HUM 100: Art Appreciation Module 2, Week 2

THE subject of art

The subject of art is a matter to be described or to be portrayed by the artist. Thus, the subject of art is
varied. This may refer to any person, object, scene, or event. In general, the subject of art is anything under
the sun. The subject could be make-believe, imaginary, and invented, like Cerberus (a three-headed dog in
Greek mythology) or Dyesebel (a popular mermaid character made for Philippine films and television).
Subjects can also be real events, like the devastation brought about by super typhoons entering the
Philippines or catastrophic tsunamis hitting many Asian countries.

Two Kinds of Art as to Subject

1. Representational or Objective Art
Art that depict or represent objects that are commonly recognized by most people. Representational or
objective art attempt to copy, even in a subjective manner, something that is real. It uses “form” and is
concerned with “what” is to be depicted in the artwork. Representational artists try to be as objective as
possible and attempt to portray the subject as it is.
Examples:
a. Still life- a work of art depicting mostly inanimate subject matter, typically commonplace
objects, which may be either natural (food, flowers, plants, rocks, or shells) or man-
made(drinking glasses, books, vases, jewelry, coins, pipes, and so on) in an artificial setting.
b. Portrait- a painting, photograph, figure, or any other art forms in which the face and its
expression is predominant. The purpose maybe to show the resemblance, personality, or
disposition of the individual.
c. Landscapes, Seascapes, Moonscapes, and Cityscapes
d. Mythology and Religion
e. Dreams and Fantasies

2. Nonrepresentational or nonobjective Art

Art that does not have any reference to anything outside itself (without representation). This kind of art is
nonobjective because it has no recognizable objects. It is abstract in the sense that it doesn’t represent real
objects in our world. It uses “content” and is concerned with “how” the artwork is depicted.

the Elements of Art

In order to understand any field, it’s important to have a solid foundation from which to grow. For visual art,
this means understanding the elements of art. These creative building blocks are essential and having a grasp
on how they work is important both for artists and for lovers of art. By gaining a deeper understanding of the
elements of art, it’s easier to analyze, unravel, and create any type of artwork from painting and photography
to sculpture and architecture. The elements of art are concrete visual components that work in tandem with
principals of art that organize and harmonize them.

Line, color, shape, form, value, space, and texture are the seven core elements of art and they often overlap
and inform one another. Whether talking about drawing, painting, sculpture, or design, these components of
art all need to be taken into consideration.

The Seven Elements of Art

1. Line
Lines are the foundation of drawing and are a powerful tool unto themselves. These marks span a distance
between two points and can be straight or curved.  Using different types of lines—continuous, broken,
vertical, jagged, horizontal—drastically changes the psychology of an artwork, impacting the viewer greatly.
curved. In visual art, lines don’t only need to be made with marks and outlines. They can also be implied or
abstract. Whether two-dimensional or three-dimensional, there’s no denying that lines have a huge impact on
the rest of the elements of art. 

Kinds and Uses of Lines

a. Horizontal lines suggest a feeling of rest or repose because objects parallel to the earth are at rest.
In this landscape, horizontal lines also help give a sense of space. The lines delineate sections of the
landscape, which recede into space. They also imply continuation of the landscape beyond the
picture plane to the left and right.
b. Vertical lines often communicate a sense of height because they are perpendicular to the earth,
extending upwards toward the sky. In this church interior, vertical lines suggest spirituality, rising
beyond human reach toward the heavens.
c. Diagonal lines convey a feeling of movement. Objects in a diagonal position are unstable. Because
they are neither vertical nor horizontal, they are either about to fall or are already in motion. The
angles of the ship and the rocks on the shore convey a feeling of movement or speed in this stormy
harbor scene.
d. Soft, shallow curves recall the curves of the human body and often have a pleasing, sensual quality
and a softening effect on the composition. The edge of the pool in this photograph gently leads the
eye to the sculptures on the horizon.
e. Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear
forms with 90-degree angles are structurally stable. This stability suggests permanence and
reliability.

