Functions and Philosophical Perspectives on Art

Aristotle
Greek philosopher Aristotle claimed that every particular substance in the world has an END or TELOS.
TELOS = PURPOSE
Aristotle (TELOS)
Aristotle claimed that:
Every substance, defined as a formed matter, moves according to a fixed path toward its aim.
A seed is bound to become a full-grown plant.
A cocoon can look forward to flying high when it becomes a butterfly.
A baby will eventually turn into a full-grown man or woman.
This TELOS is intricately linked with FUNCTION.
For a thing to reach its purpose, it also has to fulfill its function.
Man is bound to achieve a life of fulfillment and happiness or in Greek eudaimonia
However, happiness (supposed end of man) is linked with his function, his being rational
Man’s natural end (telos) is connected with his function which is rationality.
The telos and function of a thing are both related to a thing’s identity
What makes a human being a human being is his capacity for thinking, his supposed function. Without this function, the
human being ceases to be a human being.
Functions of Art:
Personal (public display or expression)
Social (to affect collective behavior)
Physical (utilitarian)
Personal Functions of Art
The functions depend on the person – the artist who created the art.
An artist may create an art out of the need for self expression.
Often, the artist may not even intend to mean anything with his work.
Social Functions of Art
Art is considered to have a social function if and when it addresses a particular collective interest.

Physical Functions of Art

The physical functions of art can be found in artworks that are crafted in order to serve some physical purpose.
- Architecture, jewelry making and even interior design are all forms of arts that have physical function.
Music
Music was principally functional. It was used for dance and religion.
The ancient world saw music only as an instrument to facilitate worship and invocation to gods.
Whenever art serves a particular function, the form has to be determined by the function.
Does art always have to be functional?
The value of a work of art does not depend on function but on the work itself.
Philosophical Perspectives on Art
Art as an Imitation
Plato (The Republic):
- In Plato’s metaphysics or view of reality, the things in this world are only copies of the original, the eternal, and the
true entities that can only be found in the World of Forms
Art as Representation
Aristotle considered art as an aid to philosophy in revealing truth.
The kind of imitation that art does is not antithetical to the reaching of fundamental truths in the world.
Art as Representation
Unlike Plato who thought that art is an imitation of another imitation, Aristotle conceived art as representing possible
versions of reality.
Aristotelian Worldview:
Art serves two particular purposes:
Art allows for the experience of pleasure
Art has an ability to be instructive and
 teach its audience things about life.
Art as Disinterested Judgment
Immanuel Kant in the “Critique of Judgment”:
- Kant considered the judgment of beauty, the cornerstone of art, as something that can be universal, despite its
subjectivity.
Immanuel Kant
Immanuel Kant mentioned that judgment of beauty, and therefore, art is innately autonomous from specific interests.
- It is a form of art that is adjudged by one who perceives art to be beautiful or more so, SUBLIME.
Kant recognized that judgment of beauty is subjective.
Even subjective judgments are based on some universal criterion for the said judgment.
[How and in what sense can a judgment of beauty which ordinarily is considered to be a subjective feeling be considered
universal? How is this so?]
There is something in the work of art that makes it capable of inciting the same feeling of pleasure and satisfaction from
any perceiver, regardless of his condition.
Art as a Disinterested Judgment
When the same person says that something is beautiful, he does not just believe that the thing is beautiful for him, but
in a sense, expects that the same thing should put everyone in awe.
Art as a Communication of Emotion
For Leo Tolstoy, art plays a huge role in communication to its audience’s emotions that the artist previously experienced.
Art – serves as a language, a communication device that articulates feelings and emotions that are otherwise unavailable
to the audience.
 SUBJECT AND CONTENT
The primary stage of engaging with art is its PERCEPTION.
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 in 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 artwork.
Subjectivity is illustrated in the way that selective perception renders one or two details more prominent than others,
prompting the viewer to focus on some details as essential or as standouts.
Even the disposition or mood of the viewer, his education, his background, and his exposure to varying contexts
contribute to what information is taken in and how they are interpreted.
In most cases, there are clues that mediate between the artwork and the viewer, allowing the viewer to more easily
comprehend what he is seeing.
These clues are the three basic components of a work of art: subject, form and content.
Subject – refers to the visual focus or the image that may be extracted from examining the artwork; seen as the “what.”
Content – meaning that is communicated by the artists or the artwork; the “why”
Form – the development and configuration of the artwork – how the elements and the medium or material are put
together; the “how”
In the arts, there are also observable qualities that the artwork holds that will point to its subject, and sometimes even
to its content.
In order to flesh out what the subject of the artwork is, it is important to first look at the constituent figures that are
perceivable on the surface of the canvas or the sculpture, and the manner in which the artist chose to depict those
figures. From these, the type of subject can then be inferred.
TYPES OF SUBJECT
Portraits such as the “Mona Lisa” are good examples of what is called representational art. These types of art have
subjects that refer to objects or events occurring in the real world. Often, it is termed figurative art, because as the
name suggests, the figures depicted are easy to make out and decipher.
On the other hand, seeing a painting that has nothing in it but continuous drips of paint or splotches of colors either
confounds the viewer or is readily trivialized as something that anyone with access to materials can easily make. The
works of Jackson Pollock, who is known for his “action paintings,” are often subjected to these remarks.
Using large-scale canvasses that were laid out on the floor or resting on a wall, Pollock titled his paint can and allowed
paint to drip. Assisting it with movement, he used other implements such as hardened brushes, knives, sticks and
trowels to add detail, texture, and dimension to his paintings. There were no clear figures that jot out from the canvas;
there were only drips and splashes. This kind of work can be subsumed under the category of non-representational. As
the opposite of the previously discussed type of subject, non-representational art is also often termed non-figurative art.
Non-representational art does not make an inference to the real world, whether it is a person, place, thing or even a
particular event. It is stripped down to visual elements such as shapes, lines, colors, that are employed to translate a
particular feeling, emotion, and even concept.
It is in this light that representational works are often favored because they are easier to recognize. Viewers find a
greater degree of comfort when what they see registers as something familiar.
It can be argued that the artist is faced with a strong persuasion of creating works that veers toward representational
art. However, it is not simply an issue of assumed preference; rather, it cuts across matters relating to prevailing themes,
norms and practices of specific historical moments.
One source of confusion is the notion that non-representational art is the same as abstract art. This is essential to
discuss because it introduces the fact that representational art and non-representational art is a clear-cut divide; rather,
they exist in a spectrum.
An abstract work of Pablo Picasso is a great example to illustrate this.
Cut metal that is hinged on a metal base, there is a palpable distortion of the image – whatever it is – seems to be
melting.
Abstract art is in itself a departure from reality, but the extent of that departure determines whether it has reached the
end of the spectrum, which is non-representationality – a complete severance from the world.

