Gec106 - Module 2023

GEC 106- ART APPRECIATION 2022
MINDANAO STATE UNIVERSITY AT NAAWAN

College of Education and Social Sciences
Department of Social Sciences and Humanities
COURSE GUIDE
Course Details
Course Number: GEC 106

Course Name: ART APPRECIATION
Course Description: This course develops students’ ability to appreciate, analyse

and critique works of arts. This course equips students with a broad knowledge of the
practical, historical, philosophical, and social relevance of the arts in order to hone students’
ability to articulate their understanding of the arts. Also, this course aims to develop
students’ genuine appreciation for Philippine Arts by providing them opportunities to
explore the diversity and richness and their rootedness in Filipino culture. It also aims to
discourse the history of art beginning with the Stone Age to the present.
Number of Units: 3 Units

Pre-requisite: None
Co-requisite: None
Course Outcomes
At the end of the course, students can:
1. Demonstrate an understanding and appreciation of arts in general, including their

function, value and historical significance
2. Evaluate the different views of arts
3. Utilize art for self-expression and for promoting advocacies
4. Trace the historical development of Philippine arts and situate Philippine arts in a
global context
5. Create their own works of arts and curate their own production or exhibit.
6. Deepen their sensitivity to self, community and society
Art Appreciation 1
Course Outline
PART I: INTRODUCTION TO ART APPRECIATION
Lesson 1: Art Appreciation and its importance
Lesson 2: Assumptions of Arts
Lesson 3: Function and Philosophical Perspectives on Arts
Lesson 4: Subject and Content
Lesson 5: Artist, Artisan, and Art-making
Lesson 6: Elements of Design
Lesson 7: Principles of Design Organization
PART II: HISTORICAL VIEWS OF ARTS
Lesson 8: Pre-historic and classical periods

Lesson 9: Medieval period (early, Romanesque, Gothic)
Lesson 10: Renaissance, Baroque, and Rococo periods
Lesson 11: Neo-classical and Romantic periods
Lesson 12: Realism, Modernism, Contemporary periods
PART III: CULTURE AND THE ARTS
Lesson 13. Philippine Arts: Indigenous Arts, Muslim Arts, Christian arts
Lesson 14: Appropriation
Art Appreciation 2
PART 1: Introduction to Art Appreciation
Lesson 1
ART, ART APPRECIATION and IMPORTANCE OF ART
Engage: In your own understanding, what is art? Share your personal experience and exposure on art.
Supplemental video clip

Watch:
https://edu.gcfglobal.org/en/creativity/what-is-art/1/
What is art?
When we hear the word art, some of our minds jump to

museums or framed paintings. And in that context, some people
think, I'm not really a big fan of art. I just don't get it. Or maybe they
think of art as something that's just for intellectuals, or artsy people.
But really, art is for anyone who wants to experience it, and it's often in more places
than we might realize. Songs you like, movies you watch, poems, theater, even a quilt that
your grandmother made: All of this, and more, is art. So you might be wondering, Well, then,
what is art exactly? This can be tough. Art has been around for thousands of years, and
through the ages it has evolved in a number of ways. The reasons for creating it vary from
person to person, depending on any number of factors as well, so defining art is pretty tricky
and is something that's been debated throughout history. There simply isn't one agreed-
upon definition. Many believe that art is anything that stirs emotion in you. These emotions
depend entirely on your history, your story, basically everything that comes together to
make up who you are. Because of this, three different people can experience the same
piece of art and have wildly different reactions to it. One person might think it's the most
beautiful thing they've ever seen, the second person might hate it, and the third might not
feel much of anything at all. And none of them would be wrong!
Explore: Listen to the song “Paraiso” by Smokey Mountain. Click

https://www.youtube.com/watch?v=RTLFOtV3ocs. Or click here
https://www.youtube.com/watch?v=ESyyEmhTpQ8
After listening, make any original artwork grounded from the song, be it an essay, interpretative dance, song,
poem, drawing, or any art form of choice will be accepted as long as original. Show your output, then discuss
and explain why you came up with such output.
Explain:
Not everyone is an artist, but we can appreciate the beauty of a painting, or a drawing; and we can be
mesmerized by beautiful songs. Therefore, we can be spectators of art, and we can also create our own, it may
be devoid of excellence and the truest essence of an art but so long as we enjoy, we are experiencing art.
Art Appreciation 3
To create and to innovate are inherent in human nature. They are not solely for
artists but they are present, alive and dynamic in every individual with whatever field
he/she is with.
Creativity and innovation are so radiant that they allow us to play and to adventure
whenever we have the opportunity especially in our youthful days. Further, as we reach
adulthood, we don't stop, rather we crave for more opportunity to create and re-create in
order to continually exist, survive, and live. We tend to push for our identity and ownership,
claiming our space for diversity and uniqueness to serve man, society and to acknowledge
the Creator.
But it is important to note that to be creative is not magic. It entails continuity that requires
time, practice, devotion, and passion a constant process. It is an innate call for every human
being to exert effort, to be involved in action. Creativity is just like a set of a chain in a
motorcycle, attached with a set of gear that needs regular lubrication. Our mind and body
rest but the subconscious continuous to travel. On the other hand, as human beings, we can
stop writing, painting, sketching, singing, dancing, and acting, yet the mind continues to
create images, waiting for ways and means to be unfolded and concretized. To continuously
define living that manifests creativity and explores innovations, one has to move forward
and involve the body. For the writers, they have to experience both difficulty and pleasure
in manipulating and interplaying words to produce a composition of imagery. For the
performers in dance and theatre, they have to experience the alteration of balance, to
create forms and steps that elevate real space into stage and to explore various body forms
and expressions to delve meaning towards characterization. For the painters, they have to
continually explore and seek for new techniques in manipulating different and various
media to transform thoughts and ideas into a concrete artwork. Other artists, in whatever
field they are in, have to patiently toil to hone their skills and improve their crafts.
Activity 1
Reflective Questions
1. Why is creativity necessary in art-making? ________________________________

