ART APPRECIATION

REVIEWER
What is ART? transmitted: the clarity of
expression assists the transition
Leo Tolstoy of feelings and increases the
●​ Russian writer pleasure derived from art.
●​ Leo Tolstoy is known primarily for
having written the masterpieces ●​ The sincerity of the artist: the
War and Peace (1865–69) and force with which the artist feels
Anna Karenina (1875–77), which the emotion he/she transmits
are commonly regarded as among through his/her art.
the finest novels ever written
TOLSTOY’S ARGUMENTS ABOUT ART
Art is not based on beauty and taste ●​ Art is everywhere.
“...however strange it may seem to say so,
in spite of the mountains of books written ●​ Tolstoy names real art (i.e.
about art, no exact definition of art has authentic, true to itself) the one
been constructed. And the reason of this resulting from an honest, internal
is that the conception of art has been need for expression. The product
based on the conception of beauty. ” of this internal urge becomes a
(Tolstoy, 1897) real work of art, if it successfully
evokes feelings to other people.
What is art?
The true definition of art, according to Religious perception of art
Tolstoy, should be based on moral For Tolstoy, the religious perception of
principles. Before anything, we need to his time is found in Christianity. As a
question if a work of art is moral. If it is result, all good art must carry the
moral, then it is good art. If it is not foundational message of this religion
moral, it is bad. understood as brotherhood among all
people. This union of man aiming at his
Emotional infectiousness collective well-being, argues Tolstoy,
●​ The individuality of the feeling must be revered as the highest value of
transmitted: the more specific to all.
a person the feeling, the more
successful the artwork. The
clearness of the feeling
 I.​ The Moral Approach Dulce Et Utile
General Principles For a piece to be considered beautiful, it
●​ The aesthetics of a piece lies in must be both pleasing and useful; it must
the moral that it imparts. have both form and function.

●​ A piece is seen as a source of Bahay kubo

knowledge, values, and lessons. ●​ Francisco "Bobby" Mañosa was a
renowned Filipino architect.
●​ Didactic - refers to the ability of
art to instruct a moral. ●​ Philippine architecture reflects a
rich blend of indigenous, Spanish,
Aristotle and American influences, creating
Mimesis - The ability of art to imitate or a unique and evolving architectural
represent. landscape.

Humans as mimetic beings - Humans have ●​ The kind of architecture that we

the urge to create pieces that reflect have today is the result of a
reality. revolution boosted by the
absorption of diverse inspirations.
Catharsis - Art allows for the purgation
of Emotions.

E.g “Planting Rice” by Fernando Amorsolo

●​ The Bahay Kubo is a type of stilt

house indigenous to the Philippines.

●​ It is a traditional Filipino home

typically built from natural and
locally sourced materials like
bamboo, nipa palm leaves, and
wood.
●​ The bahay kubo represents a The Bahay Kubo teaches us
unique blend of practicality and the following moral or
cultural identity in the Philippines.
lessons:

1. Resourcefulness and
Sustainability

2. Simplicity and Contentment

3. Community and Cooperation

Biomimicry
●​ Biomimicry involves carefully
observing and understanding how
natural systems function.

●​ This includes studying the forms,

processes, and behaviors of living
organisms, such as plants, animals,
and microorganisms.

●​ Biomimicry aims to solve human

challenges by applying principles
observed in nature.

●​ This includes creating sustainable

solutions, developing renewable
energy, designing innovative
materials, improving medicine, and
building more eco-friendly
structures.
Biomimicry can be applied as art
1.​ Aesthetic Inspiration: Artists
draw inspiration from the beauty
and complexity of natural forms,
such as the intricate patterns of
butterfly wings, the flowing lines
of a leaf, or the vibrant colors of a
coral reef.
2.​ Materials and Processes:
Biomimicry in art inspires the use 2.​ Inabel comes from the Ilocano
of natural materials like wood and word "abel, " which means "to
stone. Weave. " It is inspired by natural
3.​ Conceptual art explores themes elements like land formations,
like how humans connect with flowers, and vegetation.
nature, the interdependence of
living systems, and the ethical
questions of copying nature's
processes.