2. Color
Color is what we see because of reflected light. Light contains different wavelengths of energy that our eyes
and brain "see" as different colors. When light hits an object, we see the colored light that reflects off the
object. Color has three main characteristics: hue (red, green, blue, etc.), value (how light or dark it is),
and intensity (how bright or dull it is). Colors can be described as warm (red, yellow) or cool (blue, gray),
depending on which end of the color spectrum they fall.

There’s nothing that changes an artwork’s emotional impact more than color. Masters like Van Gogh, Monet,
and Toulouse-Lautrec all expertly manipulated color in their art to provoke different feelings. Color can be
used symbolically or to create a pattern. It can be selected for contrast or to set a specific mood. A deep
understanding of color theory helps any artist make better use of the colors they have at their disposal.

3. Shape
The result of closed lines, shapes are two-dimensional, flat, and only have height and width. Geometric
shapes like circles and squares are mathematical and precise, while organic shapes take cues from nature and
tend to be curved and abstract. Henri Matisse‘s collage art makes great use of organic shapes, while Piet
Mondrian is known for relying on geometric shapes in his paintings. Shapes can be used to control how we
perceive a composition. For instance, triangles can help draw the eye to a particular point, while circles
represent continuity.

4. Form
When a shape acquires depth and becomes three-dimensional, then it takes on form. Cylinders, pyramids,
and spheres are some of the more common forms, though they can also be amorphous. In sculpture, form is
of the utmost importance, though it can easily be introduced into drawing and painting using 3D
art techniques. Baroque sculptor Bernini was a master of form, carving his sculptures in a way that gave
enjoyment from any perspective. Form is also a big consideration in architecture, with acclaimed architects
like Frank Lloyd-Wright, Zaha Hadid, and Tadao Ando giving careful consideration to this element in their
designs.

Kind of Shape and Form

a. Geometric shapes and forms include mathematical, named shapes such as squares, rectangles,
circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made. However,
many natural forms also have geometric shapes. 
b. Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often found
in nature, but man-made shapes can also imitate organic forms. This wreath uses organic forms to
simulate leaves and berries.

5. Value
Related to color, value is the lightness and darkness of a color. The lightest value is white and the darkest
value is black, with the difference between them defined as the contrast. Playing with value can not only
change certain forms, but also influence the mood of the artwork. Value is so important that the Italians
created a term—chiaroscuro—that specifically refers to the use of light and dark in a piece of
art. Baroque painter Caravaggio was a master of using chiaroscuro in his moody oil paintings. Photographer
Ansel Adams is another example of an artist who expertly used value to his advantage by using areas of
contrast to create interest in his landscape photography.

6. Space
Real space is three-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It
can also refer to the artist's use of the area within the picture plane. The area around the primary objects in a
work of art is known as negative space, while the space occupied by the primary objects is known as
positive space.

This element of art can be manipulated based on how an artist places lines, shapes, forms, and color. The
placement of these other elements creates space. Space can be either positive or negative. Positive space is
an area occupied by an object or form, while negative space is an area that runs between, through, around, or
within objects. Artists often think about the foreground, middle ground, and background of their artwork,
purposefully placing shapes and lines throughout the space to achieve the perfect composition. A sense of
depth in two-dimensional works is often achieved by perspective, which itself can rely on lines or colors.

7. Texture
Texture is an element of art that also plays to our sense of touch. It’s defined as a description of the way
something feels or looks like it would feel. Sometimes we’re speaking about an actual texture that can be
felt, as in the case of Icelandic artist Hrafnhildur Arnardóttir, who creates installation art using synthetic hair.
Other times, the texture is an implied visual texture that is two-dimensional. Smooth, rough, hard, soft, furry,
fluffy, and bumpy are just some different textures that evoke different responses. For instance, an artist look
for a hyper-realistic result would want clouds to appear fluffy, while another artist wishing to subvert
conventions might play with texture to create a surreal experience for the viewer. 19th-century sculptor
Antonio Canova was a master of this, as exemplified by his portrait of Napoleon’s sister where she’s resting
on a cushion that seems so soft and touchable, it’s hard to believe that it’s marble.