Sources and Kinds of Subject

In discussing the sources and kinds of subjects in artworks, it is important to note that these two are often inextricably
related.
Often, even a singular source of inspiration can yield multiple translations. A good starting point is nature.
Early childhood often revolves around getting to know not just the body and what it can do, but also getting accustomed
to a multitude of sensory prompts around the artist especially those situated in his environment.
In the history of art, it is important to remember that the source and kind of subjects were not merely a product of the
artist’s inclination and choice.
A particular kind of subject and the way it is visually translated may be traced in relation to the art patrons (those who
commission the artworks), the favored artistic style and canons and the norms and trends prevailing in the artist’s
milieu.
During the Spanish colonial period in the Philippines, art was predominantly representational. During the first century of
their dominance, art came as an aid for communication – a means of propagating religion to locals who spoke a different
language.
The visual arts, from paintings to early sculptures, such as santos and other votive figures and icons, were created to
assist Catholic ministry. Existing art and craft traditions persisted, with some augmented and infused with foreign
influences that were not limited to the Spanish culture through contact.
Content in Art
Why was the artwork created in the first place?
When this question is asked, we are after the meaning or message that is expressed or communicated by the artwork.
Erwin Panofsky – art historian; one of the foremost scholars who expounded on content analysis or how meaning is
arrived at in his seminal work Meaning in the Visual Arts (1983). His methodology will be later identified as Iconology
through the interpretation of iconography.
To take on the challenge of understanding the content of art, it must be reiterated that there are various levels of
meaning. Perhaps the most common is what we call factual meaning.
Factual meaning – pertains to the most rudimentary level of meaning for it may be extracted from the identifiable or
recognizable forms in the artwork and understanding how these elements relate to one another.
Conventional meaning – pertains to the acknowledged interpretation of the artwork using motifs, signs, symbols and
other cyphers as bases of its meaning. These conventions are established through time, strengthened by recurrent use
and wide acceptance by its viewers or audience and scholars who study them.
Ex. Flag – symbol of a nation, cross- for Christianity, etc.
Subjective meaning – any personal meaning consciously or unconsciously conveyed by the artist using a private
symbolism which stems from his own association of certain objects, actions or colors with past experiences.
A painting may communicate multiple meanings to its many viewers. This is what we call
subjective meaning of art.
 Subject
• Subject refers to the topic, focus, or image presented in a (visual) art.
• 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.
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
. 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
recogn . 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 likeizing the subject in non-representational art.
 Still life
▪ Artists may draw inspiration from inanimate subjects such as food,
flowers, plants, candles, glass, books, and so on.
▪ Still-life painting is said to represent or depict inanimate objects for
the sake of their qualities of form, color, texture, and composition.
(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.
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.
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
▪ 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.
ART APPRECIATION: CREATIVITY, IMAGINATION AND EXPRESSION
It takes an artist to make art.
Not every beautiful thing that can be seen or experienced may truly be called a work of art.
Art is a product of man’s creativity, imagination, and expression.
No matter how perfectly blended the colors of the sunset are and no matter how extraordinarily formed mountains are,
nature is not considered art simply because it is not made by man.
An artwork may be inspired by nature or other works of art, but an artist INVENTS his own forms and patterns due to
what he perceives as beautiful and incorporates them in creating his masterpiece.
 JEAN-PAUL SARTRE
A famous French Philosopher of twentieth century
He described the role of art as a creative work that depicts the world in a completely different light and perspective and
the source is due to human freedom (Greene, 1995)
Each artwork beholds beauty of its own kind, the kind the artist sees and wants viewers to perceive.
People are blind to the beauty of art and only those who have developed a fine sense of appreciation can experience
and see the art the same way the artist did.
Refining one’s ability to appreciate art allows him to deeply understand the purpose of an artwork and recognize the
beauty it possesses (Collins & Riley, 1931).
Learning to appreciate art, no matter what vocation or profession you ha ve, will lead to a fuller and more meaningful
life (Collins & Riley, 1931).
The Role of Creativity in Art Making
Creativity requires thinking outside of the box.
Creativity is often used to solve problems that have never occurred before, conflate function and style and simply make
life a more unique and enjoyable experience.
In art, CREATIVITY is what sets apart one artwork from another.
A creative artist does not simply copy or imitate another artist’s work. He embraces ORIGINALITY, puts his own flavor
into his work and calls it his own creative piece.

