ug Art Appreciation: Creativity, Imagination, and Expression Learning Outcomes By the end of this lesson, you should be able to: Sees Cicer nace SLL PR ee mec Comm ok (oui ae ES Coe RL Le a a Clete Ua UIC yee enc LIN Cael Ey Reelin ee) Ao Ue Nk eRe dc Ittakes an artist to make art. One may perceive beauty on a daily basis. However, not every beautiful thing that can be seen or experienced may truly be called a work of art. Art is a product of man’s creativity, imagination, and expression. No matter how perfectly blended the colors of a sunset are and no matter how extraordinarily formed mountains are, nature is not considered art simply because it is not made by man. Not even photographs or sketches of nature, though captured or drawn by man, are works of art, but mere recordings of the beauty in nature (Collins & Riley, 1931). An artwork may be inspired by nature or other works of art, but an artist invents his own forms and Patterns due to what he perceives as beautiful and incorporates them in creating his masterpiece. Perhaps not everyone can be considered an artist, but Surely, all are spectators of art. In deciding what pair of shoes to buy, we carefully examine all possible choices within our budget and purchase the one that satisfies our beauty and practical standards. We are able to distinguish what is fine and beautiful from what is not. and what is good quality from poor. This gives us a role in the field of art appreciation. Let's Get Started In one of your encounters with art throu among others, have you ever felt disconnected from an artwork? Was there a point in time when you did not understand what mes: n ; sage the art was trying to convey? If yes, oe the name of the artwork in the box and attach an image of the artwork, if Possible. ‘Xplain why you think you did or did not underst: i ; ided Sa aca and the art using the space provided igh museum visits, musicals, and plays,Jean-Paul Sartre, a famous French philosopher of the twentieth century, described the role of art as a creative work that depicts the world in a completely different light and perspective, and the source is due to human freedom (Greene, 1995). Each artwork beholds beauty of its own kind, the kind that the artist sees and wants the viewers to perceive. More often than not, people are blind to this beauty and only those who have developed a fine sense of appreciation can experience and see the art the same way the artist did. Because of this, numerous artworks go unnoticed, arti = not given enough credit, and they miss opportunities. It sometimes takes pe - before their contribution to the development of art is recognized. Hence, refi . re ability to appreciate art allows him to deeply understand the Purpose of ee Eeoones recognize the beauty it possesses (Collins & Riley, 1931). artwork andIn cultivating an appreciation of art, one should also exercise and develop his taste for things that are fine and beautiful. This allows individuals to make intelligent choices and decisions in acquiring necessities and luxuries, knowing what gives better value for time or money while taking into consideration the aesthetic and practical value (Collins & Riley, 1931). This continuous demand for aesthetically valuable things influences the development and evolution of art and its forms. Frequenting museums, art galleries, performing arts theaters, concert halls, or even malls that display art exhibitions that are free in admission during leisure time will not only develop an understanding of the art, but will also serve as a rewarding experience. Learning to appreciate art, no matter what vocation or profession you have, will lead td a fuller and more meaningful life (Collins & Riley, 1931). The Role of Creativity in Art Making Creativity requires thinking outside the box. It is often used to solve problems that have never occurred before, conflate function and style, and simply make life a more unique and enjoyable experience. In art, creativity is what sets apart one artwork from another. We say something is done creatively when we have not yet seen anything like it or when it is out of the ordinary. A creative artist does not simply copy or imitate another artist’s work. He does not imitate the lines, flaws, colors, and patterns in recreating nature. He embraces originality, puts his own flavor into his work, and calls it his own creative piece. Yet, being creative nowadays can be quite challenging. What you thought was your own unique and creative idea may not what it seems to be after extensive research and that someone else has coincidentally devised before the idea in another part of the world. For instance, the campaign ad “It's More Fun in the Philippines” used by the Department of Tourism (DOT) boomed popularity in 2011, but later on it was found out that it was allegedly plagiarized from Switzerland's tourism slogan “It's More Fun in Switzerland,” back in 1951. In DOT's defense, former DOT Secretary Ramon Jimenez Jr. claimed that it was “purely coincidental.” Thus, creativity should be backed with careful research on related art to avoid such conflicts. Figure 6. "It's More Fun in the Philippines" by The Misadventures of MajaHe emphasized this idea through his words: “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and Figure 7. Bob Wierdsma, “Imagination” understand.” Imagination is not constrained by the walls of the norm, but goes beyond that. That is why people rely on curiosity and imagination for advancement. Through imagination, one is able to craft something bold, something new, and something better in the hopes of creating something that will stimulate change. Imagination allows endless possibilities. In an artist's mind sits a vast gallery of artworks. An artwork does not need !0 be a real thing, but can be something that is imaginary (Collingwood, 1938). Take for example a musician who thinks of a tune in his head. The making of this tune in his head makes it an imaginary tune, an imaginative creation, an imaginary art (Collingwood, 1938). It remains imaginary until he hums, sings, or writes down the notes of the tune on paper. However, something imaginary does not necessarily mea” it aa be called art. Artists use their imagination that gives birth to reality through creation |n the same way that imagination produces art, art also inspires imagination Imagine being in an empty room surrounded by blank, white walls, and floor. Would you be inspired to work in such a place? Often, you will find coffee shops, restaurants, and libraries with paintings hung or sculptures and other pieces of art placed aroundaera perceea the room to add beauty to the surroundings. This craving and desire to be surrounded by beautiful things dates bick to our early ancostors (Collins & Riley, 1931). Cave walls are surrounded by drawings and