2. When can you say that a person is creative?_______________________________
3. If you were an artist, how would you transform an ordinary subject into an artwork,
say,
a. how would you transform a driftwood into an artwork?
b. how would you transform an ordinary bottle into an artwork?
___________________________________________________________
IMPORTANCE OF ART
Why is art important?
Art Appreciation 4
If a hundred artists will be asked, a hundred different answers will be drawn out. If you ask
ten critics, ten different perspectives will be collected. If you ask a politician or a marketing
agent, an advertiser or an ordinary folk, they would surely have various answers - these
answers are definitely anchored from an individual's orientation, preferences, biases,
education, exposure, and culture. Answering the question above will be easier if we will try
to ask first ourselves with perhaps shallow and basic but very significant questions: Why do
we keep on looking for something new? Why do we keep on watching film or listen to music?
Why do we love to read or write? To draw or paint? To sculpt or carve? To act or play
instruments? To sing or dance? To take photographs or make films?
These are forms of Art making that human beings can't resist. Probably, because we want
and enjoy them, we need them to survive, and to prove our potentials. Whatever reasons
we have, these will always boil down to one essential ground, i.e. man utilizes art because it
serves human fundamental needs, and likewise enjoys it". (Dudley, Faricy, and Rice, 1969).
Ariola said that "Art appreciation is the ability to interpret or understand man-made arts
and enjoy them either through actual and work experience with art tools and materials or
possession of these works for one's admiration and satisfaction. Art appreciation therefore
deals with learning or understanding and creating arts and enjoying them" (2008, 5). The
scope of Art expression is so immense that we could never tell how it would influence and
touch individual lives. Maybe, for one person, Art is just a hobby and leisure, but for others,
it is their way of life-they feel the drive to burn candles, exhaust time, and shell out money
or energy in producing their masterpieces. In whatever way Art pats our existence, it is an
honest outlet of our creativity, sensitivity and sensibility.
Art endured so many centuries. It served mankind for shaping civilization and society. It
became the vehicle of communication and expression which unifies people despite different
languages, culture and tradition. Hence, Ward (2006) states that "art is an international
form of communication dealing with the natural world at an emotional level, a basic
common skill that passes beyond the barriers of culture, language, and creed". This idea is
supported by
Despite the fact that Art unites people, it also divides and creates distinction of culture. It
documents and reveals the way of life-practices, values, customs, tradition, and beliefs of
people of a particular race that differ from other groups. Consequently, it speaks of how
time evolved and how culture gradually transcended. Arts of any form such as music, dances,
literacy pieces, paintings, sculptures, clothing, furniture, jewelries, utensils, tools or
weapons, buildings and other structures would remind us of the kind of civilization that a
particular time has.
1.2 Art as a Form of Expression and Communication
Wolfe said that "humans are intensely visual animals. The eyes contain nearly 70 percent of
the body's receptors and send million as of signals along the optic nerves to the visual
processing centers of the brain.... We take information visually then through any of other
sense." Further, he said that the perception of human beings is divided into these categories
"sight is about seventy five percent, hearing is thirteen percent, touch is six percent, taste is
three percent and smell is another three percent" (Torres, 2011:9). This is what we are:
Art Appreciation 5
judgment always comes first as things pass through the naked eye.
Osborne said that "good art is a successful expression of emotion, and expression
consists in the finding of images by which the emotion is articulated and rendered
determinate for apprehension - a process which Croce called intuition" (1970,233). Thus it is
associated as the Crocean theory. He further supported this theory by calling Art as the
language of emotions in which he claimed that the works of Art imitate natural situations,
real, imagined or ideal, but imitating them unobjectively because the artist's imitation is
driven with his/her own personal attitude towards the situation.
Conclusion
Art is part of our civilization. Thus, our civilization becomes alive and dynamic because of it.
Imagine if you take away music, dances, literary pieces, paintings, sculptures, clothing,
furniture, jewellery, utensils, tools or weapons, buildings and other structures which are
obviously dominating our life, what do you think would our society look like? Art is there to
serve us-either with our want or need; it is there to carry out its purpose.
Supplemental reading: whyisartimportant-160527173325 (1).pdf
Question
When can you say that an artist succeeds in conveying the message of his/her artwork?
Lesson 2
ASSUMPTIONS OF ARTS
Engage: Is nature art? Are the trees, mountains and rivers ART?
Explore: Find 10 objects of your interest, be it a leaf, a can, stone, picture frames, curtains, anything!
Ask yourself if they are art. Explain your answer.
Explain:
The three assumptions of arts serve as the principles and basis of art appreciation.
(1) Art is universal because it serves human basic needs.
1. Art as Means of Communication- Some forms of art are utilized to establish and strengthen
communication. On the other hand, Art is also used to call for unity and reconciliation. In
contrast Art can also be used to communicate mutiny and rebellion.
2. Art is Timeless- Art is timeless because it goes beyond the time of our own existence; and it
continually evolves. Art defines time. While art defines time, time also defines art.
3. Art Addresses Human Needs -Art is universal because it addresses needs of people from all
over the world. "Art is there to serve our human fundamental needs"(Ortiz, et.al., 1976, 6.)
Through directly functional and indirectly functional arts, we are provided with a variety of
offerings - comfort, entertainment and education, which would somehow lead us to self-
fulfillment and satisfaction.
(2) It is not nature
1. Art is not nature because art is man-made. It is a human expression.

