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Unit II- LESSON 3-

Art Appreciation and
Human Faculties

Submitted by: Cleo C. Baylen BSN 2-C

Submitted to: Ma’am Jennifer Villaruz

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UNIT II- LESSON 3

ANSWER SHEET

NAME: CLEO C. BAYLEN CR., YR & SECT.: BSN 2-C

UNIT AND LESSON TITLE Unit II Lesson III- Art Appreciation and Human Faculties
Date: April 4, 2021 SCORE:

1) Choose which art do you appreciate the most and why? (5 points)

Since I was little, I am already drawn towards performing arts. I remembered

locking myself in our room, turn on a sad music (“Sana Ngayong Pasko” by Piolo
Pascual) and creating a scenario where I would act out. One beautiful thing about this
type of art is that you can be anyone you like and you can express yourself, especially
your body, freely. As a child who grew in an unprivileged home, I used this as an
escape to our harsh reality. However, as I grew up more, I realized that the impact of
performing arts is more than just that. Aside from expressing ourselves through dance,
music, and acting, performing arts provides a platform where the audience can feel
their safe space and their lives change, especially when we have executed the art well.
Most of the audiences who enter the theatre, opera house, cinema, or other
performing arts venue, felt like they are a different person when they came out; a
person who is so much more alive. Lastly, I personally love telling stories to children.
Being a bona fide area of performing arts, I personally saw its impact on people’s
lives. There are different ways of telling a story, but I was trained to perform an
interactive storytelling and the difference of this from the other types is that it teaches
children to love reading. After performing, I can see their eyes light up and they start
sharing their beautiful personal experiences with me. This made me love and
appreciate performing arts more.

2) What are the different forms of human faculties? Define each (3 points each)

In our module, the different forms of human faculties are the level of senses,
the level of the will, and the level of the mind. Each are defined as:

a. Level of Senses
This is used in the analysis of art through perceptual elements and
representations. Perceptual elements includes the sense data of lines, color,
shapes, and other more. Every drawing starts with a line. It is the most simple and
flexible visual feature of art. In an artwork, a line may be used in a number of
ways. It can be used to express a variety of emotions as well as shape, pattern,
form, structure, development, depth, distance, rhythm, and movement. For
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example, curved lines suggest comfort and ease, horizontal lines suggest distance
and calm, vertical lines represent height and strength, and jagged lines symbolizes
turmoil and anxiety (Artyfactory, 2020). Moreover, color is the visual aspect that
has the most powerful emotional impact on us. Color is used to set the tone or
aura of a piece of art. It is used as light, tone, pattern, form, symbol, movement,
harmony, contrast, and mood, where each contributes to the emotion of the art.
On the other hand, a shape is used to control ones feelings in the composition of
the artwork. Square and rectangles can portray strength and stability, circles and
ellipses can represent continuous movement, triangles can lead the eye in upward
movement, and inverted triangles can create sense of imbalance and tension.
These are the purposes of perceptual elements of art in the analysis of art.

On the other hand, representations figurative art depicts real-life objects or

events in a way that is normally familiar. It describes artworks, particularly
paintings and sculptures, that are clearly drawn from actual object sources and
thus represent something with strong visual references to the real world by
definition. The bulk of abstract painting, but not all, is influenced by real-world
imagery. Nonrepresentational abstract art is the most "serious" type of abstract art
since it is not related to the visible world (Lumen Learning, 2021).

b. Level of the Will

The level of the will suggests emotional responses from the audiences. For all
we know, art offers unique visual, tactile, and sensory perceptions, as well as a
unique way of comprehending and relating to the environment. It helps us to
articulate what they see, feel, and think using color, texture, shape, pattern, and a
number of materials and processes. Via art and design lessons, children become
engaged in influencing their surroundings. They learn to make well-informed
choices that are both artistic and realistic. They use the work of artists and
creators to investigate concepts and interpretations. They will investigate the effect
of art on everyday life as well as that of past periods and civilizations by learning
about its positions and functions. Visual arts love and recreation enriches all of our
lives.
c. Level of the mind

The level of the mind provides intellectual meaning such as ideas, concepts, and
symbolism. The amount of beauty in the work determines how much the artist's
mind interacts (communicates) with the viewer's mind. Even the ostensibly ugly
works draw praise and evoke artistic responses. Even if the subject matter is

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repulsive, audiences can find the work to be extremely stunning.