Art as a Product of Imagination,

Imagination as a Product of Art
Where do ideas in creative solutions begin?
It all starts in the human mind, It all begins with imagination.
“Imagination is more important than knowledge.”
- Albert Einstein (German physicist)
- An artwork does not need to be a real thing, but can be something that is imaginary (Collingwood, 1938). Artists
use their imagination that gives birth to reality through creation.
- Art also inspires imagination. Often, you will find coffee shops, restaurants and libraries with paintings hung or
sculptures and other pieces of art placed around the room to add beauty to the surroundings.
ART AS EXPRESSION
- An emotion will remain unknown to man until he expresses it.
- What an artist does to an emotion is not to induce it but express it (Robin George Collingwood – The Principles
of Art)
- Through expression, he is able to explore his own emotions and at the same time create something beautiful out
of them.
- Description actually destroys the idea of expression, as it clarifies the emotion, making it ordinary and
predictable.
- Explicitly saying, “I am angry” is not an expression of emotion, but a mere description.
- Expressing emotions is something different from describing emotions.
EXPRESSION INDIVIDUALIZES.
- An artist has the freedom to express himself the way he wants to. Hence, there is no specific technique in
expression. This makes people’s art not a reflection of what is outside or external to them, but a reflection of the
inner selves.
There are countless ways of expressing oneself through art.
⬗ Visual Arts
⬗ Film
⬗ Performance Art
⬗ Poetry Performance
⬗ Architecture
⬗ Dance
⬗ Literary Art
⬗ Theater
⬗ Applied Art
VISUAL ARTS
Creations that appeal to the sense of sight and are mainly visual in nature.
- Artists produce visual arts driven by their desire to reproduce things that they have seen in the way that they
perceived them (Collins & Riley, 1931).
- Some mediums of visual arts include paintings, drawings, letterings, printing, sculpture, digital imaging and
more.
FILM