2. Art is not nature because it is limited.
Art Appreciation 6
3. While it is true that art is not nature, it is, however, related with nature, Art and
nature are related in the sense that they have mutual "give and take" relationship.
(3) Art involves experience and demands involvement. The only way to find conviction and
affirmation in Art is through immersion to the Arts.
Conclusion
The above three assumptions set the boundary on the responsibility and obligation of man
in fulfilling what he/she is capable of doing. Man has to communicate; man has to utilize art
to bridge understanding and let society advance its growth. Henceforth, art is a constant
reaction to the world around us. It caters both our differences and uniqueness.
The Assumptions of arts are the principles and bases in arts appreciation because, in art,
human beings can communicate one’s individuality and existence. It is only in action that we
live continually, so thus Art.
Elaborate Give 5 artworks that influenced society. Discuss your answer.
Evaluate Discuss the 3 assumptions of arts.
Lesson 3
FUNCTIONS OF ARTS
Engage Does art always have a function? If artwork did not have any function, will it remain art?
Explore Tell whether it is art or not. Explain.
1. San Juanico Bridge 2. Urinal 3. A King’s Chair
Explain
Art can be generally classified into two; the directly functional and indirectly functional art.
Directly Functional art refers to art that we use in our daily lives such as tools, architectural
structures, roads, bridges, buildings, furniture, kitchen utensils, coins, bills, dress, weapons,
etc. On the other hand, indirectly functional art refers to the arts that are "perceived
through the senses such as fine arts, painting. music, sculpture, dance, literary piece,
theatrical performances, music and the like. We do not use these arts literally to live and
survive, but they accompany us in expressing ourselves. We have utilized indirectly
functional art not just to communicate but to advance our society, to preserve and
document relevant events and details of our culture. This art is basically used to inform,
educate and entertain people. It is there to transform us into better human beings. Both
Art Appreciation 7
directly functional art and indirectly functional art cross each path and tend to change roles
or fuse purposes.
There are also functional artworks that the sole purpose is for function, either decorative or
for a specific purpose, but the designs incorporated made the decorative art transcends
from its basic form to a highly artistic form of art. The example on the right illustrates how
the directly functional and indirectly-functional arts cross boundaries. In figure 3.1, a chair
was used by the artist as a canvass. The artist transforms the function of a chair into a
symbolic object, a representation of something which eventually becomes a medium to
symbolize seat of power, knowledge, education, statuses, etc.
What made Art relevant is its grasp towards the needs of the humankind. Art "serves basic
human needs". To fully understand this, we will look into the purpose of Art. According to
Ariola, artistic functions can be classified into four: aesthetic, utilitarian, social and cultural.
Aesthetic function An artwork functions aesthetically when it becomes instrumental for

