College BSCRIM 1 ART APPRECIATION Module 4 Artists and Artisans

College
BSCRIM 1
ART
APPRECIATION
Module 4
Artists and Artisan, Elements and
Principles of Art, and Art in Early
Civilization
INSTRUCTOR: LOVELY P. PANCHACALA, MBM 1

Reading Resources and Instructional Activities
MODULE 4
Artists and Artisan
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LEARNING OUTCOMES
By the end of this lesson, you should be able to:

1. outline the history of the emergence of artists and artisans;
2. recognize and critically discuss the function of state sponsorship in the field of arts and
culture through the National Artists Award and the Gawad sa Manlilikha ng Bayan
(GAMABA);
3. identify and define the different individuals and groups who take on varied roles in the
world of art and culture; and
4. classify the practices of artists in terms of form, medium, and technique.
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INTRODUCTION
In the advent of technology, it is remarkable what has now been made possible. With a click of
a button, an array of overwhelming information is made available, informing every aspect of human
life. In the fast-paced and highly complex twenty first century, there is a real and nagging fear that
soon, everything may very well be replaced by computers and robots that can arguably do things
with more precision, at a shorter amount of time and less capital in the long term. This nihilist notion
is contested by what are arguably the most resilient qualities of man, which is his creativity and
imagination. And as long as there is a cultivation of both of these qualities, no robot or artificial
intelligence can replace man just yet.
The arts is one of the most significant ways in which we try to grapple with how the present
unfolds. In Robert Henri's The Art Spirit (1923), he stated that "Art when really understood is the
province of every human being. It is simply a question of doing things, anything, well. It is not an
outside, extra thing. When the artist is alive in any person, whatever his kind of work may be, he
becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other
people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those
who are not artists are trying to close the book he opens it, shows there are more pages possible."
There is a gap when one continues to persist with the idea that art is something that is detached from
the every day. In what has been reduced to a blur, it became more integral that man pursues a better
understanding of the world where he lives. One of the avenues that makes this both possible and
exciting is the engagement with art and culture.

This lesson will introduce the artists who have dedicated their lives to the cultivation of the
arts through the works of great creativity, imagination, and daring throughout history. It aims to
expand this into the wider world of the arts and culture, wherein other key players and movers are
testament to how the production, consumption, and distribution of arts have changed profoundly.
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Let's Get Down to Business
Out of the shadows of these caves, astounding headway was seen moving down history from
Bronze Age down to the Middle Ages in terms of how man continued to utilize his surroundings to
create varying expressions of his ideas and feelings. Through the exploration of his immediate
environs, trade, and other experimentations, new modes, media, and techniques brought to light a
wide array of artworks that instantiate the wealth that can be done when the artist's vision is
tapped, harnessed, and realized. But the most integral development that allowed this identity of an
"artist" to fully emerge is the systematization and sophistication that his world - the art world - has
become.
The impulse to create is at the core of human civilization, much like the impulse to
communicate through language. Early on, artists were embedded in the development of culture, and
in turn, art was nurtured by the varying cultures in which it existed. The works produced varied
from the prosaic to those that explored a wide range of aesthetic possibilities. Seen every day, the
interaction with these objects was intimate in the sense that their presence was experienced in a
multitude of ways and in all of the affairs of man: ornamentations in tools and other surfaces,
weaving patterns in textiles, visual features and the design/plan for architectural structures, and
ritual and burial implements, among others. Artists even created places and spaces where
communities may gather. There are numerous monuments and memorials that are plotted over the
world such as the infamous Vietnam Veterans Memorial in Washington DC. There are others like the
cave paintings that have an aura of mystery like the Pyramids of Giza, or have alluded
comprehension like the Stonehenge.
Figure 36. The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Age

It was in this light that artists worked and most of the time, the products were considered
not as artworks at all but rather as craft or placed under some other category. The use of the word
"embedded" may be taken to mean that what was created automatically circulated in the operations
of society and was not integral to an art object that the identity of its maker be known. It did not
take long before this changed.
The Artisan and the Guilds
Have you ever wondered why some examples of artistic and creative production have
survived to this day? Museums are packed with numerous artifacts and interesting objects from all
over the world that have survived centuries for us all to see. Magnificent structures that are often
appreciated not only for their historical significance but more so for their aesthetic characteristics
that render them unique, become tourist destinations for those who wish to explore and see the
remarkable façade, interior, and even the minutest of details up close. Perhaps what made the
difference was the materials, medium, and the principles behind the process of their creation.
Another contributory factor is the emergence of technology and knowledge in managing and
conserving all of these objects and structures, enabling the retention of the integrity of the artwork
and the intention of the artist in terms of the design and overall aesthetic.
Consider the Gothic cathedrals and other megastructures that were built all over Europe
during the Middle Ages. Craftsmen and builders in the past did not have sophisticated terminologies
and principles that architects and engineers abide by today. Yet, they fulfilled overlapping roles such
as the draftsman, architect, engineer, and even as the builder. What they had was a sense on how
materials behaved, how the environment, light, and weather patterns affected structures, and other
more intuitive principles of creation. Experimentation and luck must not also be forgotten. Gothic
cathedrals along with other structures
inspired by its architectural tenets have
survived through time, not only by their
sheer durability, but more so through the
articulation of the processes that they
followed. An example of this would be the
Cologne Cathedral. In Germany, it is but
one of the many examples of early Gothic
architecture. The account was that master
mason Gerhard Ryle started the project in
1248 but was only completed roughly 600
years later, claiming the record as one of
the longest construction projects to date.
Figure 37. The Cologne Cathedral between ca. 1890 and ca. 1900, Köln, Germany

Figure 38. Detail of the stained-glass windows of Cologne Cathedral, Köln, Germany (2015)
What is meant here is a kind of formalization of craft education in which regulation was set
in place. Here, skills qualification was needed for an apprentice to register under a particular craft
guild. These guilds were prevalent during the Middle Ages particularly during the thirteenth to
fifteenth century, where towns had formalized groups of artisans or craftsmen who took on a
particular specialization or trade: shoemakers, textile and glass workers, carpenters, carvers,
masons, armorers, and weapon-makers, among others. Here, 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 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.

Figure 39. The guild niche under the Four Crowned
Saints. (circa 1416) This was commissioned by the
Arte dei Maestri di Pietra e Legname (guild of wood
and stone cutters), in Orsanmichele, Florence .
This brought to light various ways of

thinking about transferring knowledge and skills by
visualizing and articulating the principles,
processes, and tricks of the trade both in words and
in print through manuals and publications. Of
course, these printed publications were done
cheaply and did not have the same thoroughness as
with handbooks and manuals of biblical
proportions. Aside from funds, another hurdle was
the fact that some of the knowledge that went into
production was difficult to put into words. This can
be attested in a way that often, we find ourselves at
a loss when tasked with explaining a particular step
or process in something that we created. Consider
this, in addition to the fact that receiving the
explanation of how something is made does not
automatically make us impresarios who can carry
out the task bump-free.
Figure 40. Albrecht Dürer, "Self-Portrair (1500), Oil on

lime panel Alte Pinakothek (Munich) Collection.
In the visual arts, an example of an artist

strongly influenced by this was Albrecht Dü rer. Born
in 1471, his father was a goldsmith; that is why he
also apprenticed as such. Later on, he shifted to the
visual arts. During that time, it was customary to
travel after completing an apprenticeship to gather
more experience and knowledge. elsewhere. His life
was ripe with travels, fame, and fortune. One of the
biggest credits to his practice was his dedication and
interest in scholarship with his attendance to a close
friend's meetings of artists and scholars. He also
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. Mostly on perspective and human proportion, his works were
written in the first-person singular format, practical in the way it was written and was supported by
illustrations. It also helped that his illustrations were laid out opposite the text that explains it.
Although he was caught between the time when canons were still being followed, he suggested to his
readers that his was merely recommendations, and that if they found a better way to go about it, then
one should depart from what he had learned.
Although the timeline is a bit skewed, the culture of artisans became prevalent in the
Philippines as well, particularly during the Spanish colonial period. Formerly done with the spirit of
the communal and the everyday, patronship changed the way art was perceived. This was both the
case for religious and secular art, wherein the existence of artisans proved to be of immense use. It
was through mimesis or copying that artisan first learned to depict religious images and scenes.
Friars, being non-artists themselves, provided the references that artists could use. 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. 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.
Figure 41. The Church of the Most Holy Trinity in Loay, Bohol,
locally referred to as Santisima Trinidad Parish