3) How does these faculties (senses, the will, and the mind) are used in art
analysis? (10 points)
For a variety of causes, art appreciation is very important. It's an excellent way
to learn about the work's background and the time span in which it was created. In
their work, artists often represent their own struggles as well as societal concerns.
We will better understand how culture functioned when relative to now by observing
and placing ourselves in the head of the artist. In a personal basis, we will empathize
with and contribute to their issues. Art is intended to elicit reflection and discussion
within its audience. We dig into our own memories and nostalgia as we focus on a
work of art, so a piece of art means something new to anyone who sees it. Art
appreciation promotes thoughtful dialogue and the recognition that there are many
approaches to everything by allowing viewers to listen to diverse viewpoints and
opinions as well as perceptions of the art. For certain people, art is a way of
expressing or conveying something that we are unable to articulate or communicate
ourselves. It evokes emotions of excitement, sorrow, frustration, and pain through its
visual medium. That is why art appreciation is so crucial in putting the final piece of
the puzzle together, which is our understanding. The artwork comes to life from our
experience as it shifts with each human that passes by. They are the elements that
make up a composition of sculpture. When we study a drawing, painting, sculpture,
or concept, we look at the individual components and see how they fit together to
produce the ultimate result.
As stated in the previous number, level of senses helps us draw the meaning of
the art through various shapes, colors, and lines. This helps us understand what the
artist is trying to portray or make us feel. In an artwork, a line may be used in a
number of ways. It can be used to express a variety of emotions as well as shape,
pattern, form, structure, development, depth, distance, rhythm, and movement. For
example, curved lines suggest comfort and ease, horizontal lines suggest distance and
calm, vertical lines represent height and strength, and jagged lines symbolizes turmoil
and anxiety (Artyfactory, 2020). Moreover, color is the visual aspect that has the most
powerful emotional impact on us. Color is used to set the tone or aura of a piece of
art. It is used as light, tone, pattern, form, symbol, movement, harmony, contrast, and
mood, where each contributes to the emotion of the art. On the other hand, a shape is
used to control ones feelings in the composition of the artwork. Square and rectangles
can portray strength and stability, circles and ellipses can represent continuous
movement, triangles can lead the eye in upward movement, and inverted triangles can
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create sense of imbalance and tension. These are the purposes of perceptual elements
of art in the analysis of art.

On the other hand, representations figurative art depicts real-life objects or

events in a way that is normally familiar. It describes artworks, particularly paintings
and sculptures, that are clearly drawn from actual object sources and thus represent
something with strong visual references to the real world by definition. The bulk of
abstract painting, but not all, is influenced by real-world imagery. Nonrepresentational
abstract art is the most "serious" type of abstract art since it is not related to the
visible world. The audience's emotional reactions are predicted by the level of will. For
everything we know, art provides new visual, tactile, and sensory senses, as well as a
unique understanding and relationship with the world. It uses colour, texture, form,
design, and a variety of materials and processes to help us express what we see,
sound, and think. Children become interested in shaping their environments through
art and design classes. They learn to make well-informed, creative, and practical
decisions. They explore themes and meanings through the work of artists and
designers. They will study the influence of art on contemporary life, as well as that of
previous times and cultures, through learning about its roles and places. Joy and
leisure of the visual arts enriches all of our lives. Intellectual significance, such as
thoughts, concepts, and symbolism, is given at the mental level. The degree to which
the artist's mind connects (communicates) with the mind of the spectator is
determined by the amount of beauty in the work. Even the most ostensibly
unattractive works elicit praise and artistic reactions. Even if the subject matter is
revolting, viewers can find the art to be amazingly beautiful.