man to be cognizant of the beauty of nature and where the real feelings of joy and
appreciation to nature's beauty are manifested through appreciation and enjoyment when
in contact with the artwork.
Utilitarian function Art is serving this function when it is utilized to give comfort, convenience, and
happiness to human beings. It is used to serve basic needs such as food, shelter, clothing, medicine,
comfortable environment, transportation, entertainment, communication, and expression, and
other important things that make man live with happiness and ease.
Social function When the art bridges connection among people, it serves a social function.
Art here encourages good relationship-unity and cooperation are being facilitated and
established. With this, people become more understanding and sympathetic that would
somehow create a better society.
Cultural function Art serves as an aperture towards skills, knowledge, attitudes, customs,
and traditions of different groups of people. The Art helps, preserves, share, and transmits
culture of people from one generation to another.
Conclusion
Art is both directly and indirectly functional. Functional arts provide us with ease and
comfort in living with our everyday lives. While, non-functional arts are basically used to
inform, educate, and entertain people.
Elaborate Check the appropriate column/s to identify the function or purpose of each Art expression.
Evaluate Give a statement to explain your answers on the last column.
FUNCTIONS
Artforms Personal Social Physical Explanation
Architecture
Film
Dance
Prose
Sculpture
Art Appreciation 8
Lesson 4
SUBJECT AND CONTENT
Engage Draw anything that comes into your mind.
Explore Describe your drawing; does it have a subject? What is its content?
Explain
When talking about art, every piece is composed of 3 parts: subject, form, and content.
Nevertheless, people tend to fail to find what the difference between subject and content is. The
subject is the main focus object in the work of art, whereas the content is the overall meaning of the
piece.
Definition of Subject
In art, the definition of the subject is referring to the main character, object, or anything else that is
presented as the main focus in the work of art. The subject can appear in the center of the piece, or
in any other part of it, but it is always the most recognizable thing in the entire work of art,
regardless of its size. This center of attention will be recognized whether it is a commonly known
thing, or because it can be seen in context alongside
the rest of the work of art. An artwork
For example, in a photograph of a dog running on the

beach, the dog would be the subject, because it is the
most recognizable component in the picture.
In conclusion, the subject is the most recognizable part

of the work of art.
https://www.123rf.com/photo_3186174_dog-running-on-beach.html
An artwork that has a subject is classified as a representational art. It is also known us

objective art because you can easily objectify the subject. On the other hand, it is also
known as non-objective art because it doesn't represent anything. Paintings, sculptures,
photography, graphic arts, dance, theater, literature are generally classified as
representational arts. Though, sometimes paintings and sculptures do not have subjects,
more so with dance, theater and literature, which do not depict clear subjects/
representations but have themes, would help the audience clarify their meanings and
intentions. Most artworks have subjects except for the architecture and music which rarely
have. Unless an architect will build literally a building that looks like a "durian fruit," then we
can say that an architectural design has a subject. Basically, music has no subject but the
lyrics parallel to the music is the one that makes the work easily understood. When a
classical or instrumental music is used in a certain film or theater production, we now
associate this music not on the merits of the composition but with the theme of the film or
art production.
Definition of Content
On the other hand, artworks have content which refers to the meaning of the artwork. The
other term for content is the theme which bears the essence or substance of a thing or an
object.
Art Appreciation 9
In other words, the definition of content is referred to as the general meaning or intention
of the piece. It is the way to manifest the message that the artist wants to say with his work.
Content is the message given by the piece of art. It involves the subject, the techniques used
to make the piece, the colors used, and anything that was used by the artist to make a
statement and give a message. So, in the same example mentioned before (a photograph of
a dog running on the beach), the content could be the dog’s hair moving in the air, its
tongue coming out, the white sand, a warm light from the sun, etc.. It allows to give the
message that the dog feels free and happy running outside. Content is the overall meaning
or message of the work of art.
Kinds and Sources of Subject
The kinds of subject enumerated below are explored and prevalent in any form of art
expression, either in visual, auditory, or combined arts.
1. Nature- the subject deals with the physical environment-the natural world.
Landscapes are parts of nature. They include mountains, hills, plateaus, islands, etc.
It can be natural landscape. Seascapes include lakes, rivers, oceans, brook and other
watercourses.
2. Animals- During the Medieval period when early Christians used animal symbol such
peacock and fish to identify themselves as Christian believers.
3. Portrait or human figures- in using this kind of subject, the angle, the distance, and
the subject or model’s composure are considered. Portraits and human figures have
the same intentions-to capture human expressions. The human body is known as
“the measure of all things”. It reflects proportion, balance coordination, order and
unity.
4. History and legends-This is a kind of subject that is inspired by history or legends.
Historical events are real stories while legends are imaginary accounts. Whether
history or legends, these stories are used in any art form to share and transmit the
values that are attached with them.
5. Still life-refers to in-animating objects either in a form of a drawing, painting or
photograph.
6. Religion and mythology- this art as a kind of subject is usually done by an insider
artist or a devoted member of a religious groups.
7. Dream and fantasies- to dream and to imagine are for free. These subjects refer to
subjects that are inspired by the subconscious mind as discovered by Freud.
Artworks that are inspired by dreams and fantasies are called surrealism. Art and
fantasies can be presented in any style or form. Some subjects are presented in
realistic manner, however the imagery is distorted, and the setting becomes a dream
world. Art had been an effective tool to assist the human being to explore
imagination. It even assists us to escape from reality.
Elaborate Differentiate subject and content.

Evaluate (1)Identify the subject and discuss its content:
Art Appreciation 10
1. 2.
(2) Examine carefully the Artwork above.