Figure 42. 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 Photo courtesy of Joel Aldor/Project Kisame (2012)
One example of a Spanish architecture that has been documented is the Church of the Most
Holy Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered trompe l'oeil style
depicting biblical scenes. In 2003, it became a National Historical Landmark. It was therefore
unfortunate that this church was one of those heavily damaged during the devastating earthquake
that rattled Bohol in 2013. The only section of the structure that remained erected was the bell
tower. Although it is but a fragment of the real thing, the photos taken by Project Kisame were able to
document the beauty of the ceiling paintings prior to its destruction.
From the church, the next patrons of the arts were the then new elite, the ilustrados or the
middle class, along with foreign guests who wanted souvenirs to take along with them. In the
previous chapter, it was mentioned that portrait paintings became a fad. But looking closer at the
paintings will reveal the specificity of the style in which they were painted. Two other important
genres for painting at that time were the tipos del pais and letras y figuras. The former was
watercolor paintings that showcased the different local inhabitants of the country in different garbs,
and clues to their occupation and status; while the latter combined the principle of tipos del pais and
incorporated it as a means to illustrate the letters of one's name or surname.

One key example that illustrated the systematization of art instruction-a combination of sorts
of the guild and the art school-was the 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
Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the
artist in the arts started during the Middle Ages up to the Renaissance period. Most pivotal
developments included the transformation of the craftsman to an artist or an independent artist; the
widespread patronization of secular art (alongside the continuous production of works with
religious subjects); and the assertion of cognition, the will, and individuality. Before the Renaissance
Period, artworks were left unsigned. Artists claiming authorship for their works by affixing their
mark onto the surfaces of their paintings were a big milestone in the history of the artist. Combined,
these resulted in a wider variety of artworks, not just in form, but more so in style and technique.
The site that saw this shift was a very personal space for the artist himself, which is the studio.
Figure 43. James Abbott McNeill Whistler, "Artist's

Studio" (from Sketchbook), 1854 - 55. Black ink on
off-white wove paper. Gift of Margaret C. Buell,
Helen L. King, and Sybil A. Walk (1970).
Metropolitan Museum of Art.
Today, artist studios have been a place of interest

for the public. It is interesting to see and learn
where creativity manifests itself, especially since
an artist's studio is an extension of the artist
himself. The studio model dates back from the
Renaissance. Therein, 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
two, the studiolo and the bottega; the latter is
where the work usually happened. Apprentices
studied under masters, assisting with menial tasks
or the preparation of the painting surfaces. In the
seventeenth century, these demarcations became
lose, eventually merging together.

This was especially true with artists who explored oil painting techniques whose long process
can be described by cycles of mixing, layering, and drying of paint. This format remained throughout
the latter part of the 1800s.
In France, on the other hand, academies and art salons became popular as they did not only
support the production of art but also the discourse around them. Criticism and analysis were
highlighted as integral aspects of art engagement and therefore the display of the artworks through
official art salons was sought for. To be included in the exhibition was deemed an honor, especially
since it did not take a while before it was considered an arbiter of standards and taste.
The beginnings of Industrial Revolution had an interesting ramification for artists. A

compendium of events released the artists from the limitations that affected the way in which they
produced their works. These included the availability and portability of materials (i.e., foldable easels
and paint in tubes) and the reliance on the wealthy patrons to place a commission. More painters
enjoyed painting on their own behalf, creating works they wanted to create. It was during this time
that a host of styles developed side-by-side, allowing artists to fully grasp the potential of artistic
license, with minimal (to no) consideration for the prevailing tastes and stylistic preferences. During
the latter part of the 1800s, artists began to question the merits of stringent artistic training and
education, but it was during the 1900s that art was truly liberated from the traditions of the past.
Perhaps, it was then that artists found freedom to articulate their distinct aesthetic way of creative
production.
Other Players in the World of Art
Figure 44. Prominent Roles in the Art

World with Their Mandatory
Relationships
The terrain in which the artist

traverses is becoming increasingly
complex. In the last century, some of the
roles that have been existent since the
beginning of art history have been
properly dealt with-ascribed with a
name and legitimized into a
sophisticated network of relationships
and exchanges. This network is what we
call the art world.

Figure 45. Exhibition opening of "Arctic Hysteria: New
Art from Finland" (2009, Helsinki, Finland).
In Howard S. Becker's Art Worlds (1982), he

asserted that "all artistic work, like all human
activity, involves the joint activity of a number, often
a large number, of people. Through their
cooperation, the artwork we eventually see or hear
comes to be and continues to be. The work always
shows signs of that cooperation. The forms of
cooperation may be ephemeral, but often become
more or less routine; producing patterns of
collective activity we can call an art world. The
existence of art worlds, as well as the way their
existence affects both the production and
consumption of artworks, suggests a sociological
approach to the arts. It is not an approach that
produces aesthetic judgments; although that is a task
many sociologists of art have set for themselves."
There is an assumption that an artist works in
solitary; that the only time the external world is allowed in would be when the work is displayed and
when in circulation. This would necessitate the seemingly central position that the artist enjoys in
the grand scheme of art experience. Although a popular opinion still, it has considerably waned, with
the emergence of another art player as a super power the curator.
But the task at hand is not to christen a specific group of people in the art world as its focus.
What must be recognized is that, as Becker contended, there are numerous people who either work
in consent or dissension, and in doing so, continuously (re) define, (in) * valid, maintain (or abolish),
reproduce, and circulate the "cultural category of art, and to produce the consent of the entire society
in the legitimacy of the art world's authority to do so" (Irvine, 2013). The terrain where art is
distributed is a global network comprised of individuals, groups, and institutions such as schools,
museums, galleries, art spaces, auction houses, and other commercial market platforms, and
professions. The last aspect is very important because this implies that the art world does not only
rely on ideas, sentiments, and aesthetic values, but also on skills that are professionalized, stratified,
and more importantly, monetized. An example of a multi-level platform, where different players in
what we call an art world can engage. interact, and flex their art muscles, is the international art fair
like the Art Basel in Hong Kong.