paintings of animals they hunted: wild boars, reinceors, and bison (Figure 8), Clays were molded and stones were carved into forms that resemble Men and women; burial jars were created with intricate designs on them. These creative pieces were made not only because they were functional to men, but also because beauty gave them joy (Collins & Riley, 1931), Art as Expression There may have been times when you felt something is going on within you, you try to explain it but you do not know how. You may only be conscious about feeling this sort of excitement, fear, or agitation, but you know that just one word is not enough to describe the nature of what you truly feel. Finally, you try to release yourself from this tormenting and disabling state by doing something, which is called expressing oneself (Collingwood, 1938). Suppose this feeling is excitement. It is frustrating to contain Such feeling, so you relieve it by expressing through shouting or leaping in excitement. An emotion will remain unknown to a man until he expresses it. Robin George Collingwood, an English Philosopher who is best known for his work in aesthetics, explicated in his publication The Principles of Art (1938) that what an artist does to an emotion is not to induce it, but express it. Through expression, he is able to explore his own emotions and at the same time, create something beautiful Out of them. Collingwood further illustrated that expressing emotions is something 17emotions. n his example, &XPIIctly saying “lam angry ig , 9 font different from pre ‘emotion, but a mere description. There is no need in relating an expression 0" otion, such as anger, in expressing one's emotion. Descrisy” referring 1036 the idea of expression, aS it classifies the emotion, making it ordi an on the other hand, individualizes. An artist hag is to. Hence, there is no specific techni the flection of what is outside or entomalt . Expression, freedom to express himself the way he want: in expression. This makes people's art not a rel them, but 2 reflection of their inner selves. There are countless ways of expressing oneself through art. The following list includes, but is not limited to, popular art expressions. Visual Arts Creations that fall under this category are those that appeal to the sense of sight and are mainly visual in nature. Artists produce visual arts driven by their desire to reproduce things that they have seen in the way that they perceived them (Collins & Riley, 1931). We will not be too strict on the definition since there are other artistic disciplines that also involve a visual aspect, such as performance arts, theater, and applied arts, that will be discussed in detail later on. Visual arts is the kind of art form that the population is most likely more exposed to, but its variations are so diverse—they range from sculptures that you see in art galleries to the last movie you saw. Some mediums of visual arts include : paintings, drawings, letterings, printing, Figure 9. John La Farge, “Camellia in Old Chinese sculptures, digital imaging, and more. Vase on Black Lacquer Tablet Film Film refers to the art of putting together successions of still images in orde" 5 create an illusion of movement. Filmmaking focuses on its aesthetic, cultural, @™ e created D social value and is considered as both an art and an industry. Films can b using one or a combination of some or all of these techniques: motion-pict (also known as movie camera), animation techniques, Computer-Generated Ima: (CGI), and more. Filmmaking simulates experiences or creates one that is beyon Scope of our imagination as it aims to deliver ideas, feelings, or beauty to its viewe*” ure camer? geda —— The art of filmmaking is so complex it has to take into account many important elements such as lighting, musical score, visual effects, direction, and more. That is why in famous film festivals and awards such as the Metro Manila Film Festival and Oscars, a long list of categories is considered to recognize excellence in the art of filmmaking. Performance Art Performance art is a live art and the artist's medium is mainly the human body which he or she uses to perform, but also employs other kind of art such as visual art, props, or sound. It usually consists of four important elements: time, where the performance took place, the performer's or performer's body, and a relationship between the audience and the performer(s) (Moma Learning, n.d.). The fact that performance art is live makes it intangible, which means it cannot be bought or traded as a commodity, unlike the previously discussed art expressions. Figure 10, Performance Art Poetry Performance Poetry is an art form where the artist expresses his emotions not by using paint, Charcoal, or camera, but expresses them through words. These words are carefully Selected to exhibit clarity and beauty and to stimulate strong emotions of joy, anger, love, sorrow, and the list goes on. It uses a word's emotional, musical, and spatial Values that go beyond its literal meaning to narrate, emphasize, argue, or convince. These words, combined with movements, tone, volume, and intensity of the delivery, add to the artistic value of the poem. Some poets even make poems out of their motions picked up from other works of art, which in turn produce another work of art through poetry.oY ; ctu, Autiful, g d creation of beautiful things whig archi Architecture it an rt fs the PUTS" wever, not alll buildings tre'be As discussed, @! i of beautiful building lity they need, but the structure Son, is the making dy the functional Thus, not all buildin, lines, form buildings only or peeutly expressed. Ape ot ay Dali 28 can ‘i mo sect \ example, Ne core trikin balance a “oure 11) where ye eee a eisai remains, but the § h oa i kK the lines, Colors, a functionality of the nasterpiece. Buildings Should embody these throg met shapes completes the onan design—if they wish to merit the title archer i . elements—plan, construc! (Collins & Riley, 1931) Figure 11. The Grand Theatre de Bordeaux Dance Dance is a series of movements that follows the rhythm of the music accompaniment. It has been an age-old debate whether dance can feally be considered an art form, but here we Primarily describe dance as a form of expression. Dancing is a creative form that allows people to freely express themselves. It has no rules. You may say that choreography does not allow this, but in art expression, dancers are not confined to set steps and rules but are free to create and invent their own movements as long as they deem them graceful and beautifulTheater Figure 13. Wiliam Shakespeare Figure 14. Macheth Artists who practice literary arts use words—not paint, musical instruments, or chisels—to express themselves and communicate emotions to the readers. However, simply becoming a writer