic encounters, beauty, wit, vanity, and other
qualities of the characters, heroes, gods, and goddesses from
various mythologies.

Fig 8. Sandro Botticelli, The Birth of Venus, 1486.

Source: https://www.artsy.net/article/artsy-editorial-botticellis-birth-venus-challenged-depictions-nude-art

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d. Religion
 Several visual arts and literary works depict different religious
beliefs, specifically their God/superior being and other biblical
figures.
 These subjects are also evident in architectural designs of churches
and other sacred and/or religious sites.

Fig 9. Image of Sistine Chapel’s ceiling by Michelangelo from https://www.thoughtco.com/the-sistine-chapel-ceiling-by-michelangelo-183004

e. History
 Aside from the abovementioned, historical events also serve as
sources of subject in art.
 With this, artists bring history into life. It is their way to record
commemorate, and immortalize the events that happened in a
particular nation or society.
 As discussed by Caslib Jr. et al (2018, p. 48), the things which are
usually depicted in art are the following:
a) the establishment of nations and state [discovery, conquests,
and colonization]
b) the resulting ideologies that they breed [democracy, liberty,
freedom, and rights]
c) known leaders and figures in the world’s/nations’ history

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 In the Philippine context, specifically during the Spanish colonial

period, it is said that the colonizers used art as their way to
communicate with the people. They used visual arts to introduce
Catholicism to the Filipino people. (Caslib Jr. et al 2018, p. 49).

Fig 10. Carlos “Botong” Francisco, The Martyrdom of Rizal, 1960.

Source: https://nolisoli.ph/34743/national-museum-now-opens-botong-franciscos-greatest-work-to-the-public/

Content
[with excerpts from Art fundamentals: theory and practice. 12th ed. by Ocvirk, O. G., Stinson, R.E.,

Wigg, P. R., Bone, R. O., & Cayton D. L. (2013) and Art Appreciation by Caslib Jr., B., Garing, D. C., &
Casaul, J. R. (2018)]

 Content refers to the themes and messages contained in a work of art.

 It could be a statement, expression, or mood developed by the artist
which is then interpreted by the audience/observer.
 It is said that content is interpreted by looking at the art’s subject and
form.
 As mentioned in the previous modules, different observers have different
interpretations and/or feelings toward an artwork. This is because they
differ in: familiarity with the subject, background knowledge, cultural
background, feelings and ideas, experiences, and the like.

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 As discussed by Ocvirk et al (2013, p. 12), to have a fuller interpretation

of content, an individual may want to revisit or research about the
artist’s life, the time when the art was created, and the culture
associated with the artist and his/her work.

1. Different Levels of Meaning in Art

Caslib Jr. et al (2018) identified three levels of meaning in art:
a. Factual Meaning
 This refers to the literal meaning or the narrative content
of an artwork which can be easily recognized and/or
understood just by looking at the subject matter or elements
presented in the work.
b. Conventional Meaning
 As the name implies, this refers to the meaning which is
embedded in a particular object/image/color (usually
accepted/agreed upon by a certain culture or group of
people).
c. Subjective Meaning
 This refers to the meaning given by the audience/observer
in relation to his/her personal views, feelings, and ideas.
 As Caslib Jr. et al (2018, p. 50) discussed, an individual’s
perception and interpretation of an artwork will always be
influenced by the following:
(a) what he/she knows,
(b) what he/she learned,
(c) what he/she experienced, and
(d) what values he/she stands for.

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Enrichment/Suggested Readings:

1. The Three Components of Art

Link:
https://personal.utdallas.edu/~mel024000/pages/2D_Design/Components_of_A
rt/Components_of_Art.html
2. An Introduction to Representational Art
Link: https://www.thoughtco.com/what-is-representational-art-182705
3. What is the Definition of Non-objective Art?
Link: https://www.thoughtco.com/nonobjective-art-definition-183222

References:

Caslib Jr., B., Garing, D. C., & Casaul, J. R. (2018). Art Appreciation. Manila: Rex
Bookstore, Inc.

Encyclopædia Britannica (2021). Still-life painting. Retrieved from

https://www.britannica.com/art/still-life-painting

Ocvirk, O. G., Stinson, R.E., Wigg, P. R., Bone, R. O., & Cayton D. L. (2013). Art
fundamentals: theory and practice. 12th ed. New York: McGraw-Hill.

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