Figure 46. Art Basel in Hong
Kong (2015)
It is important to note that with

the complexity of the art world,
players are no longer limited to
those who undertook formal
instruction in either (or both)
production and/or study of art.
Take for instance
administrative or managerial
roles, both of which can exist in
either institutional or non-
institutional scenarios. These
roles may be broken down to
working boards (board of
trustees); directors and assistant directors: managing curators; and other posts whose interest is the
management and operations of museums, galleries and other art spaces. For independent artists,
those outside the wing of a gallery as a "stable artist," sometimes require the assistance of an artist
manager in order to manage their career and sometimes to help them in promoting themselves to
the art world as well.
A curator, on the other hand, is one of the most elusive of roles to pin down. Institutional
curators are typically affiliated with museums and galleries, while independent or freelance curators
have the leeway to move around various projects, platforms, and art spaces in a multiplicity of terms.
Generally, the role of the curator is more of the interpretation and development of the artwork(s) or
the collection(s) through establishing the significance, relationship, and relevance of these materials
in isolation and/or as part of a wider narrative. Some of the roles expected of curators are the ability
to research and write, as an arbiter of design and layout, and deciding for the display and hanging of
materials for exhibition.
If curators are the hardest to define, it is buyers and collectors who are probably the easiest to
qualify. Often they are construed as one and the same, but separately taken, buyers are those who
initially assess and survey the artwork that collectors are interested in. It is their role to oversee the
sale of the artwork, on behalf of the collector who may either be too busy or who would rather keep
his identity hidden. Formerly ascribed with the term "patron," buyers and collectors are those who
acquire and purchase artworks for a variety of reasons: for the appreciation and enjoyment of art;
for the scholarship and education opportunity it may provide (donors of study collections); for
safeguard and preservation of their posterity; for investment; for communicating a way of
life/lifestyle; among others. These days, collectors are becoming more involved well beyond
extending their wallets. They have found another voice as an arbiter of taste. A collector who has
established himself as someone who not only appreciates art but knows art, understands its
behavior and patterns, becoming a key player in making or breaking an artist's career or shaping the
course of a museum's collection (through pledges of support and donation).
In addition, art dealers are those whose direct hand is in the distribution and circulation of
the artworks through a variety of means, such as direct sales, through galleries, and the more recent
player in the Philippines, auction houses. The knowledge and insight that art dealers are expected to
have include a specialization in art form, style, medium, or period; market trends; and even the
interrelationships of other key players in the art world who will benefit from the circulation and
distribution of the artwork (or artist) he promotes.
There are some overlaps in the way buyers, collectors, and dealers operate and behave. This
is understandable, perhaps especially in the Philippines where delineation of roles is a bit
ambiguous. There are many other roles that are in existent in the art world today, and there seems to
be no stopping of the cropping up of new ones. Other roles and their connectedness to others are
roughly illustrated in Figure 44.
As the art world is seen as a socio-economic network, it is important to note the major
difference between museums and galleries. These are the main institutions that display, distribute,
and circulate different artworks; however, they behave in different ways. The most substantial
demarcation that separates one from the other is the ethics that admonishes museums from entering
into the more market aspect of the art world. What this means is that museums should involve
themselves in the sale of artworks. The predominant role that museums are mandated to fulfill is the
display of artworks for the education of the public and the appreciation of these objects only. both in
isolation or as part of a collection and a wider narrative rendered possible by its inclusion in
exhibitions or informed by museum programming (i.e., lectures, workshops, screenings, etc.).
Production Process
The process of creating an artwork does not necessarily follow a linear progression. One of
the things that one must accept is the fact that the arts have an anarchic dimension to it, allowing it
to fully harness its creative potential. The very reason why different art styles, periods, and
movements were made possible, is because there was a form of flexibility given to artists in terms of
how to conceptualize and execute their ideas into reality. But this does not mean there is no guiding
principle that governs the general process of art production.

The process is essentially tripartite:
(1) preproduction,
(2) production, and
(3) postproduction.
The artist always begins with an idea that he wants to express or communicate with his
audience. It may not necessarily be fully formulated, and so some form of exposure, research, and
other approaches may be explored to get the idea long before actually making the artwork. This
process is of course the preproduction stage. The idea may take a while to form, or may come as swift
as a bolt of lightning.
Some artists, however, birth their ideas when material manipulation is already underway.
This is when preproduction sometimes seep into the production stage. The execution of the art may
take a variety of forms such as painting, sculpture, tapestry, photograph, film, a routine (dance), or a
track or composition (music). Even tricky art forms such as conceptual art, which purports to be
solely concerned with the ideas, take a variety of formats, and may even be harder to pull off. Some
artworks rely on a precise and skilled execution, while others need only intuition and a kind of
judiciousness in the manipulation of material.
Gathering and sourcing the materials needed for the creation of the artwork is either
subsumed under preproduction or the production stage. Either way, materials form one of the most
crucial aspects that inform the direction, quality, and the final output itself.
The last stage is the most drawn-out, the postproduction. Once an artwork is finished, it will
then be decided on how it will be circulated not only in the art world, but the many publics. If the
artist decides that he alone should see the work, then so be it. But most of the time, if not always, the
creation of the object requires that it be seen, heard, touched, and/or experienced in a variety of
ways. Often, it enters into a new sphere, inside the domain of museums, galleries, performance halls,
theaters, and other art spaces where interaction can take place. Take note, however, that approval,
enjoyment, or pleasure are not the sole reactions that an artist intends for his work. Sometimes, it is
repulsion, contempt, or even grief, which the artist hopes for. Either way, it is intellectual and
emotional reaction that is often the impetus for creating an artwork. A message is almost always
embedded in the artwork and it is the hope of the artist that his audience comes across it, or takes
from it something that is his and his alone.
There are many aspects that go into postproduction. These may include allowing the artwork
to set, tweaking the artwork, preparing the artwork for transport and display, and even the
promotion and inclusion of the artwork in publications or discussions.

Medium and Technique
Like what was previously mentioned, medium is one of the aspects of art that directly
correlates with its composition and presumed finality of the artwork. Medium is the mode of
expression in which the concept, idea, or message is conveyed. It may be concrete or tangible, such as
paintings, sculptures, monuments, and structures; or it may be ephemeral or something transient,
such as a track (recording of sound), a film, or a performance. The appreciation or engagement with
the artwork is also affected by the medium spatiotemporally. For concrete works, the objects
physically manifest themselves for a prolonged or lasting period. For ephemeral works, on the other
hand, it is durational.
A chosen medium must not be expected to yield the same results. Giving two different artists
the same exact material and the general qualifier of "painting," the end product will still vary
minimally or in an exponential scale. This is where technique comes in, as it is the reason why art
history is described by a seemingly limitless example of works of art. The technique of the artwork
shows the level of familiarity with the medium being manipulated. It alludes to the necessity of
additional tools or implements (e.g... hammer and chisel may come in handy for sculptors), or
consideration of time (e.g.. behavior of different kinds of paint especially in drying time
requirements), and the specificity of the site of creation (e.g., indoor or outdoor production
requirements).
Engagement with Art
The defining roles and nature of exhibitions have had an interesting evolution, changing
alongside the demands of the society that purports to partake in its display. In Anna Cline's The
Evolving Role of the Exhibition and Its Impact on Art and Culture (2012), she wrote that "exhibitions
act as the catalyst of art and ideas to the public; they represent a way of displaying and
contextualizing art that makes it relevant and accessible to contemporary audiences. The art
exhibition, by its nature, holds a mirror up to society, reflecting its interests and concerns while at
the same time challenging its ideologies and preconceptions. Keeping art relevant to society and to a
diverse audience at any given point in history is one of the main goals of the art exhibition and one of
the reasons it is so important to the history of art." Therefore, it is apparent that exhibitions are not
only of import to artists who rely on its being, but more so to the varied audiences who get to see
them.

In Paula Marincola's What Makes a Great Exhibition? (2006), it reads that "exhibitions are
strategically located at the nexus where artists, their work, the arts institution, and many different
publics intersect." This opportunity is singular, as most interactions in the art world are limited to
two players at a time. Exhibitions create an opportunity in which the different roles in the art world
get to meet, interact, and even enter into a discussion.
One of the most common platforms to engage with the art is through exhibitions either at
museums or galleries. Nowadays, there are other exhibition spaces that have opened up for artists to
showcase their works. Often, one goes to a museum or a gallery, the white cube often renders
everything peaceful and calm. However, the exhibition process is an intricate sequence of events
made possible by multiple individuals and groups within and outside the artist and staff.
Exhibitions may be long-term or permanent hangs, or it may be temporary or periodically

changing. An artist may have a solo exhibition or may be included in a two-person showing or even a
group exhibition. There are some instances when an artwork is a stand-alone or a site-specific work
that renders its display under a slightly different structure or format.
Aside from exhibitions, other opportunities for art engagement transpire in the classroom
(instruction); studio visits; lectures, workshops, and other events that augment the exhibitions
(programs); auction sales; art fairs, biennials, and triennials; and other larger showings of not only
artworks but also where art personalities can flex their influence and authority. Publications are also
a good way to introduce the artwork and opens it up for appreciation, critique, and analysis.
Awards and Citations
As with any organized endeavor, the arts and culture have entered into a phase in which
another aspect of its practice can be realized. 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.
In history, support for the arts and culture is not limited to the allocation of funding or
patronship. 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.
The two major awards given to artists in the Philippines are the Orden ng Pambansang Alagad ng
Sining (Order of National Artists) and Gawad sa Manlilikha ng Bayan (National Living Treasures
Award).