- The art of putting together successions of still images in order to create an illusion of movement.
 - The art of filmmaking is so complex it has to take into account many important elements such as lighting,
musical score, visual effects, direction and more.
PERFORMANCE ART
- is a live art
- The artist’s medium is mainly the human body which he or she uses to perform but also uses other kinds of art
such as visual art, props or sound.
- It usually consists of four important elements:
1. Time
2. Where the performance took place
3. The performer/performer’s body
4. Relationship between the audience and the performers
POETRY PERFORMANCE
- is an art form where the artist expresses his emotions not by using paint, charcoal or camera but expresses them
through words.
- These words are carefully selected to exhibit clarity and beauty and to stimulate strong emotions of joy, anger,
love, sorrow and the list goes on.
- These words, combined with movements, tone, volume and intensity of delivery add to the artistic value of the
poem.  
ARCHITECTURE
- is the making of beautiful buildings.
- However, not all buildings are beautiful and can be considered architecture.
- Buildings should embody three important elements: plan, construction and design.  
DANCE
- is a series of movements that follows the rhythm of the music accompaniment.
- Dancing is a creative form that allows people to freely express themselves. It has no rules.
- Dancers are not confined to set steps and rules but are free to create and invent their own movements as long
as they deem them graceful and beautiful
LITERARY ART
-  Artists who practice literary arts use words -- not paint or musical instruments to express themselves and
communicate emotions to the readers.
- Simply becoming a writer does not make one a literary artist.
- Simply constructing a succession of sentences in a meaningful manner is not literary art.
- Literary Art goes beyond the usual professional, academic, journalistic and other technical forms of writing.
- It focuses on writing using a unique style, not following a specific format or norm.
- It may include both fiction and non-fiction such as novels, biographies and poems.
THEATER
- uses live performers to present accounts or imaginary events before a live audience.
- Theater art performances usually follow a script, though they should not be confused with literary arts.
- Similar to performance art, since theater is also a live performance, the participation of the viewer is an
important element in theater arts. Some genres of theater include drama, musical, tragedy, comedy and
improvisation.
APPLIED ARTS
- is incorporating elements of style and design to everyday items with the aim of increasing their aesthetical
value.
- Artists in this field bring beauty, charm and comfort into many things that are useful in everyday life (Collins &
Riley, 1931).
- Industrial design, interior design, fashion design and graphic design are considered applied arts.
- Through exploration and expression of ideas, consideration of the needs and careful choice of materials and
techniques, artists are able to combine functionality and style.

ARTISTS AND ARTISANS

One type of knowledge that fuels the twenty-first century is CREATIVITY. This is evident in the recognition that
professionals in the creative sector are integral drivers and movers in society and an integral segment of this
sector are ARTISTS.
The impulse to create is at the core of human civilization, much like the impulse to communicate through
language.