Write down five ideas or interpretations
you can make.
Suggested Activity Get a piece of paper. Utilize the paper as your subject in any form of an
art expression of your choice. Proof of originality and ownership must be presented; that is
a picture/s or video (where face is clearly captured) must be submitted to serve as evidence
that the artwork was personally created or made.
Lesson 5
ARTIST, ARTISAN AND ART-MAKING
Engage Tell if it is an artist, or an artisan. (a) Painter (b) plumber (c) musician (d) sculptor
Explore What is the difference between an artist and an artisan?
Explain
Artists and artisans are pillars of our society. We need artists as much as we need
artisans. They both serve people for a long time by providing us directly functional and
indirectly functional arts.
An artist is generally defined as an art practitioner such as a painter, sculptor,

choreographer, dancer, writer, poet, musicians, etc. who produces or creates indirectly-
functional Arts with aesthetic value using imagination. Thus, they provide us paintings,
sculptures, dances, music, literary pieces, etc. as the means of provoking our thoughts, ideas,
and emotions that are necessary to discover ourselves and our being. On the other hand, an
Art Appreciation 11
artisan is a craftsman such as carpenter, carver, plumber, blacksmith, weaver, embroiderer,
etc. who produces directly functional and/or decorative arts. They help us in meeting our
basic needs such as food, clothing, dwelling, furniture, kitchen utensils, and everything that
makes our life easy are crafted by artisans.
People have different perceptions on the importance of artists and artisans in our society.
They are the same in the sense that they both develop works of Art; hence, they are also
different since they address different needs of human beings. Like the artists, artisans'
works are also noticed and valued-only in different ways and levels. The relevance and
usefulness of the artisans' works make them essential in our everyday living. A great part of
our survival greatly depends on the works that the artisans produce. The utilitarian function
of artisans' works gives us comfort, convenience, ease and happiness in living everyday lives.
From our basic needs to our wants, artisans are there to facilitate easy living.
The concept of imagination

Imagination initiates everything, and new knowledge and understanding grow from
there. Artists use their imaginations to deliberately explore new possibilities.
While human beings are unique and no two individuals are exactly the same,
imagination, too, differ from one person to another. It is affected by experiences-by what
our senses received.
In describing imagination, Burke [1757], says "Besides the ideas...which are presented to the
senses; the mind of man possesses a sort of creative power of its own; either in presenting at
pleasure the images of things in the order and manner in which they are received by the
senses or combining those images in a new manner, and according to a different order. This
power is called imagination; and to this belongs whatever is called wit, fancy, invention and
the like. But it must be observed that the power of imagination is incapable of producing
anything absolutely new; it can only vary the disposition of those ideas which it has received
from the senses" (1967,16-17),
The direct exposure of the artist to the environment will eventually affect the way the artist
looks upon the subject and the story of his/ her own work. It is important that the artist
would submit himself/ herself to what he/she doing (art making) to allow deep imagination
in creating forms of Art.
Same with inspiration, imagination plays a significant role in art production. Imagination is
useless if a person does not transform an idea into a real form or object. The Artwork
eventually concretizes an experience. Hence, according to Richards,, "imagination named
the active mind, the mind in action construing and constructing, dissolving and re-creating,
making sense, making meaning" (as cited by Egan, 1992: 29).
Hunter (2012) enumerates eight different modes of imagination, to wit:
5.3.1 Effectuative imagination combines information together to synergize new concepts

and ideas. Effectuative imagination can be either guided or triggered by random thoughts,
usually stimulated by what a person experiences within the framework of their past
experience. It may also incubate from pondering over a specific problem within the
occasional attention of a person.
Art Appreciation 12
5.3.2 Intellectual (or constructive) imagination is utilized when considering and developing
hypotheses from different pieces of information or pondering over various issues of
meaning like in the areas of philosophy, management, or politics, etc. Intellectual
imagination originates from a definite idea or plan and thus is guided imagination as it has a
distinct purpose which in the end must be articulated after a period of painstaking and
sometimes meticulous endeavour.
5.3.3 Imaginative fantasy creates and develops stories, pictures, poems, stage-plays, and
the building of the esoteric, etc. This form of imagination may be based upon the inspiration
of some fact or semi-autobiographical experiences, extrapolated or analogized into new
persona and events, supernatural mythology and folklore, and structural with mythical
people in real world settings.
5.3.4 Empathy is a capacity we have to connect to others and feel what they are feeling. It
helps a person know emotionally what others are experiencing from their frame and
reference. It allows our mind 'to detach itself from one's self' and see the world from
someone else's feelings, emotions, pain, and reasoning. It can assist us in seeing other
realities, alternative meanings of situations, which may consist of many layers. It shows us
that there are no absolutes, just alternative meanings to situations. It links us to the larger
community and thus important to human survival in enabling us to understand what is
required to socially coexist with others.
5.3.5 Strategic imagination is concerned about vision of 'what could be', the ability to
recognize and evaluate opportunities by turning them into mental scenarios, seeing the
benefits, identifying the types and quantities of resources required for taking particular
actions, and the ability to weigh up all the issues in a strategic manner.
5.3.6 Emotional imagination is concerned with manifesting emotional dispositions and