4) What is a Visual Element? (3 points)

Line, Shape, Tone, Color, Pattern, Texture, and Form are the Visual Elements.
They are the elements that make up a composition of art. When we study a drawing,
painting, sculpture, or concept, we look at the individual components and see how
they fit together to produce the ultimate result. Movement and rhythm, space and
depth, development and form, balance and contrast, noise and quiet, and a wide
variety of feelings that make up the themes of great art can all be expressed by
different components. Moreover, it is important to note that most images begin as
line drawings, lines cross over one another to form shapes, a shape may be rendered
with a rough surface to create texture, and a shape may be projected to create form.

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5) What is a Representation? (3 points)

A representation is a type of recording that describes sensory knowledge about a
physical entity in a medium. The degree to which an artistic image resembles the
entity it represents is a function of resolution and has little to do with the word's
meaning. The Mona Lisa and a child's crayon drawing of Lisa del Giocondo, for
example, are both considered representational, and any preference for one over the
other must be interpreted as a matter of taste. Abstraction, or the elimination of one
or more features from the source, is often present in Representation. Even a very
realistic painting of an individual, for example, lacks certain characteristics that
distinguish real people: a painting is two-dimensional, while any real object is three-
dimensional; the surface of a painting is color, while the surface of a person is not;
real people have several pores and other traces on their faces that are absent (in
whole or in part) in a painting, and so on.

6) What does it mean by Emotional Suggestion? (3 points)

One of the most important characteristics of aesthetic experiences is their
capacity to elicit feelings in observers. In the presence of visually challenging stimuli, it
is common to feel excitement, enjoyment shivers down the spine, admiration at the
sight of grandiose artworks, or even unpleasant feelings such as anxiety, rage, or
disgust. Emotions in the arts have an effect on us on a subjective and physical basis,
influencing aesthetic judgments such as liking. As a consequence, emotions in the arts
are not only expressed in a perceiver through a cognitive or disconnected mode, as
cognitivistic art theories often indicate. Rather, the expressive sound of artworks
causes congruent mood shifts in the perceiver on a subjective and bodily basis.
Perceivers, for example, exhibit more frowning (an indicator of negative emotions) in
front of negative emotional artworks and more laughing (an indicator of positive
emotions) in front of emotionally positive artworks, as well as higher skin conductance
responses (an indicator of arousal) in front of more arousing artworks. Individualistic
factors have an effect on this interplay. Higher liking does not specifically separate
better aesthetic sensations from emotional states on a subjective as well as bodily
basis, suggesting that liking is not strictly cognitivistic or disconnected. Higher likes
encourages participants to grin more, while lower like causes them to frown more.

7) What does it mean by Intellectual meaning? (3 points)

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The thoughts, concepts, and images of art make up intellectual meaning. It
enables the spectator or audience to form their own interpretations or meanings of the
objects in the artwork; they can interpret it as they wish. It forces the brain to function
and think about something, something it can refer to depending on their experiences
or what they've read, and so on. Intellectual art is described as art that is influenced
by and encourages reflective reflection rather than solely appealing to the emotions. It
encourages a lot of reflection and scrutiny, more like a visual language and content
reading. In several ways, it's similar to "Conceptual Art," which is art that's motivated
by concepts.

8) Choose which art do you appreciate the most and why? (refer to Figure M, p.
7) (5 points)
Among the figures presented in Figure M, Mona Lisa got my heart the most. This
is because it depicts so much meaning and emotion through every elements that
were perfectly executed with a purpose. The Mona Lisa is Leonardo Da Vinci's most
famous work, and it exemplifies his perfect Renaissance man status. The Renaissance
values of secularism, realism, and individualism are expressed in the Mona Lisa. Since
it is a portrait of a woman and has nothing to do with God, the Mona Lisa exemplifies
secularism.

