THE PROCESS OF ART

3
OVERVIEW
Module 3 looks into the famous works of Artists and Artisans and explores the process of Art
Production and the people’s understanding and appreciation of Art through engagement.
It covers the following topics:
• Artists and Artisans
• Art Production Process
• Art Engagement

MODULE OUTCOMES
Upon successful completion of this module, you must have:
• identified the famous works of art of Artists and Artisans;
• differentiated the roles and techniques of an Artist from an Artisan;
• illustrated the process of Art Production; and
• performed activities that instill engagement in Arts.

E.O. Coronado 35 ART MATTERS: Art Appreciation Learning Modules

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This module is owned by ISAT University, unauthorized reproduction or distribution
without the consent of the university or of the module writer is prohibited.
 LESSON 1
ARTISTS AND ARTISANS
Have you ever seen a sculpture or a statue? Did you know that a different group of
people worked on glass, earrings, urns, and other accessories? Who do you think they are?
How about paintings? What do you call these groups of persons who are making paintings? In
this lesson, we will explore and identify groups of people who worked with famous paintings
and crafts.

LESSON OUTCOMES

At the end of the lesson, you must have:

• identified famous Artists and Artisans and their works of Art; and
• differentiated the works of Artists from Artisans.

ACTIVITY

ABOUT ME MANDALA
Mandala, possibly a Sanskrit word for “circle”, is a circular chart with complex
abstract designs. Commonly, Mandalas have one identifiable center point, from which
emanates an array of symbols, shapes, and forms.

In this activity, you will know more about yourself. Think of your hobbies, goals and
the things that you want to do in life. Then in a short bond paper, draw a Mandala where you
would write the information about yourself. You can use any medium of art (e.g. pastel,
crayons, paint, pencil, etc.) in your work. An example of the target output is shown below.

Bring color and energy to your work. Enjoy!

Katz, E. (n.d.). Back To School Activity - All About Me Mandala 2021! [Photograph]

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This module is owned by ISAT University, unauthorized reproduction or distribution
without the consent of the university or of the module writer is prohibited.
PRELIMINARY IDEAS

After knowing the things about you in the first activity, you will experience being
an artisan in the next one.

At your home, think of a Filipino dish that you usually eat. Buy the ingredients and
cook the dish in your usual cooking procedure. Then be artistic in plating and garnishing it.
Take a photo of your well-plated dish and send it to your teacher via e-mail. Include a brief
description about the dish and your plating style in the e-mail. Your work will be rated using
a rubric.

Below is a photo for your reference.

Necci, V.Artists
(n.d.). Sweet transfer
and Sour Laputheir
to
Lapu [Photograph]
canvases or another medium with the use of
oilDISCUSSION
paints, watercolor, or pastels. Sculptors
take their sketches and make 3D products
ARTISTS AND ARTISANS
from clay, marble, or other materials.
Illustrators create comic books or work for a
publishing or animation company. All works
of artists aim to solicit reaction from a
viewer.
Roles and Responsibilities of Artists
include:
• Developing ideas for a canvas or
product
• Choosing a medium for a final work,
including texture, size, or area
• Collecting work for a portfolio
• Applying for grants for support
visions
Artisans are craftsmen who make practical
artistic products, like earrings, urns, glass,
and other accessories. Artisans study under
master craftsmen to gain knowledge and skills
needed for their craft. Then they continue to
study and practice to achieve mastery.
Artisans work to make something new, original,
and sometimes, provocative. They spend an
honest portion of their time selling and
promoting their items in various marketplaces.
Roles and Responsibilities of an Artisan
include:
• Utilizing mediums like paint, metal,
glass, or fabric
• Shaping, gluing, sewing, testing and
producing products
• Displaying work on various sites
including auctions, craft shows or online
markets
• Estimating costs and material need

E.O. 37 ART MATTERS: Art Appreciation Learning

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 THE ARTIST AND HIS STUDIO

COP
Courbet, Gustave: The Artist's Studio. (1854). Gustave Courbet at the easel, oil on canvas
[Painting]. Musée d'Orsay, Paris, France.

Courbet’s Studio is the most mysterious composition sort of painting. In his

work, you'll see several clues to the interpretation of his studio:
• On the proper, all the shareholders
(friends, fellow workers, art lovers) are
Napoleon III. With them are an
unemployed worker and a beggar girl
found. who symbolize poverty.