does not make one a literary artist. Simply constructing a succession of sentences in a meaningful manner is not literary art. Literary art goes beyond the usual professional, academic, journalistic, and other technical forms of writing. It focuses on writing using a unique style, not following a ‘specific format or norm. It may include both fiction and non-fiction such as novels, biographies, and poems. Examples of famous literary artists and their works include The Little Prince by Antoine de Saint-Exupéry and Romeo and Juliet by William Shakespeare. Theater uses live performers to present accounts or imaginary events before a live audience. Theater art performances usually follow a_ script, though they should not be confused with literary arts. Much like in filmmaking, theater also considers several elements such as acting, gesture, lighting, sound effects, musical score, scenery, and props. The combination of these elements is what gives the strongest impression on the audience and the script thus becomes a minor element. Similar to performance art, since theater is also a live performance, the participation of the viewer is an important element in theater arts. Some genres of theater include drama, musical, tragedy, comedy, and improvisation.———___ Applied Arts cui g cements Of style and design to everyday iterne wa hohe thew sestrencal VANS Astists in this field bring beauty, cary, os vite many tings tnat are use in everyday Ie (CAMING te Riley, 194 industrial design. menor design fashion design, and graphic design are Considers, vd arts Aoi 1 omen comngared 10 6 3718, where the latter io Chiehly Concern, on sesthet. value Through exploration and expression of ideas, COntideration Of thy heeds and cares choca of materiais and weCnniques, artiels are athe to Connting functionaldy and stye,Art Appreciation: Creativity, Imagination, and Expression Learning Outcomes Oe ek oe ume Leek Ce Rel ee OE OEY i} Pa artistic expression based on personal Oe ene ee Re a re SSL! works of art by citing personal experiences. ® takes an artist to make art One may perceive beauty on a daily basis. However, nat every Deautiful thing that can be seen or experienced may truly be called a work of at Artis a product of man’s creativity, imagination, and expression. No matter how perfect Diended the colors of a sunset are and no matter how extraordinarily formed mountains are. nature Is Not considered art simply because it is not made by man. Not even photograans oF sketches of nature, though captured or drawn by man, are works of at Dut mere recordings of the beauty in nature (Collins & Riley, 1931). An artwork mray De msowed Dy ¢.Ature oF other works of art, but an artist invents his own forms and pamams due to what he perceives as beautiful and incorporates them in creating his MASITDHOLE Perhaps not everyone can de considered an artist, but surely, all are spectators art in decding what pair of shoes to Duy, we carefully examine all possible choices within our Dudget and purchase the one that satisfies our beauty and practical Standards. We are adie to distinguish what is fine and beautiful from what is not and what is good quailty from poor. This gives us a role in the field of art appreciation. Let's Get Started tr one of your encounters with art through museum visits, musicals, and plays, @mong others. have yOu ever felt disconnected from an artwork? Was there a point in wre when you did not understand what message the art was trying to convey? If yes. wrte The name of the artwork in the Dox and attach an image of the artwork, if possible Expitain wity you Dunk you dic or did not understand the art using the space provided & De next pageSON 7 Functions and Philosophical Perspectives on Art Learning Outcomes RU) De) Sti eS emm el erelt) (oor -B-) oe od Citar USM recau Mm cee Mmm gre MOA functional art; explain and discuss the basic philosophical perspectives on BUT tealize the function of some art forms in daily life; and apply concepts and theories on Mech er he lifes Greek philosopher Aristotle claimed that every particular substance in the world has an end, or telos in Greek, which translates into “purpose.” Every substance, defined as a formed matter, moves according to a fixed path toward its aim. A seed is bound to become a full-grown plant. A cocoon can look forward to flying high when it morphs into a butterfly. A baby will eventually turn into a grown man or woman. This telos, according to Aristotle, is intricately linked with function. For a thing to reach its purpose, it also has to fulfill its function. Man, in Aristotle's view of reality, is bound to achieve a life of fulfillment and happiness, or in Greek, eudaimonia. All men move toward this final end. However, happiness, the supposed end of man, is linked with his function, which is being rational. One can only be happy when he is rational. This means that to Aristotle, plants can never be happy because they are not rational, as well as tables and chairs. Man's natural end, telos, is connected with his function, which is Figure 16. Aristote his rationality. Moreover, the felos and function of a thing are both related to a thing's identity. What makes a table a table is the fact that it does perform its function and thereby, Teaching its telos. If a table does not have a surface on which we can put on our books or our plates and glasses, then it ceases to be a table. The same goes for the humanbeing. What makes a human being a human being, according to some schools of thought, is his capacity for thinking, his supposed function. Without this function, the human being ceases to be a human being. The telos, the function, and the “whatness” of a thing are all interconnected. In contemporary life, the connection between the end, the function, and the “whatness” of a thing has become closer and more interlaced, suggesting sometimes that the end is the function and vice versa, and that they determine what kind of thing a thing is. When one sees a new kitchen appliance in the department store, one tries to know first what functions the appliance has. After knowing these functions, then ‘one can claim to know the purpose of the appliance and then begins to realize what appliance one is holding in his arms. Does art necessarily have an end? When an artist create: he have an end in mind? What function does an artwork Perform? Does it have any Purpose? Do all artworks have a function? Does the function make an object a work of art? This lesson is an attempt to clarify these questions. S a work of art, doesLet's Get Down to Business Functions of Art When one speaks of function, one is practically talking about the use of the object whose function is in question. An inquiry on the function of art is an inquiry on what art ig for, Alternatively, the answer to the question “what