Leonardo's knowledge of sfumato (fine shading) and his perception of the

musculature and skull under the skin are visible in the subject's gently sculptural
profile. Leonardo's studied impressions and inexhaustible persistence are evident in
the delicately painted veil, beautifully wrought tresses, and meticulous rendering of
folded linen. Furthermore, the sensual curves of the sitter's hair and dress are
mirrored in the mountains and rivers behind her. The painting's overall harmony,
which can be seen in the sitter's slight grin, represents Leonardo's concept of a
cosmic bond between mankind and nature, making it an everlasting record of
Leonardo's vision. The Mona Lisa set the benchmark for all future portraits with its
sublime fusion of sitter and scenery.

9) What is Art Appreciation? Discuss your answer comprehensively. (3 points)

Art appreciation is the study and appreciation of the universal and eternal values
that characterize all great art. The more you enjoy and comprehend art from various
periods, movements, types, and techniques, the more you will be able to create,
analyze, and refine your own work. This refers to the study of art forms and the
analysis of an artwork's type in order for the viewer to appreciate those works of art

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more fully. It may be analyzed with or without regard to subject matter, meaning, or
historical context; however, understanding the history of the works is necessary to
better understand the context behind them for reasons that will be stated in the
following series. Furthermore, art appreciation may be arbitrary, based on personal
desires for aesthetics and shape, or rational, based on a variety of design elements
and values, as well as social and cultural recognition.

It's usually done by someone who isn't the artist. It may or may not represent the
same reactions as the artist expected, but that is precisely the elegance of art's
subjectivity: each person is free to think in their own way.
10) What are the importance and significance of art appreciation? (5 points)

As discussed in the previous number, anybody can appreciate art to the point that
they can interpret it with or without regard to subject matter, symbolism, or historical
significance if they so desire. That's good, too: after all, art is intended to provoke
reflection and dialogue within its audience. We dig into our own memories and
nostalgia as we focus on a work of art, so a piece of art means something new to
anyone who sees it. Art appreciation promotes thoughtful dialogue and the recognition
that there are many approaches to everything by allowing viewers to listen to diverse
viewpoints and opinions as well as perceptions of the art.

Art appreciation, on the other hand, is based on the desire to see art through the
prism of history, reflecting on the traditions, people, and evolution of art across
particular times. It would be impossible to comprehend sculpture, the motives for their
choice of fabrics, and their common sense of beauty without first knowing a group's
culture. We will extend a person's understanding, growth, and dreams of art by
appreciating it and learning about its history. Art makes audiences appreciate diversity,
how people lived in the past, and how modern life and art are connected today. It is
impossible to comprehend art without first comprehending society.

Moreover, art is intended to elicit reflection and discussion within its audience. We
dig into our own memories and nostalgia as we focus on a work of art, so a piece of
art means something new to anyone who sees it. Art appreciation promotes thoughtful
dialogue and the recognition that there are many approaches to everything by
allowing viewers to listen to diverse viewpoints and opinions as well as perceptions of
the art.

This is the significance and value of art appreciation.

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11) Choose one art form (refer to Figures 1-4, pp. 8-9) and evaluate/appraise
selected art based on aesthetic, social, cultural, historical, universal relevance
and value observing and respect to diversity and multi-culturalism. You may
opt to choose some art forms given below or look for it through internet or
other media. Additional points will be credited. (10 points/each art form)

a. Mona Lisa by Leonardo da Vinci

The drawing depicts a half-length portrait of a woman against a distant landscape. However, this
simplistic explanation of what seems to be a typical composition does not do justice to Leonardo's
accomplishment. The three-quarter perspective, in which the sitter's position mainly faces the viewer,
broke away from the traditional profile pose used in Italian art and soon became the standard for all
portraits, surviving well into the twenty-first century.