THE ARTISAN AND THE GUILDS

The practice of artists was not grounded on the idea of individual capacities or success; rather, in the
commitment to work together as a collective.
Guilds were a type of social fellowship, an association structured with rules, customs, rights, and responsibilities.
With a lifetime of commitment to a particular trade, an artisan develops immense skill and expertise in his craft.
 A master artisan or craftsman would then be open to hiring apprentices who would be under his tutelage and
instruction.
In these guilds, artistry and technology flourished under one roof.
In the context of the cathedral construction site, the master mason oversaw the work by numerous men of
varying artistic proclivities and skills, from the smiths (metal work), carpenters, carriers and glaziers (stained
glass artists), among others.
ALBRECHT DURER
- Born in 1471, his father was a goldsmith; that is why he also apprenticed as such.
- Later on, he shifted to visual arts.
- His life was ripe with travels, fame and fortune.
- He published quite a number of books and treatises including those that talked about practical skills as an artist
which would be useful to other artisans and craftsmen who dared to read it.
CULTURE OF ARTISANS
- The culture of artisans became prevalent in the Philippines as well, particularly during the Spanish colonial
period.
- During the propagation of the faith, Spanish friars commissioned a lot of artisans to carve, paint and engrave
images for churches and public sites.
- Each locality had a characterizing style or feature in the way their depictions were made; the manner in which
Boholano artists would paint saints and scenes were different from those of Rizal or in Laguna.
Spanish Colonial Churches
Like other Baroque churches that benefitted from the talents of artists, Spanish colonial churches were also
lined with frescos and ceiling paintings, with a number of them undergoing restoration in the early 1900s.
Project Kisame is a collective endeavor amongst enthusiasts and advocates who aimed to promote this art form
through documentation, engagement, and appreciation of surviving ceiling paintings in more than 60 churches
in the Philippines. Technology and heritage conservation occupied a substantial part of this project.
The Church of the Most Holy Trinity in Loay, Bohol, locally referred to as Santisima Trinidad Parish.
Details of the ceiling of the Church of the Most Holy Trinity (Loay, Bohol). This showcases the signatures of some
of the artists who worked for the restoration of the ceiling paintings between 1922 to 1927.
In 2003, it became a National Historical Landmark.
New Elite or Ilustrados or the Middle Class
- The next patron of the arts
Tipos del pais – watercolor paintings that showcased the different local inhabitants of the country in different
garbs, and clues to their occupation and status
Letras y figuras – combined the principle of tipos del pais and incorporated it as a means to illustrate the letters
of one’s name and surname.
Systematization of Art Instruction
- establishment Damian Domingo of the Academia de Dibujo.
- Known as the best tipos del pais painter, this school specialized in teaching the miniaturismo style of painting
along with the tenets of classical European painting.
- Eventually, other schools emerged teaching other genres such as bodegones (still life) and paisajes (landscape)
THE ARTIST AND HIS STUDIO
The site that saw the shift from a craftsman to an independent artist was a very personal space for the artist
himself, which is the studio.
Artist’s Studio
Today, artist studios have been a place of interest for the public.
An artist’s studio is an extension of the artist himself.
The Studio Model
- The studio model dates back from the Renaissance.
- Artists flexed their relationship with their patron as a site where negotiations and works were made.
- There were those whose work stations were segmented into: the studiolo and the bottega.
Bottega – where the work usually happened
Apprentices studied under the masters; assisting with menial tasks or the preparation of the painting surfaces.
In the 17th century, these demarcations became loose, eventually merging together. This was especially true
with artists who explored oil painting techniques whose long processes can be described by cycles of mixing,
layering, and of drying of paint.
PRODUCTION PROCESS
• The process of creating an artwork does not necessarily follow a linear progression.
• The process is essentially tripartite: (1) preproduction, (2) production, and (3) postproduction.
MEDIUM AND TECHNIQUE
• Medium is the mode of expression in which the concept, idea, or message is conveyed.
• The technique of the artwork shows the level of familiarity with the medium being manipulated.
AWARDS AND CITATIONS
 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 colleagues in the art world, he 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 honor
for their work is through state-initiated and given awards and citations
Two Major Awards Given to Artists in PH
1. Orden ng Pambansang Alagad ng Sining (Order of National Artists)
2. Gawad sa Manlilikha ng Bayan (National Living Treasures Award)
Conferment of Order of National Artists
the “highest national recognition given to Filipino individuals who have made significant contributions to the
development of Philippine arts; namely, music, dance, theater, visual arts, literature, film, broadcast arts, and
architecture and allied arts. The order is jointly administered by the National Commission for Culture and the
Arts (NCCA) and the Cultural Center of the Philippines (CCP) and conferred by the President of the Philippines
upon recommendation by both institutions” (NCCA, 2015)
The very first recipient of this award was painter Amorsolo, who was touted as the “Grand Old Man of Philippine
Art.” He was the sole awardee in the year 1972 as National Artist for Visual Arts.
Some honors and privileges that a national artist awardee receives are the following:
The rank and title, as proclaimed by the President of the Philippines;
A medallion or insignia and a citation that will be read during the conferment;
Cash awards and a host of benefits (monthly life pension, medical, and hospitalization benefits, life insurance
coverage);
a state funeral and burial at the Libingan ng Mga Bayani (Heroes’ Cemetery); and

A place of honor or designated area during the national state functions, along with recognition or acknowledgement
at cultural events.

Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in 1992 under the Republic Act
No. 7355.

- 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.”
It was first conferred to three (3) outstanding artists in music and poetry back in 1993.
They are
1. Ginaw Bilog - a master of Ambahan poetry;
2. Masino Intaray – a master of various traditional musical instruments of the Palawan people;
3. Samaon Sulaiman - a master of the kutyapi and other instruments.
Qualification of a “Manlilikha ng Bayan”
1. Citizen engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high level of
technical and artistic excellence and have been passed on to and widely practiced by the present generation in
his/her community with the same degree of technical and artistic competence.
2. The artists’ practice may fall under the following categories: folk, architecture, maritime transport, weaving,
carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other
artistic expressions of traditional culture.