is it for” is the function of whatever it" in the question refers to. Suppose one asks, what is the Rizal monument for? Why was it erected in Rizal Park or what then was called Luneta or Bagumbayan? \s it for pure sentimental value? Is it for its aesthetic value? Or does it send a message to those who witness it? In this string of questions, the inquirer is hoping to get the function of the piece of art in Rizal Park. When it comes to function, different art forms come with distinctive functions. There is no one-to-one correspondence between an art and its function. Some art forms are more functional than others. Architecture, for example, as an art is highly functional just like most applied arts. A building as a work of art is obviously made for a specific purpose. The Taj Mahal, a massive mausoleum of white marble built in Agra was constructed in memory of the favorite wife of the then emperor, Shah Jahan. On the other hand, jewelry-making as an art is known by its product. The name of the art in these applied arts is basically denoted by its specified function. In this and other such functional arts, “...function is so important that it has usurped the name of the art on the identification of individual works” (Dudley et al., 1960). Other examples are paintings, poems, and statues. The name of the art basically points toward the direction of the product or its function. On the other end of the spectrum, one can only think of painting and literature as forms of art that have the least to do with purely practical values. When one examines and thinks of a painting or a work of literature such as a poem or a novel, one looks at the value of the art in itself and not because of what it can do and benefit us. Unlike Practical arts where the value of the art (in pottery, jewelry-making, architecture, among others) in question lies in the practical benefits one gains from it (a pot, eer teas a jewelry, or a house or building), with painting and literature, one can only look at the value of the product of art in and for itself. A poem is beautiful regardless of its possible ramifications in the society. Joyce Kilmer’s Figure 16. Jewelry-making in Malaysia+ has maintained &S that paintings and literary works JeccaTeenett Ts ote © our national hero, Or Joae P Rese nave any function. The two "Tero served as a catechist for Filipino revolus Nol Me Tangere 2nd EI FADS oressive forces of the Spaniards in the rogue sro Te novels accrued value and as a consequence. inthe Ts con # TS TY OT mpi Some dere and fencer eee of Rizal's rovels. they Spelled out a countrys etal, 1960). a Sere ae d ern anstreadhy, be hnctors ate Sasi it thee: personal display or expression), social (celebration or to affect collective behavior), and (utiitarien), Let us try to understand each of these three. Personal Functions of Art The personal functions of art are varied and highly subjective. This means that its functions depend on the person—the artist who created the art An artist may create an art out of the need for self-expression. This iS the case for an artist who needs to communicate an idea to his audience. It can also be mere entertainment for his intended audience. Often, the artist may not even intend to mean anything with his work.contestation, or whatever message the artist intends his work to carry. Often, art can also depict social conditions. Photography, as an art form, delivers this kind of function by taking photos of subjects in conditions that people do not normally take a look at or give attention to. Pictures of poverty may carty emotional overtones that may solicit action or awareness from their audience. Moreover, performance art like plays or satires can also rouse emotions and tally people toward a particular end. In these and more, the social function of art is apparent. Physical Functions of Art The physical functions of art are the easiest lee mel to spot and understand. The physical functions PAE of art can be found in artworks that are crafted in Ty order to serve some physical purpose. A Japanese j raku bowl that serves a physical function in a tea ceremony is. an example. Architecture, jewelry- envevnmes Making, and even interior design are all forms of arts that have physical function. Figure 18. A Japanese Raku Bowl Other Functions of Art Music as an art is also interesting to talk about in relation to function. Music in its original form was principally functional. Music was used for dance and religion. Unlike today, when one can just listen to music for the sake of music’s sake, the ancient world saw music only as an instrument to facilitate worship and invocation to gods. Music also was essential to dance because music assures synchronicity among dancers. Moreover, music also guarantees that marches, in the case of warriors, were simultaneous. Today, music has expanded its function and coverage. Music is listened to and made by people for reasons that were foreign to early civilizations. There is now a lot of music that has no connection whatsoever to dance or religion. Serenade is one example. People compose hymns of love to express feelings and emotions. Music is also used as a wonderful accompaniment to stage plays and motion pictures. Interestingly, a piece of music can mean a multitude of meanings to different people, a Proof that as an art, music has gone a long way. Sculpture, on the other hand, is another functional art form that has long existed for various purposes. Just like music, from the early days of humanity, sculptures have been made by man most particularly for feligion. People erect status for the divine. In the Roman Catholic world, the employment of sculptures for religious purposes has remained vital, relevant, and symbolic,in order to commemorate important figures h Rizal Park and Andres Bonifacio’s Monument, the University of the Philippines, the iconi, also made Sculptures were ara history. Jose Rizal's monumet in Caloocan are comr illermo Oblation by Guil ry a remained a pillar of the university If constant reminder of the need tO er ne up selfiessly for the country. Coins ane manifestations of sculpting’s function. ra coin in the Philippines features a relief ra famous hero oF personality. Recently, the Central Bank of the Philippines produced special, commemorative coins ; for certain personalities like Pope Francis and the Jesuit, Horacio de la Costa. Another art form that: readily lends itself to multiple functions is architecture, In fact, architecture might be the most prominent functional art form. Buildings are huge, expensive, and are not easily constructed and replaced. Unlike other forms of art like pots, furniture, poetry, or even paintings, buildings take so much time to erect and destroy. A lot of investments is put into making megastructures like the pyramids of Giza, the