Leonardo's knowledge of sfumato (fine shading) and his perception of the musculature and skull
under the skin are visible in the subject's gently sculptural profile. Leonardo's studied impressions and
inexhaustible persistence are evident in the delicately painted veil, beautifully wrought tresses, and
meticulous rendering of folded linen. Furthermore, the sensual curves of the sitter's hair and dress are
mirrored in the mountains and rivers behind her. The painting's overall harmony, which can be seen in
the sitter's slight grin, represents Leonardo's concept of a cosmic bond between mankind and nature,
making it an everlasting record of Leonardo's vision. The Mona Lisa set the benchmark for all future
portraits with its sublime fusion of sitter and scenery.

The Mona Lisa had a huge impact on the Renaissance and later periods, revolutionizing modern
portrait art. Not only did Leonardo's three-quarter pose become the norm, but his preliminary sketches
have influenced other artists to make more and more free studies for their paintings, as well as ignited
curiosity among collectors. His Milanese works were made known to the Florentines through
thesketches. In addition, his popularity and stature as an artist and thinker spread among his peers,
meaning that they enjoyed the same freedom of action and thinking as he did. Raphael, a young painter
who sketched Leonardo's work in progress and used the Mona Lisa format for his portraits, was one of
these artists. It acted as a direct model for his Maddalena Doni Portrait.

Based on my research, Leonardo has had an impact on how artists dressed their subjects. He
wrote in his Treatise on Painting, which was written several years after his death, that art should resist
fashion: “As far as possible avoid the costumes of your own day.…Costumes of our period should not be
depicted unless it be on tombstones, so that we may be spared being laughed at by our successors for
the mad fashions of men and leave behind only things that may be admired for their dignity and
beauty.”

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When it comes to the Mona Lisa, a major part of its charm derives from the fact that it tends to
defy any law of classical painting while also maintaining Renaissance techniques and ideals. Leonardo
began to depart from the cliché methods of Renaissance painting by using a new style of canvas, known
as cottonwood paneling, which was responsible for the Mona Lisa's longevity. The posture of the lady in
the painting was another manner in which the Mona Lisa defied convention. Her hands sat neatly on her
lap, and she was painted from the waist up. This was in contrast to prior portraits, which portrayed
individuals in their entirety. Leonardo not only altered the painting's minor details, but he also
incorporated new painting techniques. Typically, both the landscape and the front of the artwork will be
painted with the same level of precision. Leonardo, on the other hand, used a technique known as
sfumato, in which he blurred the edges and backdrop to create a more natural painting. This technique
is often used on the mask of Mona Lisa. He also used a technique known as chiaroscuro. This was
designed by Leonardo da Vinci himself. To bring contrast to the painting, light and dark colors are used.
It brings out some aspects of the artwork while also adding a sense of realism. It is a work of art in and
of itself. Symbols are incredibly popular and strong in and of themselves. We can deduce the
associations and meanings associated with a symbol simply by looking at it.

Without using words, the Mona Lisa says a story. It represents Da Vinci's entire body of work as
well as the transition he brought about with it. It represents a change in theme as well as the evolution
of the arts in general. It represents immortal works of art that have survived the test of time and
fragments of history that have survived the ravages of time.

b. The Last Supper by Leonardo da Vinci

The 'Last Supper' is one of the most popular pictures in the world today. This is believed to be
Jesus Christ's last supper for his disciples before his death, according to the Christian Bible. Da Vinci was
the first to capture this important incident. Lorenzo Di Medici, a wealthy ruler in Florence, Italy,
commissioned Leonardo Da Vinci to paint The Last Supper in 1482 because he wanted to gift the
painting to Ludovico Sforza, the Duke of Milan. This art, like the Mona Lisa, was popular during the
Renaissance because it deviated from conventional techniques while maintaining Renaissance ideals.
The key distinction being the type of color used. Oil paints were widely used during the Renaissance era
because they improved the longevity of the artwork and gave it a sense of depth. Da Vinci, on the other
hand, used a paint called tempura, which was popular in Medieval times. Leonardo built on the
technique by painting on dry plaster rather than wet plaster, which allowed him to apply a second coat
of paint without having to wait as long. Instead of being impatient while waiting for the plaster to dry,
the painter was able to capture the strength of the feeling at the moment.