• On the left are people with opposite
lifestyles (the masses, wretchedness,
poverty, wealth, the exploited and the
exploiters).
• Within the first group on the proper is
the bearded profile of art collector Alfred
Bruyas. Behind him is philosopher
Proudhon.
• The critic Champ Fleury is seated on a
stool, while Baudelaire is absorbed in a
book.
• The couple within the foreground
personifies art lovers, while the two
lovers near the window represent
extramarital sex.
• On the side of "everyday life", we
discover a priest, a merchant and a
hunter who somewhat resembles
• There is also a guitar, a dagger and a hat,
which alongside the male model,
condemn traditional academic art.
• Within the middle of all this stands
Courbet himself, flanked by benevolent
figures: a female muse, naked just like
the Truth, a child, and a cat. Within the
center, the painter presents himself as a
mediator.
• Courbet asserted that the artist’s role in
society is to depict realities in history
paintings.
He organized the "Pavilion of
Realism" at his own expense when his
painting intended for the 1855 Universal
Exhibition was rejected. Courbet’s own
exhibition made his artworks like the popular
A Burial at Ornans available for everyone in
the world to see.

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 THE ARTISAN AND THE GUILDS

ONL
Master Artisan and Apprentice

Master artisans owned the raw

materials and tools, and sell the products
COPY
OFILA. (2020). German Cologne Cathedral [Photograph].

The Guilds

Guilds of arts and crafts were

produced in his own workshop. Meanwhile,
apprentices are boys that lived in the
master’s house. The apprentices receive no
compensation other than maintenance.
associations created in many European cities
in 12th century that managed and protected
the activities of individuals belonging to an
equivalent professional category. Guilds
slowly disappeared with the introduction of
the capitalist system.

Harrignton, S. (2012). Blacksmith and Rembrandt. (1662). The Syndics of the Drapers’
Apprentice impasto [Photograph]. Guild [Painting].

The practice of art is not grounded on individual success or capability, rather in the
commitment to work together as a collective. An association structured with rules, customs,
rights, and responsibilities.

E.O. 39 ART MATTERS: Art Appreciation Learning

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 FAMOUS PERSONALITIES OF ARTISTS AND THEIR WORKS

LEONARDO DA VINCI
Born: 04-15-1452, Venice, Italy
Profile: Painter, Architect, Sculptor, Inventor, Military Engineer, and Draftsman.
Died: 05-02-1519, Amboise, France
Quotes: “He who thinks little, errs much”

Leonard Da Vinci [Photograph]. (2011).

Famous Works

THE LAST SUPPER MONA LISA VITROVIAN MAN

Wikipedia. (2013). Da Vinci, L. (1503). Mona Lisa [Painting, Da Vinci, L. (1487). The Vitruvian Man
The Last Supper Restored [Photograph]. oil on wood] panel ]. Louvre, Paris. [Sketch].

VINCENT VAN GOGH

Born: 03-30-1853, Zundert, Italy
Profile: Painter
Died: 07-29-1890, Amboise, France
Quotes: “I dream of painting and then I paint my dream”

Cuttle, J. (2018, February 7). In the footsteps of van

Gogh in Paris: The impressionist years. Culture Trip.

Famous Works

THE STARRY NIGHT SUNFLOWERS IRISES

Van Gogh Starry night | van Gogh Works. Van Gogh, V. (1888). Sunflowers [Painting].
gallery. (n.d.). Vincent Van Gogh Gallery
- His Life, Biography and Catalog of Art

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 Van Gogh, V. (1889). Irises [Painting].
https://www.vincentvangogh.org/irises.jsp

E.O. 39 ART MATTERS: Art Appreciation Learning

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MICHELANGELO
Born: 04-06-1475, Italy
Profile: Painter, Architect, Poet
Died: 02-18-1564, Rome, Italy
Quotes: “Genius is eternal patience”

da Volterra, D. (1544). Michelangelo [Painting, oil on

panel]. Metropolitan Museum of Art

Famous Works

DAVID CREATION OF ADAM ST. PETER’S BASILICA

Pearl, B. (1501). Michelangelo’s David Michelangelo. (1511). Creation of Adam Michelangelo Buonarroti | Saint Peter’s
[Sculptor, Photograph]. Gallery di [Fresco, Photograph]. Basilica (Ca. 1546-64) | Artsy. (n.d.).
Belle Arti, Florence, Italy. Artsy - Discover & Buy Art.