acropolis, or the great cathedrals of the Middle Ages. One cannot simply dismiss taking into consideration the function of a building before construction. Figure 19. Pope Francis Commemorative Coin It is also in architecture where one can find the intimate connection of function and form. In planning out an architectural structure, one has to seriously consider the natural conditions like topography and climate of the place of erection and the social conditions such as the purpose of the building itself. In the Philippines, climate is @ huge factor in building a house. Spanish colonial houses were designed to allow for air to circulate inside the house. Large windows were staples then. Capiz shells wee also utilized to allow for light to enter the house even if the windows were closed. Moreover, social conditions, such as purpose, play a huge role in architecture. To Christians, a church is primarily a place of worship and assembly. Regular ceremonies, where members of the church are expected : come regularly, are held inside eee A huge, Spacious church Tore is necessitated by this social condition. Indeed, whenever art serves @ particular function, the form has to be determined by the function, 20 Figure 20. A Spanish House in the PhilippinesDoes Art Always Hove to be Functional? While has been shown that most arts are functional, still there are some which are 0A, The value of 2 work of art Goes not depend on function but on the work itself The plays of heschyius anc the poetry of Robert Frost and Edgar Allan Poe are still coumtes a8 examples Of great works Of art despite their not having a known function In those whose functions are ascertained however, @ is 2 different story. A functional objec cannot be ciaimed to be beautiful unless ¢ can perform its function sufficently Consider 2 house that cannot even protect its resident from the nasty weather outside 0° a 8p00n that spilis the food on it. Adequate performance of function partly determines the beauty of 2 design in these functional art forms. Despite these, efficiency cannot be mistaken as beauty. While it certainly determines beauty in some works of art, an efficient functional object is not necessarily beautiful, Art demands so much more than mere efficiency. What then really comprises beauty and art? What makes something truly beautiful? What really makes a work of art? What really is art? The next section attempts to provide different perspectives on the nature of art. Philosophical Perspectives on Art Art as an Imitation Plato (2000) in his masterpiece, The Republic, particularly paints a picture of artists as imitators and art as mere imitation. In his description of the ideal republic, Plato advises against the inclusion of art as a subject in the curriculum and the banning Of artists in the Republic. In Plato’s metaphysics or view of reality, the things in this worid are only copies of the original, the eternal, and the true entities that can only be found in the World of Forms. Human beings endeavor to reach the Forms all throughout this life, starting with formal education in school. From looking at “shadows in the cave,” men slowly ‘raw outside to behold the real entities in the world. For example, the chair that one sits on is not a real chair. It is an imperfect copy of the perfect “chair” in the World of Forms. Much is true for “beauty” in this world. When one ascribes beauty to another person, he refers to an imperfect beauty that Participates only in the form of beauty in the World of Forms. Plato was Convinced that artists merely reinforce the belief in copies and discourage men to reach for the rea! entities in the World of Forms.ns ious of arts and artists for two reasons: they appeal ; nal faculty of men and they imitate rather than tee a inti rt forms that Plato was particul it inting, the 4 larly conce! one to reality. Poet “s whe ideal state that Socrates (2s the peat an) ya with, do not have es First, Plato iS critical of the effects of art, speecifcaly "5 dialogue nt of the ideal state. Poetry rouses emotions and feelings and thu ee at) of people. Poetry has a capacity to sway minds without taking aa ad vobon the use of proper reason. As such, it leads one further away from into ee of the intellect that Plato campaigned for. Likewise, Socrates is worries a a bec represent only the things in this world, copies themselves Of reality be ne in the dialogue, Socrates claimed that art fs just an imitation of imitation. 4 painting ‘s just an imitation of nature, which is also just an imitation of reality in the World of Forms. The arts then are to be banished, alongside the practitioners, so that the attitudes and actions of the members of the Republic will not be corrupted by the influence of the arts. For Plato, art is dangerous because it provides a petty. replacement for the real entities that can only be attained through reason. suspl : than to the ratio! Art as a Representation Aristotle, Plato's most important student in philosophy, agreed with his teacher that art is a form of imitation. However, in contrast to the disgust that his master holds for art, Aristotle considered art as an aid to philosophy in revealing truth. The kind of imitation that art does is not antithetical to the reaching of fundamental truths in the world. Talking about tragedies, for example, Aristotle (1902) in the Poetics claimed that poetry is a literary representation in general. Akin to other art forms, poetry only admits of an attempt to represent what things might be. For Aristotle, all kinds of art, including poetry, music, dance, painting, and sculpture, do not aim to represent reality as it is. What art endeavors to do is to provide a vision of what might be or the myriad possibilities in reality. Unlike Plato who thought that art is an imitation of another imitation, Aristotle conceived of art as representing possible versions of reality. In the Aristotelian worldview, art serves two particular purposes. First, art allows for the experience of pleasure. Experiences that are otherwise repugnant can become entertaining in art. For example, a horrible experience can be made an object of humor ie ee aoe art also has an ability to be instructive and teach its audience 19S about life; thus, itis cognitive as well. Greek plays are usually of this nature. Art as a Disinterested Judgment \ . ‘Seiden bin anus that Immanuel Kant wrote, the “Critique of Judgement,” Kant “> judgment of beauty, the cornerstone of art, as something that ca"be universal despite its subjectivity. Kant mentioned that judgment of beauty, and therefore, art, is innately autonomous from specific interests. It is the form of art that ig adjudged by one who perceives art to be beautiful or more so, sublime. Therefore, even aesthetic judgment for Kant is a cognitive activity. Kant recognized