The conferment of the Order of National Artists is 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 Fernando Amorsolo, who was touted as the "Grand Old Man of Philippine Art." He was the
sole awardee in the year 1972, a National Artist for Visual Arts.
Figure 47. Emblem of the Order of National

Artists of the Philippines
At present, there are 66 awardees of

this prestigious honor across different art
forms. Some of them were given the award
posthumously, while others were fortunate
enough to receive the award themselves.
Some of the honors and privileges that a
national artist awardee receives are the
following:
1) the rank and title, as proclaimed by

the President of the Philippines;
2) a medallion or insignia and a citation
that will be read during the
conferment;
3) cash awards and a host of benefits (monthly life pension, medical, and hospitalization
benefits, life insurance coverage);
4) a state funeral and burial at the Libingan ng Mga Bayani (Heroes' Cemetery); and
5) a place of honor or designated area during national state functions, along with recognition or
acknowledgment at cultural events. The most recent conferment was in 2016.

Figure 48. Conferment of the 2009 and 2014 Order of National Artists Award (2009 and 2014)
led by President Benigno Aquino III with the recipients (Alice Reyes, Cirilio Bautista, Ramon
Santos; Representatives of ed / a * bsent recipients also present. Aquino mentioned 9
National Artists on his speech.) Photo courtesy of the Official Gazette of the
Republic of the Philippines.
The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in
1992 under the Republic Act No. 7355. Also under the jurisdiction of the National Commission for
Culture and the Arts (NCCA), the NCCA (2015) "through the Gawad sa Manlilikha ng Bayan
Committee and an Ad Hoc Panel of Experts, 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 outstanding artists in music and poetry
back in 1993. They are Ginaw Bilog, a master of the Ambahan poetry; Masino Intaray, a master of
various traditional musical instruments of the Palawan people; and Samaon Sulaiman, a master of
the kutyapi and other instruments.
Figure 49. The first batch of

recipients of GAMABA: Ginaw
Bilog, Masino Intaray, and
Samaon Sulaiman. Photos
courtesy of NCCA

Figure 50. The medal given to the recipients of the
distinction Gawad sa Manlilikha ng Bayan (GAMABA).
Photo courtesy of NCCA.
The recipients of the GAMABA are sought under

the qualification of a "Manlilikha ng Bayan" who is a
"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" (NCCA, 2015). This 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.
Some of the incentives accorded to the awardee

are the following: (1) a specially designed gold
medallion; (2) an initial grant of P100,000 and a p_{1} monthly stipend for life (this was later
increased to P14,000) (3) benefits such as a maximum cumulative amount of P750,000 medical and
hospitalization benefits; and (4) funeral assistance or tribute fit for a National Living Treasure.
__________________________________________________________________
Let's Wrap It Up
The evolution of the artist throughout history is one of the most interesting progressions in
the affairs of man. From the banalities of the works he created to assist and inform the every day, he
was caught in the midst of prevailing and shifting ideologies, and utilized the power of the creativity
and imagination in attempt to grapple with the world around him. There is much responsibility and
expectation ascribed to artists. As Woodrow Wilson (1913) relates, "You are not here merely to make
a living. You are here in order to enable the world to live more amply, with greater vision, with a
finer spirit of hope and achievement. You are here to enrich the world, and you impoverish yourself

if you forget that errand."

MODULE 4
Elements and Principles of Art
_____________________________________________________________________
LEARNING OUTCOMES

1. enumerate the different elements of visual and auditory art;
2. differentiate the principles of art;
3. provide examples of the interrelatedness of some of the elements and principles of art;
4. explain the relevance of the elements and principles of art in the study of art and its products
(artworks); and
5. illustrate examples of hybrid art and dissect what art forms are combined therein.
_____________________________________________________________________
INTRODUCTION
In the chapter on Subject and Content, it was mentioned that arts have a specialized
language. And to be able to understand this language, the familiarity with some of the elements
and principles that make it legible is required. Think of it as the letters the stringing of letters to
formulate words, and perhaps even the different pronunciations and enunciations that assist
comprehension.
The next chapter endeavors to take art and break it into its smaller parts. Like a scientist
who takes a splice or a sample and places it under a microscope, the next lesson will allow for a
better view, not of the final picture; rather, the parts that complete it.
____________________________________________________________________
Elements of Art: Visual
Taking off from the scientific reference, elements of art are akin to the atoms that are

defined as the units or "building blocks" of matter. Together, in a variety of combinations and
formations, they have the ability to create molecules such as water, or the more complex
sucrose. These formulations are almost the same with elements of art when they are joined
together, in a variety of ways. In the same line of reasoning, the elements of art are the aspects of
an artwork that can be isolated from each other.
These elements of art are generally produced when something is done to the medium after
the technique is carried out. It must be underscored, however, that all works of art require all
elements to be present. Some art forms also necessitate some of the elements as they are
inherent in the very nature of them. For example, sculptures automatically have the following
elements with or without the decision of the artist to include them: shape, form, and space.
Without these elements, there is no sculpture to begin with. 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.
Known for using lines to provide the outline or contour of the figures he portrays in
his work, Keith Haring first executed the public mural "Todos juntos podemos parar el
sida" (Together We Can Stop AIDS) in Barcelona in 1989. In 2014, it was recreated at the
foyer of the Museu d'Art Contemporani de Barcelona (Barcelona Museum of
Contemporary Art) to commemorate it. Haring battled with HIV/AIDS to which he
succumbed to in 1990.
Figure 51. Keith Haring, "Todos juntos

podemos parar el sida" (We Can All
Together Stop AIDS). Plastic paint on
wall. MACBA Collection. Barcelona City
Council long-term.
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 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 often 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, on the other hand, 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.
Figure 52. Francisco de Goya, "Porque

esconderlos?" (Why Hide Them?) (1797-
99) Etching and aquatint. This print is
work No. 30 of the Caprichos series (First
edition, Madrid, 1799). Museo del Prado
Collection.
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
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.

Figure 53. Theodore Gericault, "The Raft of
Medusa" (1818 * 19) Oil on canvas. Musée du
Louvre, Paris.
Lines may not necessarily be explicit or

literally shown. As what many examples will
portray, implied lines may be just 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.
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.
Figure 54. Piet Mondrian, "Composition

with Color Planes and Gray Lines 1"
(1918) Oil on canvas. Private Collection.
b) Organic - organic shapes are those

readily occurring in nature, often
irregular and asymmetrical. The design
of the vase in Figure 55 is foliage, a
sample from a series that made use of morning glories.
Figure 55. Louis Comfort Tiffany (designer), Tiffany

Furnaces (Maker), Vase made of favrile glass. (c.a.
1913), Gift of Louis Comfort Tiffany Foundation, 1951.
The Metropolitan Museum of Art, New York.
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.
Figure 56. Raphael, "The Madonna of the Meadows"

(1505). Oil on panel. Kunsthistorisches Museum,
Vienna.
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 a 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.
Figure 57. Anish Kapoot. "Cloud Gate" (2004), located in Chicago, Illinois.
In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in
Chicago, the iconic "Cloud Gate" occupies a considerable space. Shaped like a bean, hence its other
referent, the public sculpture was unveiled in 2004. The dent in the middle offers a gap in which
people can pass through and gaze at the sculpture in a different perspective.
However, 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
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 begins with
the notion of a 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.
An upshot of this color theory is the creation of a color wheel.
Figure 58. Color Wheel courtesy of Jaime Costiglio.
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).
 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 a 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 wall
paint but also furniture and decor. 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 Claud Monet's

"Houses of Parliament."