PABLO PICASSO
Born: 10-26-1881, Malaga, Spain
Profile: Painter, Sculptor, Ceramicist, Stage Designer,
Poet, and a Playwright
Died: 04-08-1973, Mougins, France
Quotes: “Every child is an artist. The problem is how to
remain an artist once he grows up.

Pablo Picasso - Google search. (n.d.). Google.

Famous Works

GUERNICA THE YOUNG LADIES OF AVIGNON THE WEEPING WOMAN

Picasso, P. (1937). Guernica [Painting, Picasso, P. (1907). Les Picasso, P. (1937). The Weeping
oil on canvas]. Museo Nacional Centro Demoiselles d’Avignon [Painting, Woman [Painting].
de Arte Reina Sofía, Madrid, Spain. oil on canvas].

E.O. 4 ART MATTERS: Art Appreciation Learning

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FRIDA KAHLO
Born: 07-06-1907, Mexico City
Profile: Painter
Died: 07-13-1954, Mexico City
Quotes: “I never paint dreams or nightmares. I paint my
own reality.”

Kahlo, G. (1932). Frida Kahlo [Photograph].

Famous Works

THE TWO FRIDAS SELF-PORTRAIT WITH THE BROKEN COLUMN

THORNNECKLACE AND
HUMMINGBIRD
Kahlo, F. (1939). The Two Fridas
Kahlo, F. (1940). Self-Portrait with Kahlo, F. (1944). The Broken
[Painting]. Museo De Arte
Thorn Necklace and Hummingbird Column [Painting]. Museo Dolores
Moderno, Mexico City.
[Painting]. Olmedo, Mexico City.
Mexico City.

THINK ABOUT IT

With your understanding on the difference between an artist and an artisan and
your knowledge about famous artists and their artworks. It’s time for another activity.
Make a piece of artwork in a short bond paper that depicts your
preference between an artist and an artisan. Provide a short explanation of
your artwork by answering the questions below:

• If you were to choose between an artist and an artisan, what would you be?
• What are your reasons for choosing the group?

ASSESSMENT EVIDENCE

To test your understanding of the lesson, answer the following questions in a

one-whole sheet of pad paper.

1. Who among the famous artists is your favorite? Why?

2. What particular work of that artist inspired you most?
3. In your own words, differentiate an artist from an artisan.

E.O. 41 ART MATTERS: Art Appreciation Learning

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without the consent of the university or of the module writer is prohibited.
 LESSON 2
ART PRODUCTION PROCESS
What is production? Is it machine-based? Is it human? What is artistic production?
Think of the things we produce. Aside from objects, we also produce ideas. This lesson will
deal with the art production process.

LESSON OUTCOMES

At the end of the lesson, you must have:

• interpreted artworks through visual thinking;
• identified some art production processes; and
• used the art process to develop a cohesive body of work inspired by ideas,
concepts, and observations.

ACTIVITY

PRODUCTION, PROCESS, AND MEDIUM

OF AN ARTWORK
In a short bond paper, make a table. Fill in Column 1 with the artworks you want to
produce. Write the steps that you need to do to achieve your desired artworks in Column 2.
Enumerate the medium and materials that you need to use for each art project in Column 3.
List as many as you can. Use the table below as your reference.

1 2 3
Production Process Medium

Examine the things that you have listed in the table. Do you think the production will
be easy or hard? Do you think the whole production process will be cheap or expensive? Do
you think the artwork is worth it?

Now, search for an artwork in your home that has caught your attention. Interpret the
message that the artist wanted to convey through the artwork. Identify the medium and the
processes used by the artist.

E.O. 43 ART MATTERS: Art Appreciation Learning

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 PRELIMINARY IDEAS

2D ANIMATION PRODUCTION ACTIVITY

In this activity, you will learn how 2D animation is created by following the three
main phases of production by “2D animation: Everything you should know about it” (2020).

PRE-PRODUCTION
The first stage in creating animations includes developing a story, writing a
script and designing the characters.

COP
(“2D animation: Everything you should know about it,” 2020)

Creating characters based on the storyboard is important during the pre- production
process.

PRODUCTION
This is the process of creating the 2D animation by combining all created
actions and producing the scenes.