Incentives accorded to the Awardee:

1. Specially designed gold medallion;
2. Initial grant of Php 100,000 and a Php 10,000 stipend for life (later increased to Php 14,000)
3. Benefits such as a maximum cumulative amount of Php 750,000 medical and hospitalization benefits
4. Funeral assistance or tribute fit for a National Living Treasure.
PRINCIPLES OF ART
• The principles of art will provide explicit ways in which these elements are used, how they are manipulated,
how they interact, and how they inform the overall composition of the artwork to assist the artist in conveying
his intention.
• These principles are: balance, scale and proportion, emphasis and contrast, unity and variety, harmony,
movement, rhythm, and repetition and pattern.
Balance – refers to the distribution of the visual elements in view of their placement in relation to one another
3 Forms of Balance:
1. Symmetrical – the elements used on one side are reflected to the other.
2. Asymmetrical – the elements are not the same (or of the same weight) on each side, putting the heaviness on
one side
3. Radial – there is a central point in the composition, around which elements and objects are distributed.
2. Scale and Proportion

Scale – pertains to the size in relation to what is normal for the figure or object in question.
Proportion – is the size of the components, or of objects in relation to one another when taken as a composition or
a unit. This can also refer to values such as amounts or number of elements or objects in the composition.

3-4. Emphasis and Contrast

Emphasis – allows the attention of the viewer to a focal point(s), accentuating or drawing attention to these
elements or objects. This can be done through the manipulation of the elements or through the assistance of
other principles, especially that of contrast.
Contrast – is the disparity between the elements that figure into the composition. One object may be made
stronger compared to other objects (Hence, emphasis).
- Use of negative and positive space
- Using complementary colors in the work of art
- 5-6. Unity and Variety

- Unity – sense of accord or completeness from the artwork

- Variety – is the principle that aims to retain interest by allowing patches or areas that both excite and allow the
eye to rest.

- 7. Harmony

- Unity and variety is related to the principle of harmony, in which the elements or objects achieve a sense of flow
and interconnectedness.

- 8. Movement

- This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements
that are emphasized. These focal points can be lines, edges, shape and color within the work of art, among
others.

- 9. Rhythm

- This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate
rhythm as depicted in the artwork.

- 10-11. Repetition and Pattern

- Lines, shapes, colors and other elements may appear in an artwork in a recurring manner. This is called
repetition.

- The image created out of repetition is called pattern.

PLANES AND PERSPECTIVE

Picture Plane – is the actual surface of the painting or drawing, where no illusion of a third dimension exists.
Hence, the elements lay flat as if one was looking through a window into what lies on the other side of the glass.
3 TYPES OF PERSPECTIVE (grounded on the number of vanishing points used by the artist)
a) One-point perspective – often used in depicting roads, tracks, hallways or rows of trees; show parallel lines that
seem to converge at a specific and lone vanishing point, along the horizon line.
b) b) Two point perspective – pertains to a painting or drawing that makes use of two vanishing points, which can
be placed anywhere along the horizon line. It is often used in depicting structures such as houses or buildings in
the landscape that are viewed from a specific corner.

c) c) Three point perspective

d) The viewer is looking at a scene from above or below. It makes use of the three vanishing points, each
corresponding to each axis of the scene.

COMBINED OR HYBRID ART

• In combined arts, improvisation is often tapped in addition to practical and logical considerations of creating an
artwork.
• Some examples of combined arts are: dance, theater, installation art, film, video art, documentary,
photography, puppetry, design and other forms of production.
HYBRID ARTS
• Another movement that is reminiscent of the motivations of the Renaissance, and whose emergence is hinged
on the frontiers of science and technology, is called hybrid arts
• - Fields of robotics, artificial intelligence, biotechnology, natural and computer sciences, telecommunications,
information, digital and interface techonologies (software programs, speech and face recognition, media and
online platforms, among many other emergent developments).
 • Hybrid arts are driven by the expansion of the imagination and what is possible through the “blistering pace of
scientific and technological development.” (Piirma, 2014)

• At its heart is an inquiry – and through information and data, the capacity of the artist to move around
platforms, and the implementation and manipulation of newfound tools in production, the artist is able to
address that inquiry.