extending them into emotional scenarios. Without any imagination, emotion would not be
able to emerge from our psyche and manifest as feelings, moods, and dispositions. Fear
requires the imagination of what is fearful, hate requires imagination about what is
repulsive, and worry requires the imaginative generation of scenarios that make one
anxious. Through emotional imagination, beliefs are developed through giving weight to
imaginative scenarios that generate further sets of higher order emotions.
5.3.7 Dreams are unconscious forms of imagination made up of images, ideas, emotions,
and sensations that occur during certain stages of sleep. Dreams show that every concept in
our mind has its own psychic associations and the ideas we deal with in everyday life are by
no means as precise as we think. Our experiences become sublimed into our memory
passing into the unconscious where the factual characteristics can change, and can be
reacquired at any time.
5.3.8 Memory reconstruction is the process of retrieving our memory of people, objects,
and events. Our memory is made up of prior knowledge consisting of a mix of truth and
belief, influenced by emotion. Recurring memory therefore carries attitudes, values, and
identity as most of our memory is within the "I" or "me" paradigm. Memory is also
reconstructed to fit into our current view of the world, so is very selective. The process of
memory reconstruction occurs within our subconscious emerging into our consciousness
Art Appreciation 13
without us being really being aware of the source elements, i.e., what is fact and what is
belief.
Art Making
Art making can be associated with art exploration, concept development, experimentation,
and Art production. In Art making, the artist undergoes three stages of experience which are
popularly known as pre-production or subject development, production or medium
manipulation and post-production or exhibition.
Art expressions such as painting, sculpture, dance, drama, music, etc vary in approaches in
terms of subject interpretation and medium used. Hence, target audience, size and scope of
the work, time frame, budget, availability of materials are considered.
In theatre or performing arts, pre-production involves the following: conceptualization of

the theme, writing the script, making auditions for cast selection, casting or assigning of
roles and workshops. The following should also be considered during the practice: spacing,
staging, lights, music. Set rehearsals and press releases should also be given priority during
pre-production phase to ensure quality of performance and to reach all potential target
audience.
Production refers to the proper presentation of performing arts. When more than one
production is set, directors must observe and evaluate the production to improve the
performance of the casts in the next set. Acknowledging the sponsors and people involved
in the production is also vital.
In post-production, evaluation, critiquing, 'success' press release, sending thank you