that judgment of beauty is subjective. However, Kant advanced the proposition that even subjective judgments are based on some universal criterion for the said judgment. In the process, Kant responded to the age-old question of how and in what sense can a judgment of beauty, which ordinarily is considered to be a subjective feeling, be considered objective or universal. How is this so? For Kant, when one judges a particular painting as beautiful, one in effect is saying that the said painting has induced a particular feeling of satisfaction from him and that he expects the painting to rouse the same feeling from anyone. There is something in the work of art that makes it capable of inciting the same feeling of pleasure and satisfaction from any perceiver, regardless of his condition. For Kant, every human being, after perception and the free play of his faculties, should recognize the beauty that is inherent in a work of art. This is the kind of universality that a judgment of beauty is assumed by Kant to have. So when the same person says that something is beautiful, he does not just believe that the thing is Figure 22. manuel Kant beautiful for him, but in a sense, expects that the same thing should put everyone in awe. Art as a Communication of Emotion The author of War and Peace and Anna Karenina, Leo Tolstoy, provided another Perspective on what art is. In his book, What is Art (2016), Tolstoy defended the Production of the sometimes truly extravagant art, like operas, despite extreme poverty in the world. For him, art plays a huge role in communication to its audience's emotions that the artist previously experienced. Art then serves as a language, a communication device that articulates feelings and emotions that are otherwise unavailable to the audience. In the same way that language communicates information to other people, art communicates emotions. In listening to music, in watching an opera, and in reading Poems, the audience is at the receiving end of the artist communicating his feelings and emotions.Tolstoy is fighting for the social dimension of art. As a purveyor of man’s innermost feelings and thoughts, art is given a unique opportunity to serve as a mechanism for social unity. Art is central to man’s existence because it makes accessible feelings and emotions of people from the past and present, from one continent to another. In making these possibly latent feelings and emotions accessible to anyone in varied time and location, art serves as a mechanism of cohesion for everyone. Thus, even at present, one can commune with early Cambodians and their struggles by visiting the Angkor Wat or can definitely feel for the early royalties of different Korean dynasties by watching Korean dramas. Art is what allows for these possibilities. Figure 23. Cambodia's Angkor WatSubject and Content : 7 Learning Outcomes By the end of this lesson, you Eire ora-le Laon differentiate representational art and Rennie ek ecul cei Lk discuss the difference between an artwork’s subject and_its feet oie E Pele Ute e ce ancl Come Us eae Cie eee eee ee In the Philippines, which is predominantly a non-museum-going public, looking at art has always been a tricky business. This is true not only for novices, but also at times, confronts the long-time art aficionados. One of the major hurdles that spoils an individual's engagement with an artwork is the notion that in order to appreciate it, one must be able to extract a specific image, isolate the artist or maker's intention, and unearth a particular meaning. Failure to do so automatically implies a failure of comprehension and therefore, failure of the experience. This, however, relegates art engagement and therefore appreciation to the very few who had training and instruction in producing and in reading art. This should not be the case. The primary stage of engaging with art is its perception. Looking at art is much like any instance of taking in information or stimulus that originates from the world around us. For most art forms, the beginning of engagement is through looking at the artwork. The eyes play a big role in mechanically making a vision possible. However, like any tool, it is but one component. What makes the difference is the awareness in the process of looking where subjectivity is essential in navigating through the artwork. Subjectivity is illustrated in the way that selective perception renders one or two details more prominent than others, prompting the viewer to focus on some details as essential or as standouts. Even the disposition or mood of the viewer, his education, his background, and his exposure to varying contexts contribute to what information is taken in and how they are interpreted. To herd all of these into coherence and intelligibility, the relationships of visual details presented, the ideas and feelings that they cull, and other springs of information may be consulted.types of subject One of the most iconic and recognizable paintings all over the world is the "Mo, ci. Some questions are often raised regardin, onardo da Vinci compelled toy Lisa" done by Leonardo da Vint artwork, like "who is Mona Lisa?" "Why was Let her?" But as scholars attempt to solve the true identity of the sitter, it is re note that there is 2 consensus that the Mona Lisa—whoever she isis oe real person. . . ased on 3 j Figure 25. Le eonardo da Vinci, “ inci, “Mona Lisa" (1503). Mu sée du Lou) Wvre Collection.Geel On the other hand, seeing a painting that has nothing in it but continuous drips of paint or splotches of colors either confounds the viewer or is readily trivialized as something that anyone with access to materials can easily make. The works of Jackson Pollock, who is known for his “action paintings,” are often subjected to these remarks. Using large-scale canvasses that were usually laid out on the floor or resting on a wall, Pollock tilted his paint can and allowed paint to drip. Assisting it with movement, he used other implements such as hardened brushes, knives, sticks, and trowels to add detail, texture, and dimension to his paintings. There were no clear figures that jot out from the canvas; there were only drips and splashes. This kind of work can be subsumed under the category of non-representational. As the opposite of the previously discussed type of subject, non-representational art is also often termed non-figurative art. Figure 26. Jackson Pollock, detail of "Number 1° (1948). Oil and enamel paint on canvas. Museum of Modern Art (MOMA) Collection. Photo courtesy of Sharon Mollerus. Non-representational art does not make a reference to the real world, whether it is a person, place, thing, or even a particular event. It is stripped down to visual elements such as shapes, lines, and colors that are employed to translate a particular