Elements of Art
Elements are the necessary preconditions for the creation of art.
To enumerate, the elements of art and design are the following: line, shape and form, space, color and texture.
1. Line
A line refers to a point moving at an identifiable path – it has length and direction. It also has width. It is one-
dimensional, however, it has the capacity to either define the perimeters of the artwork (edges) and/or become
a substantial component of the composition.
Although a line is “simple,” it has variations in view of its orientation/direction, shape and thickness. These
variations import not only the visual elements into the artwork, but suggest meaning or message being
conveyed by the artist.
A quality that is ascribed to lines is its ability to direct the eyes to follow movement or provide hints as to a
work’s focal point. The orientation in which we are most accustomed to such as the assertive force of gravity
grounding objects, or the sideways or up-and-down vibration that informs us of an earthquake, the gustiness of
the wind from the window, or the direction of the rainfall conjures different images of lines.
a) Horizontal and Vertical lines – refers to the orientation of the line.
Horizontal lines are normally associated with rest or calm. Landscapes contain these elements as works like
these often connote a visual sense of being parallel to the ground. It also alludes to position of the reclined body
at rest. Vertical lines connote elevation or height, which is usually taken to mean exaltation or aspiration for
action. Together, these lines communicate stability and firmness.
b.) Diagonal and crooked lines – diagonal lines convey movement and instability, although the progression can
be seen. Crooked or jagged lines, on the other hand, are reminiscent of violence, conflict or struggle.
c.) Curved lines – these are lines that bend or coil. They allude to softness, grace, flexibility or even sensuality.
One of the most important Spanish artists is Francisco de Goya. Known for his prints, he is a master of etched
works and use of aquatint. He made use of this medium to articulate his political views about the ills of the
society, war scenes, and even the dreamlike and grotesque while still engaging with what was happening around
him. As with most etchings and other types of prints, lines are dominant visual components.
Etching is the process of using strong acid to cut into the unprotected part of a metal surface to create a design
in intaglio (created by cutting, carving or engraving into a flat surface) in the metal. The acid “bites” into the
metal, where it is exposed, leaving behind lines sunk into the plate
Aquatint is a printmaking technique that produces tonal effects by using acid to eat into the printing plate
creating sunken areas which hold the ink. The process is called aquatint because finished prints often resemble
watercolor drawings or wash drawings.
Elements of Art: Line
Lines may not necessarily be explicit or literally shown. As what many examples will portray, implied lines may just be as
powerful, if not more. In “The Raft of Medusa,” the position and orientation of the bodies that are aboard the raft are
predominantly diagonal in direction. This creates not only movement but also tension in the scene. Based on an actual
event, the painting depicts the 1816 wreckage of the French government ship called Medusa.