ALU
(“2D animation: Everything you should know about it,” 2020)

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POST-PRODUCTION
This is the final process of 2D animation and this is the part where you edit your work
by adding final touches. Below is an example of a 2D animation.
(“2D animation: Everything you should know about it,” 2020)
DISCUSSION
ART PRODUCTION PROCESS
One way to describe art is by how it
is made. When you are making art, you use
many different tools, art supplies, and ways
to show your ideas. You might use the same
ones each time, or find that certain tools or
materials work better for different ideas you
have.
Production is the conscious act to
understand the doing or making of a thing. It
also pertains to understanding what an artist
wants to produce or portray. Some
productions can be seen while others cannot
be. Nevertheless, there is a story behind
every product.
Process describes how art is made.
Drawing, weaving, printing, and photography
are all examples of different processes.
Medium is the material you are
using in your work.
The Art Making Process
The art-making process involves
following a guided instruction on how to
E.O. Coronado
45
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ONL
start and finish a typical art project using
efficient practices (Art Time Studios, 2010).
Phase One starts with sketching,
grid-lining, drawing, or filling in under-
paintings. In this phase, students are
introduced to the best practices, techniques
and approaches vital in understanding art
concepts.
Phase Two includes the addition of
multiple layers of tone, color, or paint within
an artwork. Students are required to solve
some problems and are encouraged in their
art to explore, manipulate, and master
technique-based art applications.
Phase Three ends with adding the
final detail and craftsmanship before
showcasing finished projects. This includes
demonstrating the understanding of the art
elements, habits of mind and energy,
communication skills, habits of labor,
composition concepts, and execution into a
well-crafted project.
ART MATTERS: Art Appreciation Learning Modules
EXAMPLE:

(Art Time Studios, 2010)

AfterFor more examples

understanding on how art of
the production is made, youis can
art, now the watch
time tothe art production
produce your own
process
artwork by BIMAGO
by doing using
the activity the links below.
below.
Handmade
STONE ART. Paintings
Look for - some
https://youtu.be/KhxF5Yj62iA Canvas Clean them and let
big, flat stones in your garden.
Prints - https://youtu.be/h1MH7uMR_tc them dry. Once dried, beautify the
Premium Print on Canvas - https://youtu.be/FBQVnGc4EfE
stones by decorating them using any
Wallpapers - https://youtu.be/Yuw376PjK50
art medium. Then take a photo of

THINK ABOUT IT

your artwork and e-mail it to your

teacher. Don’t forget to discuss the
processes that you went through in
producing your output in the e-mail.
Your work will be rated using a
rubric. Use the photos below as your
reference.
(Dovas, 2018)

ASSESSMENT EVIDENCE

In a short bond paper, make a visual artwork depicting the community or

surroundings around you using any medium. At the back of the paper, list the art production
processes that you used and discuss the ideas and concepts of your design. Share your work to
one person in your community, let him/her interpret then critique your work. Write his/her
interpretation and critique in a piece of paper. Your work will be rated using a rubric by the
course facilitator.

E.O. 4 ART MATTERS: Art Appreciation Learning

DISCLAIMER
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without the consent of the university or of the module writer is prohibited.
 LESSON 3
ART ENGAGEMENT
Engagement with art can have significant benefits for students whether the
experience involves looking at and discussing art, or creating art. In both cases, art can be used
as a vehicle for meaningful self-expression.

LESSON OUTCOMES

At the end of the lesson, you must have:

• Explored and exchanged ideas about art and artists;
• Made connections between personal stories;
• Accessed personal experiences; and
• Participated in a meaningful activity that fosters personal growth.

ACTIVITY

EXAMINING SOME WORK OF ARTS

Before we start our lesson proper, let us examine the following works of art by
answering the questions that follow in a one-half sheet of paper.

(Alcazar, 1906)

Questions:

For the first painting,

What part of the city does this painting represent?

What city do you think this might be, and why?
Where(Kirchner,
is the 1908)
viewer’s location in relation to the bridge?
LONDON BRIDGE (1906), STREET, DRESDEN (1908),
by André Derain
For the second painting, by Ernst Ludwig Kirchner

What do the people in the painting do?

What is peculiar about Kirchner’s use of color in this scene?
What is the overall mood of this work?

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 PRELIMINARY IDEAS

PERSONALIZED MULTI-COLORED MESSAGE IN A BOTTLE

Look for an empty jar (preferably a glass jar) in your home. Cut some strips of paper
and write positive messages on them. With the goal of making a person smile or feel happy,
write some pickup lines or jokes, or include verses from the Bible. Roll the paper strips before
putting them inside the jar. You can decorate the paper and the jar. See picture below for
reference.