feeling, emotion, and even concept. It is in this light that representational works are often favored because they are easier to recognize. Viewers find a greater degree of comfort when what they see fegisters as something familiar. They then continue to process this understanding, sometimes even becoming confident enough to share their insights to others. It can be argued then that an artist is faced with a strong persuasion of creating works that veers toward representational art. However, it is not simply an issue of assumed preference; rather, it cuts across matters relating to prevailing themes, norms, and practices of ‘specific historical moments.Non-representational Art and Abstract Art Figure 27. Pablo Picasso, "Head of a Woman, Mougins” (1962). Metal cut-out, folded and painted Musée National Picasso-Paris. One source of confusion is the notion that non-representational art is the same as abstract art. This is essential to discuss because it introduces the fact thal representational art and non-representational art is not a clear-cut divide; rather, they exist in a spectrum. An abstract work of Pablo Picasso is a great example to illustrae this. Although he is more known for his paintings, he also dabbled into other works including sculptures. Cut metal that is hinged on a metal base, there is a palpable distortion of the image—whatever it is—seems to be melting. Even without reading the title from the caption, mere seconds of looking at the combination of lines, shapes and colors of the sculpture will point to a head of a woman. Even with the abstract” of the image, this work is arguably representational. As a guide, an artwork, depending on the degree of distortion or abstraction, may be judged as leaning more toward on¢ over the other. Abstract art is in itself a departure from reality, but the extent of thet departure determines whether it has reached the end of the spectrum, which iS nor representationality—a complete severance from the world. A proponent of non-representational art was Russian artist Vasily Kandi Although his chosen art form was paintings, he likened non-representatio! to music, an art form that he was also very keen to. He asserted that with SY te musicians are able to evoke imagery in their listeners or audiences. Object-0% alludes to the sounds and spiritual experiences that music makes possible ne paintings. It is therefore not surprising that a lot of his paintings are inspired bym and are titled as impression, improvisation, and composition. mrtSources and Kinds of Subject When hit with a wall or a block, the writer is often advised to look back and take from what he knows. From there, a well and wealth of materials may be drawn. But for artists, where do they source the subjects of their paintings? What do they paint? For non-representational art, a higher level of perceptiveness and insight might be required to fully grasp the feeling, emotion, or concept behind the work. It is perhaps easier to infer where the subject matter comes from if the artwork is an example of representational art. From the figure(s) depicted in the artwork, there is already a suggestion as to its inspiration. . However, in discussing the sources and kinds of subject in artworks, it is important to note that these two are often inextricably related. Often, even a singular source of inspiration can yield multiple translations. A good starting point is, of course, the nature. There is nothing more rudimentary than human interaction with the physical world around the artist. Early childhood often revolves around getting to know not just the body and what it can do, but also in getting accustomed to a multitude of sensory prompts around the artist especially those situated in his environment. Artists throughout history have explored diverse ways of representing nature: from plants to animals; the qualities of bodies of water and the terrain of landmasses; and even the perceivable cycles and changing of seasons. Often, these depictions are seen as expressions of the sacred or the profane, sired by reality or supplemented by the artist's imagination. One artist who was attuned with nature was Vincent van Gogh. He saw art and nature as inseparable, often finding solace and happiness in painting in it (working in the middle of unspoiled fields) and painting from it (landscapes). In a letter to his brother Theo, he wrote “...if | felt no love for nature and my work, then | would be unhappy.” (Van Gogh Museum, 1882) Figure 28. Vincent van Gogh, "Die Ebene von Auvers" (Wheat Fields Near Auvers) (1890). Oil on canvas. Osterreichische Galeria Belvedere Collection.Other artists wit ; Ind Seascapes a ts with a considerable number of landscapes ai re Monet, Camila Pissarro, Paul Cézanne, and JMW Turner. In the Philippines, Artists for Painting Fernando Amorsolo and Fabian de la Rosa gained 5 o from their painted rural scenes such as women in the fields gathering harvest, Breaking nature into smaller parts is Jan van Kessel the Elder who did nume, ‘ ‘tit lives and small-scale, highly detailed studies, and scientific illustrations of 0 insects, shells, fruits, garlands, and bouquets. 22 Van Nesoal ae Bite SOMA Yt Figure 28, Jan van Kessel, “A Cockchater, Beetle Woodlice and Other insects, with a Sprig of Auroua (aly 1880s). Oil on copper, Museum of Ait and Archaeology, University of Oxtord Coltection. Greek and Roman mythology were also ripe with references: from episodes transport the viewer to heroic encounters of Achilles and Aeneas: warnings a man’s folly like the vanity of Icarus; the wit and cunning of Odysseus; the beauty Aphrodite and the athleticism Myron. From narrations in literature, artists, 0°Figure 30. “Discobolus” (Roman, 2nd Century AD), after a Greek original by the sculptor Myron of 450-440 BC British Museum Collection, London Another integral aspect of human life is the distinct relationship with a higher controlling power. If the belief system of Greeks and Romans was polytheism with a multitude of gods and goddesses, the Judeo-Christian tradition stems from a belief in a lone creator of the universe or what is called monotheism. This tradition had an immense influence in Western civilization especially in art. Guided by a host of styles and techniques, various media and art forms were also experimented with: paintings, frescos, church architecture (over-all plan of the space, stained glass windows, tabernacles, and altars), sarcophagus, icons and other carvings, vestments, tapestry, illuminated manuscripts, and other sacred scriptures, among others. Commissioned by Pope Julius II, the intricate fresco that lines the Sistine Chapel was created by Michelangelo. The immense detail and vast surface he had to cover had him working on it from 1508 to 1512. Figure 31, Michelangelo, “Sistine Chapel” (1508-1512)Figure 