Elements of Art: Shape and Form

2-3. Shape and Form
These two are related to each other in the sense that they define the space occupied by the object of art. Shape
refers to two dimensions: height and width, while form refers to three dimensions: height, width and depth.
Even if shapes are part of a bigger picture, each can be identified by breaking the visual components apart and
making distinctions based on what we know and what we have seen.
Two categories can be used as a broad distinction:
a) Geometric – these shapes find origin in mathematical propositions. As such, its translation and use are
often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among
others.
b) Organic – organic shapes are those readily occurring in nature, often irregular and asymmetrical.
Shapes may also be implied. For instance, Raphael’s famous painting “The Madonna of the Meadows” depicts
three figures: Mary, the young Jesus (right), and the young John the Baptist (left). The positions in which the
group takes allude to a triangular shape reinforced by the garb of Mary.
Elements of Art: Space
4.) Space
Related to shape and form is space. It is usually inferred from a sense of depth, whether it is real or simulated.
Real space is three-dimensional. Like what has been previously mentioned, sculptures are perfect example of
artworks that bear this element. However, this can only be manifested in two-dimensional artworks through the
use of different techniques, or the use (or non-use) of area around a drawing or picture.
 Not all works are sculptures. In two-dimensional artworks, they may be implied.
a) Positive and negative space – usually identified with the white space is the negative space. The positive
space, on the other hand, is the space where shadow is heavily used.
b) Three-dimensional space – can be simulated through a variety of techniques such as shading. An illusion
of three-dimensionality can be achieved in a two-dimensional work.
5. Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has range, allowing
the viewer to make responses based on memory, emotion, and instinct, among others.
This element is a property of light, as it is reflected off the object. Color is not intrinsic to an object and without
light, one cannot perceive color. Much of what we know about colors begin with the notion of Color Theory that
was first unraveled by the experiments undertaken by Sir Isaac Newton in 1666. A ray of sunlight passing
through a prism reveals an array of colors akin to that of a rainbow.
Elements of Art: Color
An upshot of this color theory is the creation of a color wheel.
The color wheel corresponds to the first property of color, hue.
a) Hue – this dimension of color gives its name. It can be subdivided into:
• Primary colors – red, yellow and blue
• Secondary colors – green, orange and violet
• Tertiary colors – six in total, these hues are achieved when primary and secondary colors are mixed.
b) Value – this refers to the brightness or darkness of color. Often, this is used by artists to create the
illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene (e.g. day and
night).
Value:
Light colors – taken as the source of light in the composition
Dark colors – the lack or even absence of light
However, we can identify the color even when a range is presented to us. Expectations are also established
based on the notion that yellow is within the light value; whereas, violet is in the dark. Each primary color has a
range of values based on the addition and diminishing quantity and quality of light.
• Tint – this is a lighter color than the normal value (e.g. pink for red)
• Shade – this is a darker color than the normal value (e.g. maroon for red)
c.) Intensity – this is the color’s brightness or dullness. It is identified as the strength of color, whether it is vivid
or muted. To achieve a specific intensity of color, one may add either gray or its complementary color.
• Bright or warm colors – positive energy
• Dull or cool colors – sedate/soothing, seriousness or calm
To better understand intensity of color, color harmonies are to be considered. In interior design, we often hear
designers refer to color schemes – a guide for selecting not only a wall paint but also furniture and décor.
However, color harmonies are also integral considerations not only for pictorial arts but also for other art forms.
• Monochromatic harmonies – use the variations of a hue. An example is Claude Monet’s “Houses of
Parliament”
• Complementary Harmonies – involve two colors opposite each other in the color wheel. Since they are
at contrary positions, the reaction is most intense.
• Analogous Harmonies – make use of two colors beside each other in the color wheel
Other harmonies have emerged such as triadic harmonies, which make use of three colors from equidistant sites
within the color wheel. This, however, does not mean that artists will limit themselves to these kinds of
harmonies. These are but jump-off points that artists and other creatives use.
Elements of Art: Texture
Like space, texture can be either real or implied. This element in an artwork is experienced through the sense of
touch (and sight). This element renders the art object tactile.
Often, texture is commonly associated with textiles.
a) Textures in two-dimensional plane – texture can be implied using one technique or a combination of
other elements of art. By creating this visual quality in the artwork, one can imagine how the surface will feel if it
was to be touched. Some of the words used to describe texture are the following: rough or smooth, hard or soft,
hairy, leathery, sharp or dull, etc. To be able to simulate the texture of a surface in a flat, two-dimensional plan
is one important skill that an artist must be familiar with, especially if his idea or concept necessitates it.
b) Surface texture – refers to the texture or the three-dimensional art object.
The elements of art make it possible to engage with the visual and tactile qualities of the artwork through a
“common language” that may be widely understood. Through these elements, there is something from which
the idea, concept, message and intended mood of the artist may be inferred. It offers a starting point or a
baseline from which analysis may take place. This kind of analysis is called formal analysis of art.
Elements of Art: Auditory
Music, much like the visual arts, has its own building blocks or elements.
Music is sound organized in a specific time. It is considered an implement to cultural activities, answering a
specific role or function.
During the times when man had to hunt for food, music was used as a corral to herd animals, or as an element
of specific rituals or rites.
 1. Rhythm
Often associated to the terms beat, meter, tempo, rhythm is the element of music that situates it in time. It is
the pulse of the music.
Beat is the basic unit of music while tempo refers to its speed (beats/second). Beats can be organized into a
recognizable recurrent pattern, which is called the meter.
Classical terms are used to refer to the variations in tempo, some of which are:
Largo – slowly and broadly
Andante – walking pace
Moderato – at moderate speed
Allegro –fast
Vivace – lively
Accelerando – gradually speeding up
Rallentado - gradually slowing down
Allargando – getting slower, broadening
Rubato – literally “robbed time,” rhythm is played freely for expressive effect
2. Dynamics
The element of music that refers to the loudness or quietness of music is dynamics. Classical terms are used to
refer to the different levels pertaining to this:
Pianissimo [pp] – very quiet
Piano [p] – quiet
Mezzo-piano [mp] = moderately quiet
Mezzo-forte [mf]- moderately loud
Forte [f]- loud
Fortissimo [ff] – very loud
When composers indicate an increase or decrease in loudness, they use the terms crescendo for the former and
decrescendo or diminuendo for the latter.
3. Melody
Melody refers to the linear presentation (horizontal) of pitch. By horizontal, it means that in musical notation, it
is read in succession from left to right. Pitch is the highness or lowness of musical sound
4. Harmony
If melody is horizontal, harmony is vertical. It arises when pitches are combined to form chords. When several
notes are simultaneously played, this refers to a chord.
Harmony can be described in terms of its “harshness:” dissonance is the harsh-sounding combination while
consonance is the smooth sounding combination
5. Timbre
Timbre is often likened to the color of music. It is a quality that distinguishes a voice or an instrument from
another. Dependent on the technique, the timbre may give a certain tone or characteristic to music, much like
how a painter evokes different effects or impressions onto the canvas.
6. Texture
The number of melodies, the type of layers and their relatedness in a composition is the texture of music. It may
be
 Monophonic – single melodic line
 Polyphonic – two or more melodic lines
 Homophonic – main melody accompanied by chords