In terms of structure, Christ is in the middle among the apostles, and his body is shaped like a
triangle, with no apostles overlapping him. Along with Christ, there are four groups of three apostles at
the table, and these numbers may have been significant to Leonardo for symbolic reasons (for example,
there are four Gospels in the Bible, and three is the number of the Trinity). The disappearing point is at
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Christ's head (the orthogonals can be seen by following the tops of the wall tapestries or the coffers to
where they meet at Christ), which is often framed by the pediment above and back-lit by the open
window behind.

Christ is not only at the forefront of the composition, but he is also at the center of psychology.
The scene we're looking at is from the night before Christ's Passion and Death, as Christ and the
apostles are together in a room for supper. More precisely, we see them at a stage in the story where
Christ makes a major announcement to the apostles: one of them is about to betray him (“One of you is
about to betray me,” Matthew 26:21). Of course, he's talking to Judas, but there's a ruckus at this point
as both of the apostles wonder who the true betrayer is. Despite the fact that the Last Supper has been
portrayed in art before, this particular scene in the narrative has never been depicted. This dramatic
moment helps Leonardo to look further into the psychological responses of the characters concerned.
This can be seen in the apostles' hand gestures, which link them. Protest (Philip, #8), sorrow (John,
next to Christ), and approval are all examples of emotions (Christ). Judas, on the other hand, is
obscured, and we only see a portion of his profile as he clutches the money bag holding silver coins. In
most Last Supper depictions, Judas is portrayed across the table from the other apostles, but here he is
depicted alongside John and Peter. Many of these people will go on to play crucial roles in Christ's
Passion (Judas in the betrayal, Peter with his denials, and John who remains with Christ at the cross).

The Last Supper by Leonardo da Vinci is a style of painting that draws on early Renaissance
painting traditions in areas including form and perspective. It is, however, groundbreaking in terms of its
examination of emotional responses and psychological states, both depicted in a naturalistic style
previously unknown in Italian art. Thus, with Leonardo, we see the start of the Renaissance's climactic
years, when virtuosity was at its height, original styles of portraying figures or scenes were in full effect,
and the direction of European art as we know it started to shift. This was the start of the High
Renaissance era.

c. Weeping Woman by Pablo Picasso

Pablo accomplished this in 1937. Weeping Woman is a symbol of universal sorrow, representing
unspeakable anguish and agony. The painting's emotional impact is heightened by the fragmented
elements and the use of acid green and purple. Picasso's mistress, Dora Maar, was one of the leading
surrealist artists of the 1930s and served as the model for the Weeping Woman. (NGV, undated). The
picture of a mother carrying her dead child inspired Crying Woman. It's from Guernica, Picasso's anti-
war mural. During the Spanish Civil War, Picasso produced both works (1936-39). It was in revenge for
the bombing of Guernica, a Basque town. In April 1937, Nazi Germany's air force launched an offensive
in support of Spain's Nationalist movements. Hundreds of people were killed in the blast. Dora Maar, an
artist and photographer, influenced the figure of the Crying Lady. Maar documented Picasso's process of
creating Guernica.
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It is one of Picasso's most famous portraits, drawn in the analytical Cubist style but with more
realism than usual. It is regarded as a classic example of Spanish painting, and it continues the artist's
anti-war trend begun with Guernica (1937, Reina Sofia, Madrid), which was inspired by the terror-
bombing of civilians during the Spanish Civil War. Following the completion of the mural, Picasso spent
months making a series of additional portraits of crying women, based on one of the characters from
Guernica. "Weeping Woman" shows a distraught woman sobbing and holding a handkerchief to her
cheek to collect her cries. This universal portrait of suffering is drawn in the flattened style of Picasso's
early analytical Cubism, which is marked by the use of angular and contrasting fragments of the
subject's profile, as if painted from several perspectives at the same time. Picasso makes no effort to
establish 'depth' in the painting by using linear perspective or some form of modeling/shading like
chiaroscuro, in order to highlight the two-dimensional essence of the work.