messages and letters are done. Schedules for possible re-staging can also be accommodated.
Performing or combined Arts such as dance, theater and film are collaborative in nature.
These Art forms need various skills and expertise to run a show or project. In particular,
choreographer, lights director, costume designer, production manager, finance officer,
logistics, tickets in charge, etc. are needed to make a production.
Art making can be done collaboratively or individually. Basically, painters, sculptors, writers
and poets work alone just like carpenters, carvers, etc. However, if they are involved in a
bulk and big projects, they need a hand from other artists or artisans.
Since most artisans' outputs are generally for commercial use, they follow a standard time
frame of work from eight (8:00) a.m. to five (5) p.m. with two (2) breaks for snacks in the
morning and in the afternoon. However, most artists work with open time which is primarily
dependent upon artists' mood and drive to create an artwork. Sometimes they sacrifice not
to take break just to sustain the fluidity of ideas and to hold the momentum. For them, Art
process is a ritual of accommodating overflowing ideas that are accessible in the
imagination. An artist's approach is so special that skills is not the only thing offered but
everything-emotion, effort and resources even without expecting any return of investment.
Concept development is sometimes interactive and consultative. Some artists collab rate
with other artists, especially when the project is huge enough for an artist to handle alone.
This is called pro-active interaction. In this case, the hired artist follows the dictates of the
one contracting the project. For example, if the painter is commissioned to do big backdrops
Art Appreciation 14
or murals and given only few weeks to get the work done, he/she has no other way but to
hire artists to work with him/her.
On the other hand, when an artist does the concept development alone and would hire
artists or artisans to actually develop, manipulate and execute the concept, this is called a
passive interaction. Here, the hired artists and artisans have to strictly adhere with the ideas
and thoughts of the one who developed the Art concepts.
In poetry and writing, it is usually an individual approach. An artist explores, manages, and
manipulates language and expression alone. The writing process usually starts with subject
or theme identification, followed by writing proper, then proof reading /editing before
finally publishing a work. When poetry or a literary piece is utilized for a performance art,
some poets are sensitive enough that they want a careful and appropriate interpretation of
their work. Sometimes, they tend to be involved in the production to guard the right
interpretation of their work.
In music, performance can be individual or collaborative. Musicians start either with the
lyrics or music, or vice-versa. Some musicians can write through musical notations wherein
sounds are formed with their minds, but some have to play the instruments literally to hear
the sound produced and then organize the notes or chords to come up with a composition.
Composition is too technical. Some musicians are comfortable to start with composing the
lyrics, and then appropriate the music while others start with the organization of music,
rhythm and beat before actually appropriating words and lyrics to go and synchronize with
the music.
As the artist starts to conceptualize or manipulate the medium, they are like shamans and
hermits, they detach themselves from the real world, creating a world of their own, sulking
in their studios. They hibernate until they finish their work. They tend to create a distance
and gap from their own world to the real world.
In Art making, artists detached from their ordinary routine. Somehow, Art making needs
concentration and focus, they need not to be disturbed. Well, just like any profession, they
need private time for concept development, they need to interact and collaborate with
other individuals, and artist finds space of their own. An artist needs a working space a
formal space, an alternative space or even virtual space to be able to work properly. This is
not to create a gap between audiences and artists, not to create stereotyping that artist is
different and weird, but an artist is just like an ordinary human being, they have mood
swings, temperament, insecurities, fixations and weaknesses.
Medium and Technique
Medium refers to the material used by the artist. It is the thing that objectifies an idea.
Without the medium, an idea remains a concept or it would just reside in the walls of your
imagination. It is challenging to manipulate medium and transform it from its raw state. The
different media that are sold in the market, such us paint, metal, etc. would remain raw,
unless the artists manipulate and transform them into something else-an image, a metaphor,
a representation, a masterpiece.
Art Appreciation 15
Manipulation of Medium requires a technique. Technique refers to the artist's ability and
knowledge or technical know-how in manipulating the medium. According to Ariola,
technique is the manner in which the artist controls the medium to achieve desired effect.
So, it is in the technique that artists differ from one another.
Making an Artwork requires technical competence. The ability to manipulate is the driving
force in the birthing a new form or idea. The artist has to undergo a certain moment of
reflection and understanding of the chemistry and physical properties of the object until
he/she finds her/himself commune with the medium. Manipulating a medium is somehow a
trial and error. It requires patience, resourcefulness, thrift, and industry.
In literature, aside from the writer's medium which is words, the basic tools are also needed
such as pen and paper or a small notebook for cataloguing of words, journaling of brief
moments, and recording punch lines and metaphors. Writers should have the belly for
developing a plot, should have the ability to play with words, enough bag of vocabularies,
and knowledge towards do's and don'ts in writing.
The poet's medium is also words but poets employ different approaches in manipulating
words. A poet should have the ability in creating metaphors or figures of speech, the ability
to present clear ideas with the use of appropriate words. A painter's medium is a pigment in
oil or water color. Aside from this key medium, a painter should know how to draw,
compose, organize subject, mix colors, capture and produce good images. It is important
that the painter knows the characteristics of a medium. For example, an oil paint must be
mixed with a linseed oil for better manipulation and toning. In water color, a paper should
be used and must be acid-free for better absorption and preservation. A sculptor, on the
other hand, uses wood, metal, plastic, clay, cement, and paper to produce a sculpture. Each
medium has its own characteristics that a sculptor should understand. He must consider
durability and stability of base and the structure itself. A sculpture can be approached
through subtractive and additive technique. In subtractive, it is taking away unnecessary
parts from the medium while in additive, it is adding or incorporating parts with the medium.
For instance, in wood, glass, ice, and marble sculpting, taking away the negative
spaces/parts would result to the desired form or subject. Adding or incorporating part to the
metal or cement to form the desired subject or form is additive. However, there are media
that can be both subtractive and additive. For example, clay can be moulded and carved out
while it is still soft. You can also add/integrate a part to form the desired subject. An
architect needs basic drawing materials and special tools to come up with meticulous
designs in a blue print. An architect should acquire a technical know-how in making and
appropriating designs on various geographical locations. Aside from aesthetic knowledge, an
architect should be knowledgeable also in landscaping, interior designing, and structural
building. A musician is not only bound to organize notes and manipulate instruments but
should also learn how to play, tune, and take good care of the musical instruments. There
are two kinds of musicians. There are those who can compose and arrange musical
notations while others could just play instruments based on chords and sounds through
improvisation. Performance artists, usually visual artists, utilize a fusion of sound, image,
object, body movement, and technology to produce a live performance.
Nevertheless, there is no easy play of medium. Either an artist or an artisan requires