Figure 59. Claude Monet, "Houses of Parliament" (1900/1). Oil on canvas.
Mr. and Mrs. Martin A. Ryerson Collection (Bequeathed, 1933). Art Institute Chicago.
 Complementary harmonies - involve two colors opposite each other in the color
wheel. Since they are at contrary positions, the reaction is most intense.
Figure 60. Cima da Conegliano (Giovanni Battista

Cima), "Three Saints: Roch, Anthony Abbot, and
Lucy." Oil on canvas transferred to wood (ca.
1513). The Metropolitan Museum of Art, New York.
Notice the altar piece featuring Saint

Anthony Abbot and Saint Roch (Figure 60).
Along with them is Saint Lucy, patron of the
blind, whose red and green garb beautifully
showcases an example of complementary
harmonies.
 Analogous harmonies - make use

of two colors beside each other in
the color wheel.
Figure 61. Edgar Degas, "Before

the Race" (1882-1884) Oil on
panel. Henry Walters
(Bequeathed. 1931) Walters Art
Museum (WAM).
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.
All in all, color presents a multitude of possibilities that affects how works of art are taken in
by the viewer. Just taking a look at fiery and passionate reds of the clouds and the sky in Edvard
Munch's "The Scream," would bring oneself to ask: Did Munch depict a romantic sunset or a warning
of coming horrors? A clue is not in the colors alone, but rather, in the face of the man himself that is
prominent in the painting. His shriek would point to the latter. What is illustrated is that colors and
imagery work together to deliver a message, whether the one intended by the artist, or what is
facilitated by our own experiences.
Figure 62. Edvard Munch, "The Scream" (1893). Tempera and casein on cardboard.
Munchmuseet, Nasjonalgalleriet, Oslo.
6. 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.

Figure 63. Frans Pourbus the Younger,
"Margherita Gonzaga, Princess of Mantua." Oil
on canvas. Bequest of Collis P. Huntington, 1990.
The Metropolitan Museum of Art, New York.
Often, texture is commonly associated with

textiles. In the portrait rendered by court
painter Frans Pourbus the Younger, Princess
Margherita's garb is adorned in opulent bead
and stitch work that are befitting her rank. This
was achieved using the techniques employed
by the artist in creating the work.
a. Textures in the 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 of the three-

dimensional art object.
Figure 64. School of Ogata Korin (Japanese, 1658-1716), Inro

with Rinpa Style Kanzan and Jittoku (Edo period). Three
cases; lacquered wood with mother-of-pearl and pewter inlay
on gold lacquer ground; Pouch: printed cotton with sarasa
pattern: Ojime: metal bead. H. O. Havemeyer Collection.
Bequest of Mrs. H. O. Havemeyer, 1929. The Metropolitan
Museum of Art, New York.

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, or 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.
Planes and Perspective
Some art forms work with actual spaces, such as sculptors, architects, and stage designers.
However, with pictorial art that is two-dimensional, notions of depth and hence perspective requires
the implementation of principles and techniques in creating an illusion that will fool the eye to three-
dimensionality when in reality there is none. Picture plane is the actual surface of the painting or
drawing, where no illusion of a third dimension exists. Here, the elements lay flat, as if one was
looking through a window into what lies on the other side of the glass.
During the Renaissance, specifically in the fifteenth century, chiaroscuro was developed. It
made use of light and dark contrasts and tones in which paintings not only looked three-dimensional,
but also more dramatic. Aside from this technique, linear perspective changed the way pictorial
representation was done. Credited to Renaissance artists, its early proponents include Leon Battista
Alberti, Paolo Uccello, and architect Filippo Brunelleschi in the early fifteenth century, who were
published in Alberti's On Painting in 1435.
Its use was based on the following observations:
a. As forms and objects recede, the smaller they become.

b. We were taught that parallel lines never meet. However, when they, too, seem to converge
when they recede into a distance, at a point, they both disappear. This point of disappearance
is called the vanishing point.
An example often used to illustrate linear perspective is the railroad where tracks disappear
off at a distance.
Figure 65. G. Herbert & Horace

C. Bayley, photographer,
Partington - New Railway
Viaduct, Interior, negative May
1893 (print 1894). Gelatin
silver print.
A viewpoint may also be

construed as normal (view
standing up), low (view from
a lower angle), or high (view
looking down on a scene)
depending on the position the viewer takes.
There are three 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; this
type of perspective shows parallel lines that seem to converge at a specific and lone vanishing
point, along the horizon line.
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.
Figure 66. Gustav Caillebotte, "Rue de Paris, temps de pluie"

(Paris Street in Rainy Weather), 1877. Oil on canvas.
c. Three-point perspective - in this type of perspective, the viewer is looking at a scene from
above or below. As the name suggests, it makes use of the three vanishing points, each
corresponding to each axis of the scene.

Figure 67. Berenice Abbott, "Chanon Building, New
York," (about 1935). Gelatin silver print. Gift of Nina
and Leo Pircher.
Elements of Art: Auditory
Together with literature, music as an art

form is classified as auditory art. However, some
would argue that it is under the broad category of
performance art. Either way. music, much like the
visual arts, has its own building blocks or elements.
Perhaps one of the most widespread forms

of art, whose intersection in daily life is most
perceptible, is music. 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. Singing or
dancing to music was also often included in
opportunities for members of society to gather and interact. Some are adept with the skill and sense
to produce music, while others consume it as listeners, audiences, and even performers.
If there is an important quality that music has, it is having the capacity to transcend barriers,
even that of differences in language or conventions in sound. Different demographics, groups, and
individuals may have specific preferences as to the genre of music. However, in order to establish
this preference, listeners often take to its elements for its evaluation. Some of the common elements
of music are the following: rhythm, dynamics, melody, harmony, timbre, and texture.
1. Rhythm
Often associated to the terms beat, meter, and 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] – veryloud
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
Akin to artworks whose style, medium, and technique emphasize some of the elements in
visual arts, a composition and genre of music may emphasize the elements of music previously
outlined. Some elements may even be de-emphasized or omitted altogether. Like what was
mentioned, these elements may be isolated from each other. However, as visual or musical
compositions, the combination of these elements in art is what we initially engage with.
Most often, elements do not only coexist in the artwork, but are fused together or overlap
with each other. In visual arts, most artworks have overlapping elements.
Principles of Art
To reiterate, the appreciation and engagement of art relies substantially on being equipped
with the appropriate language that allows it to be more comprehensible. If the elements of art were
like the letters (i.e., combining these letters will form words, phrases, and sentences), then the
principles of art would perhaps be the closest to the rules of grammar and composition. Learning
these principles will lessen the intimidation and might even open vast possibilities for the novice
looker to have a more pleasurable experience of art. These principles 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. It is the
principles of art that influence the effect achieved by the elements, and the linkages of other
principles.
These principles are: balance, scale and proportion, emphasis and contrast, unity and variety,
harmony, movement, rhythm, and repetition and pattern.
1. Balance
This principle refers to the distribution of the visual elements in view of their
placement in relation to each other.

Figure 68. Isamu Noguchi, "Cube" Entrance of Marine Midland Building, Manhattan.
There are three forms of balance:
a. Symmetrical - the elements used on one side are reflected to the other. This offers the
most stable visual sense to any artwork.
Figure 69. UP Diliman Oblation Statue

b. Asymmetrical - the elements are not the same (or of the same weight) on each side, putting
the heaviness on one side.
c. 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.
.
Figure 70. Claes Oldenberg and Coosje van
Bruggen, "Plaintor" (2001) Meredith
Corporation Collection, Des Moines.
Sculptures of
artists are taken by the whimsical quality of
these objects. One cannot help but smile upon
seeing them in public spaces. In the Philippines,
Arturo Luz has created enormous sculptural
versions of the paper clip. For a long time, it
occupied a prominent spot at the entrance of
the Ayala Museum.
Proportion, on
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.
One of the most common

cannons asserted relates to the proportion of the body. This varies from one culture or
tradition to another. For the Egyptian artists, the human form follows a square grid and is
informed by the palm of the hand as a unit of measure. To complete a standing human figure,
18 units (squares) are needed from head to foot. On the other hand, Greeks held that
numerical relationships-the golden ratio was the key to beauty or to perfection. In the golden
ratio, the figure is divided into two unequal segments wherein the smaller is the same ratio to
the larger segment, and that the longer segment is the same ratio in relation to the whole. In
figures, it can be valued at 1:1.618.