As viewed against the backdrop of Spain's unfolding civil war, the most clear interpretation of
the "Weeping Woman" is reasonably straightforward. She is dressed formally, as if attending a funeral
or other place of mourning, and she reflects the heartbreaking sorrow felt by mothers, sisters, and
others during the death of a loved one, especially during wartime. The emphasis, as in Guernica, is on
the misery and humiliation of innocent people. The intense expression of the women's eyes is a central
feature that emerges in both of the "Weeping Woman" episodes. They are still wide-open and gazing,
symbolizing the extent of her sadness.

Another, more nuanced view is that the artwork is a self-portrait, showing the artist's inner
agony at the thought of his homeland being ripped apart by civil war. Picasso was deeply disturbed by
the war and promised to never return to Spain as long as Franco was in power. Franco, as it turned out,
outlived him by two years.

The "Weeping Woman" may have a theological connotation as well. She might, for example,
reflect the pieta - the Virgin Mary's sorrow as she mourns the horrifying death of her son, Jesus Christ.
There are signs of Christ's stigmata on the hand of the trampled corpse under the horse in Guernica,
suggesting martyrdom, so this painting may have a religious component. The painting's color scheme is
a bit of a mystery. When evoking agony and misery, Picasso often used a monochrome or even a
grisaille palette. The palette of "Weeping Woman," on the other hand, includes all of the main colors,
including red, yellow, blue, as well as orange, green, and brown.

d. Dalagang Bukid by Fernando Amorsolo

The “Dalagang Bukid,” or maiden in the rice field, portrays a medium brown-skinned woman as
Maria Clara. The vivid tropical sunshine highlighted the woman's beauty in terms of her wardrobe and
skin tone, driven by the use of texture and impressionism marked by comparatively thin and tiny
brushstrokes. Amorsolo's style stressed action even more. Although it is not obvious, the picture
depicted in the drawing, in my opinion, is that the woman was enjoying her stroll across the fields,
gazing at the flowers, and smiling back. As a result, her shoulder emphasized the way women looked,
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attempting to portray a traditional Filipino demeanor that any Filipina must have during the American
colonial era. Thus, given her gentle and warm disposition, this portrait provided a narrative that life in
the province is merely agricultural, that life was fine, and that the ideal Filipino woman must be
traditional, pretty, and happily serving her family and doing reproductive jobs such as house chores and
child upbringing.

The room behind the happy young maiden seemed to deliver a perfect world where all is
abundantly thriving, due to the use of vibrant yellow and green tones. About the fact that the woman's
portrait now seems to be very conventional and close to the artist's countryside-themed works, I still
find it alluringly beautiful, possibly because decades have passed, but it remains "ideal" because it does
not represent what is really going on in the provinces. Amorsolo may have painted ten thousand
paintings, the majority of which share the same motif as Dalagang Bukid, but today's political, fiscal, and
social reality remains far from this portrait, even after the first National Awardee's death.

The Dalagang Bukid was Amorsolo's muse of ideal Filipina beauty, eschewing the Maria Clara-
typed wallflower who, notwithstanding the agricultural plain's call, introduces herself as a smiling and
cheerful woman. She is portrayed wearing the baro't saya national costume, with her hair tightly tied
back by a floating bandana to protect her from the glare of the afternoon sun. The eyes, face, and other
features of the young maiden's own garments, especially the baro't saya, were meticulously detailed by
Amorsolo. The young maiden's saya is painted delicately, but it has a transparent effect, with her arms
and neckline clear through the thin layer of textile, complementing her radiant appearance, which
Amorsolo admired greatly.

Amorsolo reinterpreted, reimagined, and retouched this picture of his perfect appearance that
he helped cultivate to an entire generation over the decades before his death in 1972.

-END

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