Once done, have some family

members or relatives pick a strip of paper
from the jar. Let them read the message and
ask what they feel about it. Then, ask them to
write their reaction in a piece of paper. Send
some photos of your work and your family’s
reaction via e-mail. Your work will be rated
(TheMasonJarInc, 2020)
using a rubric.
DISCUSSION

ART ENGAGEMENT
Art Engagement is a way in which people encounter and experience arts and
culture from being exposed to some sort by attending something, creating something, and/or
pursuing a career in arts and culture. All types of engagement have value which people
withdraw and forth along this spectrum throughout their lives.

Framework for Engaging Young People

ALU
(Tait et. al., 2019)

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 The diagram shows that the
foundation for effective youth engagement is
organizational commitment. This first stage
requires identification of goals that will
eventually lead to fostering active
participation of young people in the
organization and its programs. Both of the
first two approaches aim to tackle attitudinal
barriers. The third phase to youth
engagement includes making three major
decisions so that the organization would
overcome functional barriers. In this stage,
organization must craft programs, forge
partnerships, and look for a place where the
program will be conducted. The final stage
aims to confront practical barriers by
promoting the programs to their target
demographic—the youth. The organization
and its funding partners must use the data
gathered throughout process in assessing
which of the programs implemented are
effective and which ones need changing.
Think of an organization you
support or you want to support. Consider
your own goals and relate it to the
organization’s ambitions for youth
engagement. Below are the many strategic
questions that an organization should
consider.
• Goals: Why does the organization
what to involve the youth? What particular
youth group does your organization want to
figure?
• Geographic Location: How
close is your organization to the youth group
you want to work with? Do you have
national or local reach? Is your organization
and its target beneficiaries located in urban or
rural area? Does your project entail the use of
transportation?
• Venue: Does your organization have its
own place or space?
• Definition of Art and Culture: Are your
organizational programs predicated on some
guiding principles? Or does your
organization take a broad view of creativity
across differing types of art and culture?young people in all decision-making;
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• Size: What are the resources and
assets of your organization? How many
people/employees are involved?
• Brand: How well do people know
your or your organization?
• Budget and Sources of
Income: How much can you invest in
engaging young people? Is there any thing
that can help or hinder your organization
from achieving its goals?
All these factors affect what an
organization can do. For example, if an
organization that owns/manages a historic
building want children to visit the site, it
needs to develop programs that will yield to
community engagement. Similarly, if an
organization is interested in future talent
development rather than audience
development, then it needs programs that
support long-term engagement and
progression of its talents rather than one- off
events. Donors should be mindful of the type
of organization they are funding and consider
its assets and constraints. As much as
possible, funders should be looking for
organizations with similar goals to them.
1. Organizational commitment and
willingness to change
Organizational commitment to working with
young people and the willingness to change
are foundations for successful youth
engagement in arts and culture. As a starting
point of all other categories of interventions,
some literature considers this approach the
most salient one in improving young people’s
engagement.
Activities under this umbrella include:
• having clear goals by clarifying your
motivations for change and understanding
which children you wish to work with and
why;
• shifting your organizational mindset to
youth-centered approach and including
49 ART MATTERS: Art Appreciation Learning Modules
• reviewing organizational structures and
processes, and acting on organizational
diversity; and
• supporting your staff by providing them
trainings or exposing them to learning
environments that will make them feel
comfortable working with children.
2. Active participation and
production with young people
The second component to engaging
children is co-production. Organizational
commitments should be built upon co-
production. Young people should be actively
involved in the design and delivery of
opportunities. They should be given choices
that reflect their individuality. Co-production
should not be one-off but sustained through
ongoing dialogues. Techniques for long-
term co-production can range from
consultations to collect opinions of young
people, to co-producing with them, and to
embedded youth governance. Successful
organizations embrace young people as co-
creators, contributors, and decision- makers,
rather than simply as observers or
consumers. It is also a good practice to
appoint youth representatives to your board,
to have youth advisory board, and to involve
young people in the recruitment of new staff.
Approaches that organizations
choose to use depend on their type of
organization. Youth-centered organizations
are more likely to embed the co-production
strategies involving young people in their
management and governance as compared to
organizations that have multiple goals apart
from engagement of young people.
3. Programming
Programming decisions are the
choices made about the art form presented,
its format, and how it is marketed. All of
these contribute to the nature of a young
person’s arts and culture experience. Young
people are more likely to engage in
something new
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and recognizable, and organizations can use
digital platforms to complement their offer.
The choices an arts organization can
make are constrained by the type of
organization it is. If an organization
primarily focuses on one art form only, it
will naturally be what it chooses to display.
If a historical building is integral to an
co- organization’s identity, it will need to make
programming choices anchored to the
promotion of the property.
Programming a decision that will
encourage the engagement of young people,
or any under-represented group, is resource-
and time-intensive. As it is best that the
organization understands the demographic it
intends to work with, programming a
decision may require conducting research
and consultations involving the youth, for
example. The need for enough lead-in time
(often up to one year) for thoughtful and
pragmatic programming decisions is a
common theme in evaluations about
engaging new groups of people. The lead-in
time will not only cover the planning and
development of a project but also the conduct
of a test-run prior to the project’s full
implementation. Therefore, funding must
cover the preparations before the new
program is realized.
4. Partnerships
New audience can be reached through
collaboration and partnerships. The most
common are community groups and schools.
There are different types of collaboration and
partnerships that arts and culture
organizations can pursue, including:
• local, regional or national;
• one-off or long-term; or
• within the sector or with different sectors.
Partnership is about finding an
individual or an organization with a shared
goal that you both want to achieve. Parents,
teachers, peers, and community groups all
influence young people’s
4 ART MATTERS: Art Appreciation Learning
choices, so arts and culture organizations that
aim for youth engagement should pursue
partnerships with them. Goals, structure,
make-up, commitment, and capacity of the
partnerships are crucial for engaging any
underrepresented group to arts and culture.
5. Place and Space
Place includes both the geographic
location and the type of venue or
environment where someone engages with
arts and culture. Important considerations
include:
• the familiarity of a venue in a
community and its proximity;
• how welcoming and functional
the space is; and
• the organization’s own geography,
whether it is urban or rural, the
transport links and the physical
accessibility.
The extent to which a space feels
familiar and welcoming is crucial. It should
include a space for young people, families
and school groups to gather, socialize and eat
food. It must also have convenient disability
access, clear signages explain
the purposes of the different spaces, and
modern materials such as glass that will
make the space more open and familiar.
Organizations should also look for unusual
or unconventional places for
THINK ABOUT IT
In a short bond paper, make a plan on how to promote art engagement in your community. You can create your
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artistic or cultural experiences, particularly
places that are popular for their target
demographic. For example, young people
engagement would appeal more in parks,
shopping centers and other places they
frequently visit. The best time for
organizations to consider these factors is
when making programming decisions.
6. Promotion
Arts and culture organizations that
strive for youth engagement should promote
their work to brief young people about the
nature of their organizations and inspire them
to take part in the cause. Some of the
strategies effective in promoting young
people engagement include the use of
language/slangs they use and awareness of
their hang-out places. It is also best for
organizations to involve young people in
the creation of their promotional contents.
How organizations market their activities
matters; working with youth ambassadors
and parents is especially valuable. Cost is
included in this category—organizations
might choose to offer specific discounts or
bursaries. An organization’s brand and
budget are two of the major factors that
determine what sort of promotion it will do.
51 ART MATTERS: Art Appreciation Learning Modules
 ASSESSMENT EVIDENCE