Figure 71. Leonardo da Vinci, "Vitruvian
Man" (1490). Pen and ink with wash
over metalpoint on paper. Gallerie
dell'Accademia in Venice, Italy
Leonardo da Vinci's "Vitruvian

Man" is an exploration on the ideas of
the Roman architect Vitruvius, in which
the human body is an example of a
classical proportion in architecture. For
da Vinci, man's body can be used to
better understand the symmetry that
exists in nature and the universe.
Proportion can be:
a. Natural – relates to the realistic

size of the visual elements in the
artwork, especially for
figurative artworks. When it is
the accuracy in relation to the
real world that the artist is after,
this is now referred to as the
principle of scale.
b. Exaggerated – refers to the

unusual size relations of visual
elements, deliberately
exaggerating the immensity or
minuteness of an object.
In relation to this, there are notions in scale that differentiate when an element is
smaller than expected (diminutive), and when something appears to be larger than what is
presumed (monumental).
c. Idealized – most common to those that follow canons of perfection, the size-relations of
elements or objects, which achieve the most ideal size-relations.
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). This can be
done in many ways using the elements of art. For instance, space, specifically the use of
negative and positive space, is an example of contrast. Another example is the use of
complementary colors in a work of art.
5-6. Unity and Variety
Unless intended to be otherwise, compositions are intended to imbue a sense of accord

or completeness from the artwork. This is unity.
Figure 72. "Vasudhara Mandala" (dated to 1777;

Samvat 897). Distemper on cloth. Gift of Stephen and
Sharon Davies Collection, 2015. The Metropolitan
Museum of Art, New York.
Variety, on the other hand, is the principle

that aims to retain the interest by allowing
patches or areas that both excite and allow the
eye to rest.
7. Harmony
Like what is hinted above, 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. In addition, the image created out of repetition is called
pattern. With repetition, there is a sense of predictability that is conveyed, which in turn
imbues the feelings of security and calmness.
Figure 73. Vincent van Gogh, "La Berceuse" (Woman
Rocking a Cradle; Augustine-Alix Pellicot Roulin,
1851-1930) Oil on canvas. The Walter H. and
Leonore Annenberg Collection, Gift of Walter H. and
Leonore Annenberg, 1996, Bequest of Walter H.
Annenberg, 2002. The Metropolitan Museum of Art,
New York.
Combined or Hybrid Art
Looking at the elements and principles of art

previously discussed, it is apparent that art may be
defined under strict lines that separate one art
form or style to another. In a broad sense, it is easy
to decipher visual arts from auditory arts. In the
same vein, when looking at more specific art
forms, there is a considerable ease when one is
confronted with the challenge of differentiating a
painting from a sculpture, a print from a drawing,
or a soundtrack from a poem. However, with the
complexity of contemporary times in which
experimentation and innovation are encouraged,
the arts are not exempted from the increasing overlaps, merger, and fusion of different aspects of art
production and their resultant consumption. One of the buzzwords at the tail end of the twentieth
century is interdisciplinarity. Rooted on the realization that the problems of society are becoming
more and more complex, it is necessary that solutions become innovative, wherein alternative routes
to what is familiar, common, and customary are given premium. It was also a direct upshot of
postmodernist ideas in which barriers were more porous-strict delineation of art forms was
overthrown to make way for collaborations and partnerships between fields, professionals, and
creatives. The idea of a single-medium-based art seems like a strange past that no longer holds in an
interdisciplinary reality we live in.
In contemporary art, these developments were mirrored in the multifaceted nature of

artworks that were created. It is not surprising that themes, subjects, and the problematique
addressed shaped and produced new kinds of articulation in which two or more art forms and styles
are combined. Some examples of combined arts include dance, theater, installation art, film, video
art, documentary, photography, puppetry, design, and other forms of production.
These combined art forms are interesting specimens that can be studied to understand what
art forms and styles have been combined, and furthermore, what skills, techniques, or creative
processes can be put together to produce interesting and innovative compositions. In combined arts,
improvisation is often tapped in addition to practical and logical considerations of creating an
artwork. From a specific vista of an art form, there is a seeming road map to creation.
However, in combined arts, the artist is challenged to deconstruct an idea or stimulus, from
which the content, narrative, technique, art forms, and styles will take form. Often improvisation or
inventiveness is necessary to create an artwork that is to some extent unprecedented. As different
art forms and styles are tapped, inspiration may come from numerous sources, and documenting the
process of fusing these influences may be part of the production. A clear example of combined art is a
theatrical performance that taps into many art forms such as music, 2D and 3D art, literature,
lighting and set design, among others.
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. Referencing and
tapping into the fields of robotics, artificial intelligence, biotechnology, natural and computer
sciences, telecommunications, information, digital and interface technologies (software programs,
speech and face recognition, social media and online platforms, among many other emergent
developments), artists whose works tread under this movement disrupt the norms in terms of what
is considered as art, and even the way people envisage artistic production. More than anything else,
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.
____________________________________________________________________
Let's Wrap It Up
In any art appreciation course, the module or lesson on the elements and principles of art are
considered one of the most rudimentary stages in easing the student into a meaningful experience
with art, regardless of its form. A familiarity with these building blocks of composition and formal
analysis will aid the viewer in his or her attempt to come into terms with the intention of the artist.
The elements and principles of art are essential to any artwork. Some of them will be more
obvious than others, becoming the anchors in which, the viewer may latch on to engage with the
artwork. The focal point(s) that draw the attention of the viewer is also interesting to note, as this
provides insight as to the interests and values that are of most weight to him or her. These perhaps
will help create a bridge in which a person, who may not normally find pleasure in looking at art,
may consider future engagements with it. In short, familiarity of the elements and principles has the
potential to break the barriers in which art becomes ineffable.

MODULE 4
Art in Early Civilization
_____________________________________________________________________
LEARNING OUTCOMES
1. discuss how art was used by prehistoric people to depict everyday life;
2. explain how art is linked with religion in early Egyptian civilization.
3. differentiate the techniques used during the three kingdoms of early Egypt; and
4. identify the central themes of prehistoric art,

_____________________________________________________________________
INTRODUCTION
Stone Age is a term used to describe a period of history when stones were used to make tools
for survival. The term "conjures an image of men and women dressed in skins, huddling before a fire
in a cave" (Fitchner-Rathus, 2013). Though prehistoric humans would not necessarily possess the
complex rational capabilities to tell their story through written records and accounts, some artifacts
in the form of cave paintings and sculptures would serve as the "storytellers."
In order to talk about prehistoric art, there is a need to situate them within the context of the
three periods of the Stone Age culture (which roughly span the 14,000 2,000 BCE): Paleolithic (the
late years of the Old Stone Age), Mesolithic (Middle Stone Age), and the Neolithic (New Stone Age).
The unearthing of archeological artifacts and remains provides modern society a glimpse of
the beliefs, practices, and activities of early civilizations. The motives and reasons behind the
creation of ancient materials such as sculptures, paintings, and architectural structures may not be
clearly defined. Nevertheless, the early people produced such materials that reflect their attitudes
and belief systems on spiritual, social, political, and economic matters. It can be noted that works of
art and architecture were created from a wide array of materials from limestone to precious gems
and metals to name a few. As the early humans started to transition from being nomads to
permanent settlers, their everyday activities also had some changes, which is evident through the
materials and even the works of art they have created. Despite changes as a result of adapting to
their environment, there are central themes in their artworks. Most ancient artworks depict religious
symbols, a wide array of organisms from nature and activities of everyday life.
____________________________________________________________________
Prehistoric Art
Archeological explorations reveal that there has been a gradual shift from a nomadic lifestyle
of early humans to that of permanent settlements, paving the way for the rise of early civilizations.
The Stone Age has witnessed how humans were able to lead more stable lives and eventually come
up with permanent shelters and tools for survival. To complement this stability and sense of
permanence, early humans also turned to the creation of paintings and sculptures that depict
humans, animals, and their natural habitats. It would seem that there were attempts to record the
kind of lives they led within that period of time. Central to the representation of early civilizations
would be the establishing of possible linkages among art, religion, and life.
Paleolithic Art is a product of climate change. As the climate got colder, part of the early
humans' instinct is to look for shelters that would provide them with warmth. Caves became
protective havens for the early humans and these caves paved the way for the birth of their first
attempts to create art. One cave painting can be traced back to Lascaux, France and its discovery
came as a surprise. Two boys chased after their dog into a hole where their ball got stuck in. When
they followed the dog, they were astonished to discover a cave with beautiful paintings. The cave
paintings would eventually be called the "Hall of Bulls."