Examples of Biomimicry in the

context of Philippine Art

3.​ Hinabol - Many Hinabol designs

are directly inspired by natural
elements. Weavers often
incorporate motifs derived from
plants (flowers, leaves, vines),
1.​ Spider Silk - It's a protein fiber animals (birds, insects, snakes),
spun by spiders. Spiders produce and natural phenomena (waves,
different types of silk for various clouds).
purposes, like building webs,
capturing prey, creating egg sacs,
and more.
II. Formalist Approach ●​ It's worth noting that formalism
emerged in the late 19th and early

GENERAL PRINCIPLES 20th centuries, a time when many

artists were moving away from
A.​ Perspective
traditional representational art
Art must be read objectively, not
and exploring abstraction.
subjectively.
B.​ Context
B.​ Art for Art’s Sake
The context of a piece is in the
●​ Formalism promoted the idea of
piece itself.
"art for art's sake," meaning that
art should be valued for its
WHAT TO DO?
intrinsic qualities, not for its
●​ Examine the piece, not the society
social, political, or moral messages.
behind it, not its audience, not the
lesson that it imparts.
●​ Examine the elements of Plato’s Allegory of the Cave
construction. ●​ In Plato's allegory, prisoners are
chained in a cave, only able to see

WHAT IS A FORM? shadows projected on the wall.

They mistake these shadows for
Refers to the visual and structural
reality. When one prisoner escapes
components of an artwork.
and sees the true forms outside
the cave, he realizes the shadows
FORMALIST IS AGAINST
were mere illusions.
1.​ Intentional Fallacy
●​ The error of basing a work’s
●​ This allegory highlights the
assessment on its creator’s
difference between perceived
intention.
reality (the shadows) and true
reality (the forms).
2.​ Affective Fallacy
●​ The error of evaluating a work
based on its effects on the
audience

HISTORICAL CONTEXT
A.​ BACKGROUND
 one area in the composition to
another.

FORMALISM AND THE 2.​ Value: the degree of light and

dark in a design. It is the contrast
ALLEGORY OF THE CAVE
between black and white and all
●​ Formalism in art focuses strictly
the tones in between. Value can be
on an artwork’s form—its
used with colors as well as black
composition, color, line, and
and white.
structure—without concern for
external context or meaning.
3.​ Shapes: created when lines are
combined to form a square,
●​ Like the prisoners in the cave,
triangle, or circle.
formalists prioritize what is
immediately visible and tangible in
4.​ Space: the area between and
the artwork.
around objects.

LIMITATIONS OF FORMALISM 5.​ Color: differentiates and defines

A.​ Ignores Context and Meaning: lines, shapes, forms, and space.
Formalism focuses solely on visual
elements like line, color, and 6.​ Texture: the surface quality that
composition, disregarding can be seen and felt. Textures can
historical, social, political, or be rough or smooth, soft or hard.
cultural influences that might Textures are often implied.
enhance an artwork's meaning.

III. HISTORICAL APPROACH

B.​ Limited Interpretation: By
General Principles
avoiding artist intent, symbolism,
●​ The focus of evaluation is not the
or emotional impact, formalism can
art piece, but its context
lead to a shallow or incomplete
(background)
understanding of an artwork.