34. Francisco de Goya, "El Tres de Mayo" (1814) Oil on canvas, Museo del Prado Collection An example is Goya’s El Tres de Mayo which captures the death of Madrilenes, the | local insurgents during the Peninsular War. Former allies in the Overrun of Portugal anc | France turned against Spain. Napoleonic forces invaded Madrid without much difficulty and the painting captures the dramatic demise of its people under a firing squad. History, as a resource for artists in Search of subjects, brings into consideration events that are familiar and Sometimes even common or shared in world context: the establishment of nations and states (discovery, conquests, and Colonization), and the resulting ideologies that they breed (democracy, liberty, freedom, and tights). These works serve as documentary and commemorative artworks that illustrate subjects suct as important leaders and figures; events as they were Tecorded to have happened and representations Of ideologies or values. Inthe history Of art, itis importantto rer were not merely a Product of the artist's in the various art movements and artworks that notions of freedom and independey artists, were not without limits or restricti and the way it is visually trans|; who commission the artwork: ), importantly, the norms and trends py member that the source and kind of subjec clination and Choice. A closer examination created within those movements will indicat nce, which are presumed to be enjoyed bYQueing the Spanish colonial period in the Phitippines, art was predominantly vepresentatonal Quring the first century of their dominance, art came as an aid for communication a means of propagating retigion to locals who spoke a different language. The visual arts, from paintings to early sculptures such as santos and other votive figures and icons, were created to assist Catholic ministry, Existing art and craft Waditions persisted, with some augmented and infused with foreign influences that were not limited to the Spanish culture through contact. The momentum that secular (or non-religious) art later gained in the nineteenth century can also de attributed to this contact, with the opening of the Suez Canal and the growth of export economy in agriculture. The consequence of these developments was the rise of the middie class. With their new-found economic and social mobility, patrons of the art were no longer limited to the clergy, but brought about a demand coming from these wealthy ilustrado families. Of interest was the increase in demand for Commissioned portraits (of an individual or an entire family), finding it necessary t© document themseives in light of their elevated status. Wearing the most intricate and elaborate of gars, significant adornments such as jewelry and embroidered implements, among others, completed the intended narrative. This artistic trend cemented the distinction of artists such as Simon Flores, Justiniano Ascuncion, and Antonio Malantc who became the foremost portraitists of the time. Here, it is evident how dumng the Spanish colonial period, the subjects of artworks, even the manner in which they are transiatec, were mostly dictated by the patrons who commission them fer religious and secular art Content in Art As outlined in the beginning, in discussing works of art, the subject may simply be referred to as the “what”"—what is readily seen and relates to the artwork, its inspiration, and the many kinds of translation. But apart from what is made explicit, to recognize and grasp the message of the artwork, the viewer may sometimes need to go beyond what is visible. Why wes the artwork created in the first place? When this question is asked, we are after the meaning or message that is expressed or communicated by the artwork. One of the foremost scholars that expounded on content analysis or how meaning iS arrived at is art historian Erwin Panofsky in his seminal work Meaning in the Visual Arts (1983). His methodology will be later identified as Iconology through the interpretation of iconography. To take on the challenge of understanding the content of art, it must be reiterated that there are various levels of meaning. Perhaps the most common is what we call factual meaning. ‘This pertains to the most rudimentary level of meaning for it may be extracted from the identifiable or recognizable forms in the artwork and understanding how these elements relate to one another. Conventional meaning, on the other hand.f the artwork using motifs, Signs, g ee et arueta ae conventions are establisheq thro Se econ use and wide acceptance by its viewers or audig, eee ten Finally, when subjectivities are Consulted, 8 Varig ae vl nal a particular work of art is read. These meanings stem from meaning dias Senne circumstances that come into play when engaging With Saute * i a particular painting for example, perception and meanin, ae a When oy nad even colored) by a manifold of contexts: what we know: What passa eieaatili and the values we stand for. It ad eee AoTe xP ect tg meaning may not be singular; rather, a painting may oe multiple Meanings to its many viewers. This is what we call subjective meaning of art. Figure 35. Michelangelo, “Creation of Adam’ from the Celling of the Sistine Chapel that this is an example of biblical art,the ideals of humanism were underscored and the arts and sciences were furthered. Itis therefore understandable that the classical canons of the form of the body (ideally proportioned and muscular) are portrayed, especially by Michelangelo who was first and foremost a sculptor. Here, the view is that the greatness of old civilizations such as that of the Greeks and the Romans may not only be replicated, but even surpassed. Some art scholars noted how Michelangelo exhibited just that—an elevated artistry— in that the dynamism and energy of the figures in the frescoes in the Sistine chapel are unlike the works of predecessors. An interesting overlap between the conventional and subjective meanings is the proposal from gynecologist Frank Lynn Meshberger, whose published essay appeared in the October 1990 issue of the Journal of American Medical Association. Written was his theory that an image and a message were hidden in plain sight: how the silhouette of God, the shroud and the drapery that trail behind, all seemingly align with the shape of the human brain. According to Meshberger, the work can also be aptly called “The Endowment of Adam" for it brought to light that as God's creation, the most important qualities imparted to man was intellect. Like most Renaissance artists, Michelangelo unlocked the secrets and precision of human anatomy assisting in dissections during his time. For Meshberger, it was with his medical background and perhaps exposure to art and history that allow him to catch the symbol, hidden in Michelangelo's work.