Figure 1. Hall of Bulls found in a cave in Lascaux, France
The figures depicted on the walls were done with a certain level of crispness and life that
there were initial hesitations of the work's authenticity. However, evidence later on pointed out that
the cave paintings were created during the Paleolithic Period. It is also important to take note that
the paintings evoke naturalism, which is evidently seen through the contours of the animals' body
and their dark colors. Although most people would think that early humans were primitive, some of
their art techniques were considered advanced for their time. Some of the early humans already used
their own version of spray-painting techniques by using ground pigments blown through reeds or
hollowed-out bones since these were the readily available materials for them. Aside from this spray-
painting technique, early humans also worked with foreshortening and contrasting of lights and
shadows. These techniques created the illusion of three-dimensional forms and seemingly real
representation of animals.
Artworks can be considered ornamental but there is little evidence to fully back up this
notion, that early humans created these cave paintings for that very purpose. Most of these works
were discovered inside the deep recesses of caves so they may not necessarily be used as decorative
items. Some would say that these caves with paintings all over the walls and ceilings served as a kind
of sanctuary for the early humans. As a safe haven, religious rituals could have possibly transpired
within the confines of the caves. Some believed that there was a linkage between what was drawn
and what could happen in real life. For example, drawing or painting the capture of a prey would
translate to an actual capturing of an animal in real life. In addition, some of the works found
reflected some of the early beliefs of humans especially with life and fertility. One of the works that
reflected such beliefs would be a sculpture called the "Venus of Willendorf." This figure is a highly
abstracted woman from highlighted body parts associated with fertility. Figure 2 shows that the
woman has oversized breasts, enlarged hips, and round abdomen. The representation may show the
importance of taking care of these body parts for procreation and consequently the survival of
species.
Figure 2. Venus of Willendorf
Neolithic art has developed especially when

life for the early humans has become more
stable. They have learned to cultivate the land
and domesticate animals. By 4000 BCE, there
were several monumental and architectural
structures erected. One of them is the
Stonehenge located in Southern England. The
purpose of this fascinating edifice remains a
mystery up to this day and age. Some regard it as
a temple while others see it as complex calendar
the tracked the movements of both the Sun and
Moon. Others ascribe some magical element to it by associating it with Merlin the Magician from King
Arthur's story. For whatever purpose it was built on, it still remains as one of the architectural
wonders the world has ever seen.
Figure 3. Stonehenge.
As the Neolithic Period drew to a close, it was evident that different elements of civilization
flourished in various parts of the world. It is also notable that most early civilizations emerged and
flourished in river valleys: the Nile in Egypt, Indus in India, Tigris and Euphrates in Mesopotamia,
and Huang Ho River in China.
Egyptian Art
The Fertile Ribbon starts from the banks of the Nile River, which flows north to Africa and
ventures into the Mediterranean. It is in this very ribbon where early Egyptians recognized the
integral role of the Nile River to their daily lives. It is this indispensability and utility that eventually
led to the belief that the Nile is to be worshipped as a god. With this came the notion that art was
something that can be ascribed and associated with religion. The Egyptian civilization can be divided
into three periods: Old, Middle, and New Kingdom. Looking at the three periods, it can be noticed
that for the Egyptians, art should be something religious and spiritual. There may have been
differences in the techniques used and style emphasized, but there are common denominators
among the artworks created during their respective time periods.
During the Old Kingdom, it was evident that religion was bound to the afterlife. A concrete
manifestation of this would have to be the erection of tombs. But the tombs were not just for keeping
the dead bodies of important people, particularly the pharaohs; they also served as a shelter for the
next journey, which is the afterlife. They decorated the tombs with everyday objects that would
reflect day to-day activities as if the afterlife is a mere continuation of what transpired on earth. The
human figures seen in the tombs were represented in such a way that the profile of the head was
evident, while the pelvis, legs, and upper torso were prominent and the eyes are in frontal view.
Inside the tombs, the walls were also decorated and carved in very low relief and incised detail. It can
be noticed that the use of color was evident but may have not been widely utilized because of its
relative impermanence.

One of the cosmetic palettes found in Egypt was called the Narmer Palette. It was a palette
that utilized and applied dark colors around King Narmer's eyes. The palette was also a symbol that
commemorates the unification of Upper and Lower Egypt. The unification was significant because it
marked the beginning of their civilization.
Figure 4. Narmer Palette

At the back of the palette, King
Narmer can be seen wearing the crown
of Upper Egypt looking victorious over a
slain enemy. In addition, two more dead
warriors can be seen beneath him. To
his right is a falcon, the god Horus
perched on papyrus stalks, which is a
symbol of Lower Egypt. The top is
sculpted with bull-shaped heads with
human features that is a representation
of Hathor. This god symbolizes love and
joy. What is very prominent is the king's
size in comparison with the objects in
the palette. Narmer, being the subject, is
evidently larger than the people around
him. This is a clear indication and
assertion of his royal status. The front
palette, on the other hand, shows lion-
like figures with intertwined necks
bound on leashes and tamed by two men. King Narmer is still present at the front side and he is
shown reviewing the captured enemies. In this portrait, he is seen wearing the crown of Lower Egypt
and holding some objects that denote power. The Narmer Palette is one of the artifacts that
emphasizes the king's supreme and absolute authority. In most cases, the king is not just an authority
figure but can be depicted and revered as a deity. This common notion among Egyptians is seen in
Egyptian tomb sculptures, which are basically large in dimensions and proportions and made out of
hard materials. The choice of materials is deliberate since they want the sculptures to endure and
withstand any condition. Permanence was important because these sculptures would serve as the
house of the ka or soul once the remains of the mummy disintegrate. One striking feature of most
sculptures is that regardless of the age of death, the ka figures highlight the prime life of the
deceased.
During the Old Kingdom, one of the architectural wonders was also constructed. The
pyramids in Giza served as tombs since their main purpose was to provide a resting place for the
pharaohs. These pyramids are massive in size and were constructed using roughly more than two
million limestone blocks. The stones used for the pyramids were quarried from a nearby plateau. The
construction of the pyramids highlighted the ingenuity and advancement of the Egyptians for their

time. Workers painstakingly moved the stones from the plateau going to the construction site using
wooden rollers. Stonecutters on the site carved the blocks in a fine way before stacking them.
The stacking process also showed the advancement of the Egyptians since they already used a
system of ropes and pulleys. They finished it off by applying the surface with limestone for a more
refined and flawless finish. The construction of the pyramids did not only show the brilliance of the
early Egyptians but it also highlighted the reverence of the people to their pharaoh at the expense of
the citizens. A lot of the workers died or punished for not reaching the quota in the process of
constructing these massive architectural structures. However, they did not stop ensuring the
excellent quality of the outsides. The Egyptians also ensured that the insides of the pyramids would
celebrate the life of their pharaoh by lavishly decorating them. However, it posed as a problem since
thieves usually plundered the valuable objects used to decorate the insides of the pyramids.
Figure 5. The Great Pyramid of Giza
One of the key features of the Middle Kingdom is a shift in the political hierarchy. There is an
emergence of powerful groups of landlords that threatened the authority and rule of the pharaoh.
Because of the internal struggle between these two influential sides, art has taken a back seat during
the Middle Kingdom. In order for art to reemerge and flourish, Egypt needed to have a more stable
situation. This happened during the rule of King Mentuhotep when Egypt eventually got back on
track. Art during the Middle Kingdom had some references from the Old Kingdom, however there
were some experimentations in terms of style that transpired during this period. Portrait sculptures
and fresco paintings that were freely drawn are some of the styles that emerged during this period.
To solve the problem of thieves that plunder the tombs, the Egyptians made rock-cut tombs by
carving out a living rock. The insides of the tombs were still filled with chamber and the hallways
were lavishly decorated to celebrate the life of the deceased.
Egypt was not immune from foreign invaders and eventually fell into the hands of the Hyksos.
This Asiatic Tribe introduced Bronze Age weapons and horses to the Egyptians. When these foreign