●​ Context includes: history and

ELEMENTS
politics behind thepiece
1.​ Line: the most basic building block
1. History and politics behind the piece
of formal analysis. Lines can be
2. Formalist traditions/conventions
used to create more complex
3. Personal or professional background of
shapes or to lead your eye from
the creator/artist
Important Terms: of the Philippines, particularly the
1.​ Race: Kapampangans.
●​ refers to the inherited traits,
cultural background, and ethnic Milieu:
identity of the artist or society. Pampanga, often called the “Culinary
Capital of the Philippines," is where locals
2.​ Milieu (environment): are skilled in making delicious food,
●​ refers to the environment, including dishes using leftover or
including social, cultural, and inexpensive ingredients.
physical surroundings. This
encompasses the artist's Moment
community and the artistic The sisig we recognize today has its
movements they are part of. origins in the pre-colonial Philippines, but
it was popularized in the 1970s by Lucia
3.​ Moment (situation): Cunanan from Pampanga.
●​ refers to the specific historical
period in which the artist relates Topic 2: Boxer Codex
their work. This includes the social
(Pintados)
and economic events of the time,
which can significantly influence
What is Boxer Codex?
the themes and styles of the
The Boxer Codex, a late 16th-century
artwork.
Spanish manuscript, contains vivid
descriptions and illustrations of various
4.​ Zeitgeista:
ethnic groups in the Philippines, including
●​ a German word that means “the
the Visayan nobility.
spirit of the times.”
●​ refers to the general mood, ideas,
Pintados (Race)
and beliefs that are popular or
●​ The Pintados were Visayan people,
influential during a particular
part of the Austronesian
period in history.
ethnolinguistic group, whose
identity was closely tied to their
Topic 1: Sisig
tattoos.
Race:
●​ These tattoos were symbolic,
The term "sisig" historically referred to
often representing personal
food prepared by the indigenous people
achievements, bravery, and social
status.
Pintados (Milieu) (timawa), and commoners/slaves
●​ The social and cultural (oripun).
environment of the Pintados was
the pre-colonial Visayas region, Visayan Royalty (Moment)
where they lived in barangays ●​ Before and during the Spanish
(small, independent communities) colonization (16th century),
ruled by datus (chieftains). Visayan rulers resisted Spanish
rule.
Pintados (Moment) ●​ Over time, the Spanish integrated
●​ The era of the Pintados primarily some datus into the colonial
refers to the pre-colonial period system by granting them the title
(before Spanish colonization in of Cabeza de Barangay (village
1565). heads).
●​ However, their warrior traditions
and tattooing culture gradually Hierarchy of Visayan Royalty
declined under Spanish rule as Datu: The highest-ranking leader,
Catholicism spread and traditional equivalent to a king or chieftain. He ruled
practices were suppressed. over a barangay and was responsible for
governance, law enforcement, and trade.
Topic 3: Boxer Codex (Visayan
Royalty) Kadatoan: The noble class or aristocracy,
made up of powerful families related to
the Datu. They had influence over trade,
Visayan Royalty (Race):
alliances, and governance but were not
●​ The Visayans, an Austronesian
necessarily rulers themselves.
people with a strong warrior
culture, seafaring skills, and a
Timawa: The warrior-noble class who
hierarchical society led by datus
served the Datu. Unlike commoners, they
(chieftains).
had privileges like exemption from taxes
and the ability to own land.
Visayan Royalty (Milieu)
●​ Pre-colonial Visayas, where
Oripun: they are considered as slaves in
communities were organized into
the society. Oripun has four
barangays. Society was divided
classifications:
into nobles (kadatoan), warriors
 1.​ Tumarampok: The highest-ranking ●​ There is no single way of viewing
slaves. They lived in their own culture and history. Hence, they
homes and only served their cannot be viewed objectively.
master when needed. ●​ In art, a work is believed to be a
2.​ Tuhay: Middle-ranking slaves. product of the moment in history
They served their master in which the work was born.
part-time and had limited
freedom. CHALLENGESTRADITIONAL
3.​ Ayuey: The lowest-ranking slaves. DEFINITIONS
They worked full-time and lived
with their master’s family, doing
●​ Culture
household chores or farming.
●​ Taste
●​ Aesthetic
Symbols of Power ●​ In New Historicism, culture, taste,
Tattoos: Higher-status individuals, and aesthetics sometimes have
especially warriors, had more tattoos as a elitist orientations.
symbol of bravery and rank.

E.M.W TILLYARD
Gold Ornaments: Royals and nobles wore
●​ History is not monolithic. It is
gold jewelry, from earrings to necklaces,
composed of several different
as a display of wealth.
groups with different
perspectives.
Weapons: kampilan or kris (traditional
swords) were symbols of a warrior’s
MIKHAIL BAKHTIN
status.
●​ Carnivalesque - a literary or
artistic mode that sees the
liberation from the sacred and
IV. New Historical Approach
desirable by allowing the
unacceptable, the blasphemous,
General Principle:
and the eccentric equal footing.
●​ There is no one culture and
●​ Symbolically, the carnival is a
history. Society is composed of
place of freedom.
different cultures and histories.
MICHELFOUCAULT
●​ Panopticism believes that all
structures are designed to cause
self-imposed pressure, so people
are coerced to comply with rules.

QUESTIONS NH ASKS
1. Why is the piece popular?
2. What customs or behaviors does the
work advance or promote?
3. Who was the intended audience of the
work?
4. What aspects of society are connected
to praise or criticizing the work?