To check your understanding, reflect on the questions below and write your
answers in a one-whole sheet of pad paper.

1. How would you define art engagement in your own words?

2. If you were part of the student council in your school and you were given a chance to come
up with a particular project, would you consider having an art engagement program? Why?
3. Why do you think art engagement is very important?
4. List your past activities or experiences (in school or in your own community) that
involved art engagement. What made you think that they were forms of art engagement?
5. Examine the painting of J. Bulaong (2015) and answer the questions that follows.

COP
(Bulaong, 2015)

Y TION
OBSERVATION: Look closely at this painting. Write your observations in a paper.

DESCRIPTION: What is/are the recognizable building/s or structure/s found in this

painting? Is the scene indoor or outdoor? Are the artist’s
brushstrokes visible? If yes, describe them. What colors do you see
in the water and sky?

INTERPRETATION: What is the overall feeling you get from the painting’s subject? Why
do you think the artist chose to paint this structure? Do you think the
structure held special meaning to him? Do you think he saw it
often? What time of the day do you think is depicted in the scene?
What title would you give this artwork and why?

CONNECTION: The most prominent aspect of this work is the church. When you
think of churches, is there one particular thing that comes to mind?
Why? Is this a place you’d like to visit? Why or why not? Can you
think of other artists who painted church scenes? How do they
compare to this painting?

E.O. Coronado 52 ART MATTERS: Art Appreciation Learning Modules

DISCLAIMER
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