invaders were overthrown, the Egyptians formed the New Kingdom. It was a time of expansionism
through territorial acquisition. Consequently, with the expansion came an increase in wealth leading
not only to economic but also political stability.
The art of the New Kingdom had references from both of the preceding kingdoms.
Monuments and sculptures were still linked with death and reverence for the deceased. During the
previous kingdoms, tombs were just used for worshipping the dead but with the New Kingdom, they
started having mortuary temples. These temples, which were carved out of living rocks, served not
only a sanctuary for the dead but also a place of worship for the living. During this period, Egypt has
established itself as a more advanced and powerful civilization. With this newly found strength and
power comes an inflated ego. Their high regard for their people can be seen through their sculptures
built on massive and monumental scales.
After the New Kingdom, Egypt witnessed the Amarna Revolution led by King Akhenaton and
Queen Nefertiti. He moved the capital to Tel El-Amarna, thus the name Amarna. During his reign,
King Amenhotep wanted to revolutionize the arts and religion. He later on changed his name to
Akhenaton, which came from Aton who is the sun god. This changing of names also signified the shift
in religion. During this period, the only god to be revered was Aton. Egypt became monotheistic and
Akhenaton ordered all to tear down all monuments of other gods. He then fervently ordered the
creation and erection of new monuments in reverence to Aton. Most sculptures during this period
had curving lines and full-bodied forms. There is emphasis to life-like features of the face like an
elongate jaw and thick-lidded eyes. Most artists created artworks that are natural and seemingly
real, highlighting the features of their subjects. Naturalism was not only used to depict the pharaoh
but also was used for members of the royal family. The bust of Queen Nefertiti (Figure 6) has a long
and sensuous neck. This figure was enhanced by applying paint to the limestone.
The use of naturalism in artworks was rather short-

lived. When King Akhenaton died, his successors returned
to the more rigid and conventional styles they employed
during the period of the kingdoms. They also destroyed
images and figures of Aton and subscribed to monotheism.
Probably one of the greatest discoveries from the

Egyptian civilization was the tomb of Tutankhamen. He
became king at a very young age and died at the age of
eighteen. Howard Carter discovered his tomb in 1922. They
were astonished to find gold artworks and that the coffin
was made out of solid gold. The body of the young king was
covered in linen and a gold mask covered his face.

Figure 6. Queen Nefertiti
Figure 7. King Tutankhamen
____________________________________________________________________
Let's Wrap It Up
During the prehistoric period, the early humans had transitioned from a nomadic lifestyle to
that of a more permanent one, which led to early civilizations. Some of the works discovered from
this period would give modern society a glimpse of what was life like during that period. One of the
early civilizations where art flourished was the Egyptian civilization. Throughout the three kingdoms
all the way to the Amarna Revolution, art has been directly used particularly in religious and spiritual
activities. Through these unearthed and discovered artworks, the modern world could have a better
understanding of the past and how it can affect the present.

____________________________________________________________________
References
Becker, H.S. (1982). Art Worlds. London, England: University of California Press. Electronic.
Accessed November 1, 2017. Retrieved from https://monoskop.org/
images/1/17/Becker_Howard_S_Art_Worlds.pdf.
Cline, A. (2012). "The Evolving Role of the Exhibition and its Impact on Art and Culture." Senior
Theses, Trinity College, Hartford, CT Trinity College Digital Repository. Accessed November 1, 2017.
Retrieved from http://digitalrepository.trincoll.edu/ theses/267.
Drucker, P. (1993). Post-Capitalist Society. New York: HarperBusiness.
GMA News Online. (n.d.). "Frescoes from the Rubble of Bohol's Quake-Hit Churches." Accessed
December 8, 2017. Retrieved from http://www.gmanetwork.com/news/
story/331262/lifestyle/frescoes-from-the-rubble-of-bohol-s-quake-hit-churches/.
BBC-GCSE Bitesize. (n.d.). "Speed or Tempo." Accessed November 2, 2017. Retrieved from
http://www.bbc.co.uk/schools/gcsebitesize/music/elements_of_ music/rhythm_metre1.shtml.
Getlein, M. (2005). Gilbert's Living With Art. 7th Ed. New York: McGraw-Hill.
Piirma, P. (Ed.). (2014). Rhizope: Art & Science - Hybrid Art and Interdisciplinary Research. Tallinn,
Estonia: Estonia Academy of Arts. Accessed November 13. 2017. Retrieved from
http://www.kelomees.net/texts/RHIZOPE_catalogue.pdf.
Tamplin, R. (Ed.). (1991). The Arts: A History of Expression in the 20th Century. England: Harrap
Ltd.
Tate. (n.d.) "Art Term: Perspective." Accessed November 14, 2017. Retrieved from
http://www.tate.org.uk/art/art-terms/p/perspective.
The Artist: Art and Culture Magazine. (2016). "10 Principles of Art." Accessed November 13, 2017.
Retrieved from https://theartist.me/infographics/10-principles-of-art/.
The J. Paul Getty Museum. (n.d.). "Understanding Formal Analysis." Accessed November 2, 2017.
Retrieved from http://www.getty.edu/education/teachers/ building_lessons/formal_analysis.html.
Fichner-Rathus, L. (2017). Understanding Art. 11th Ed. Boston: Cengage Learning. Gilbert, R. (2005).
Living with Art. New York: McGraw-Hill.
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“ART APPRECIATION” By Bernardo Nicolas Caslib, Jr., Dorothea C. Garing, and

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INSTRUCTOR: LOVELY P. PANCHACALA, MBM 1

By the end of this lesson, you should be able to:

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The Artisan and the Guilds

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 4

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This brought to light various ways of

Figure 40. Albrecht Dürer, "Self-Portrair (1500), Oil on

In the visual arts, an example of an artist

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 7

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The Artist and His Studio

Figure 43. James Abbott McNeill Whistler, "Artist's

Today, artist studios have been a place of interest

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 9

The beginnings of Industrial Revolution had an interesting ramification for artists. A

Other Players in the World of Art

Figure 44. Prominent Roles in the Art

The terrain in which the artist

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 10

In Howard S. Becker's Art Worlds (1982), he

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It is important to note that with

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Engagement with Art

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Exhibitions may be long-term or permanent hangs, or it may be temporary or periodically

Awards and Citations

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Figure 47. Emblem of the Order of National

At present, there are 66 awardees of

1) the rank and title, as proclaimed by

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Figure 49. The first batch of

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 18

The recipients of the GAMABA are sought under

Some of the incentives accorded to the awardee

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Reading Resources and Instructional Activities

By the end of this lesson, you should be able to:

Elements of Art: Visual

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 20

Figure 51. Keith Haring, "Todos juntos

A quality that is ascribed to

Figure 52. Francisco de Goya, "Porque

One of the most important

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Lines may not necessarily be explicit or

2-3. Shape and Form

Figure 54. Piet Mondrian, "Composition

b) Organic - organic shapes are those

Figure 55. Louis Comfort Tiffany (designer), Tiffany

Shapes may also be implied. For instance, Raphael's

Figure 56. Raphael, "The Madonna of the Meadows"

Related to shape and form is space. It is

b. Three-dimensional space - can be simulated through a variety of techniques such as

Figure 58. Color Wheel courtesy of Jaime Costiglio.

The color wheel corresponds to the first property of color, hue.

INSTRUCTOR: LOVELY P. PANCHACALA, MBM 26