technical competence and they all undergo a process to master their craft. There is no
Art Appreciation 16
shortcut; it is always a journey and an adventure. Sometimes, an artist develops his own
mixture and tools for personal convenience and to get the desired effect of the artwork.
Conclusion
Medium refers to the materials used by the artist to objectify his/her idea or concept.
The technique applied by the artist in the medium is the profound influence in defining and
identifying artist's work, name, and originality, it is where the control of medium is observed.
In Art making, the artist not only studies the characteristics of a particular medium but
develops a relationship that will define both, skill, passion, and work itself.
Mastering a medium takes time; it would not happen overnight. An artist can even
learn this from a workshop or from a mentor. However, the artist, along the way, meets
possibilities in a thorough immersion to the medium and sometimes produces an accidental
art.
An artist must choose a medium wherein an artist has control over it. Medium
manipulation is physically and, at the same time, emotionally and psychologically exhausting.
Handling medium is a balance between technical competence and aesthetics. Aside from
the technical know-how, an artist must bear in mind that aesthetic or creative approach
towards the medium is relevant.
The more an artist spends time with the medium and also the tools, the more an
artist finds and develops technique in handling it. Somehow, the artist unconsciously
develops a trademark in handling the medium, then it becomes his style. So, it is only
through immersion towards the medium that defines his mastery over it. And to conclude, it
is only through involvement, participation, and action that an Art emerged.
Elaborate Explain the concept of imagination.
Evaluate How do you explain the three stages of art production?
Suggested Activity:
1. Engage yourself in a deep silence and imagine how the paper clip can be utilized in ways
other than its basic purpose, which is to clip and bind paper. Cite 2 ways.
Art Appreciation 17
Lesson 6
Elements of Designs: Visual. Auditory
ENGAGE
Cite 5 (five) things to consider to analyzing and interpreting an art?
EXPLORE
The elements of art and principles of design are the fundamental pieces that make up an
artwork. Most works of art will make use of many or all of the elements and principles of art. We
often judge art by how effectively the artist used these design fundamentals even before we learn
about them. The elements of art are the building blocks of an artwork: color, line, shape, form, value,
texture, and space. They are the tools artists use when creating an artwork. The principles of design
are how those building blocks are arranged: contrast, rhythm, proportion, balance, unity, emphasis,
movement, and variety. They are the ways an artist can organize the elements of art to create a
wide range of effects. Each of these art fundamentals are closely related and many of them overlap.
When combined, they produce a complete artistic vision.
I. Elements of Arts
1. Color is the visual property of the pigment of an

object that is detected by the eye and produced as a
result of the way the object reflects or emits light. The
human eye is capable of seeing millions of colors,
making it one of the most diverse and powerful
elements of art. Each color has three properties—hue,
value, and intensity. Hue is the name of a color. Value is
a color’s lightness or darkness, which is altered when
black or white is added. Intensity refers to the intensity
of a color, often measured by boldness or dullness. In
this example of color in art, Paul Klee shows contrast
between high intensity and low intensity colors by using
more or less water with his paint.
Art Appreciation 18
Primary Colors
All colors come from the three primary colors—red,
blue, and yellow. You cannot mix any colors to create a
primary color. They are the base hues for all other colors. In
this example of primary colors in art, Jacob Lawrence uses
only neutral colors with the primary colors of red, blue, and
yellow.
Complementary Colors
To find a pair of complementary colors, simply draw
a line from one of the color wheel to the other.
Complementary colors are called that because, when placed
side by side, they are pleasing to the eye. They create an
appealing contrast in artworks. Some of the basic
complementary color pairings are red and green, purple and
yellow, and orange and blue. In this example of complementary colors in art, Hiroshige uses red and
green to create contrast.
Analogous Colors
To find a pair of analogous colors, simply
choose two colors that are touching on the color
wheel. Analogous colors create harmony and unity in
art because they are made of the same hues. Some
of the basic analogous color pairings are blue and
green, red and orange, and yellow and green. In this
example of analogous colors in art, Vincent van Gogh
uses colors next to one another on the color wheel–
blue, green, and yellow.
2. Line is an element of art defined as the path of a point moving through

space. There are many types of line in art. Lines may be continuous or
broken, and can be any width or texture. The great variety of line types
make them an especially useful tool in artworks.
Direction of Line
The direction of a line can dramatically alter an artwork. Diagonal
Art Appreciation 19
lines create movement an energy. Horizontal and vertical lines add stability and strength to an
artwork. In this example of directional lines in art, Artemisia Gentileschi uses both diagonal lines to
show the energy and excitement of the scene and vertical lines (in Judith’s attendant) to show
strength.
Contour Lines
Contour lines form the outside edge of a three-dimensional shape and
clearly defines the area it occupies. Look at the face of Leonardo da Vinci
below; the contour lines around his facial features give his face form.
Gesture Lines
Gesture lines are lines that show movement, particularly of characters in an
artwork. In this example of gesture lines in art, Marino Marini uses big
swooshing gesture lines that capture the action and energy of the subject.
Implied Lines
Implied lines are not made by a physical mark in an artwork,
but rather by visual suggestion. Our eyes often follow them
automatically, so they draw attention to specific parts of an
artwork. In this example of implied lines in art, Grant Wood
uses implied lines to emphasize the hatchet in the center.
Follow the implied lines from the ladder to the father’s hand
to George Washington’s hand to the hatchet. The narrator’s
hand leads to an implied line as well.
Expressive Lines
Lines that show feeling and emotion are called expressive lines. In this
example of expressive lines in art, Edvard Munch uses wavy lines in
contrast with a strong straight diagonal line to convey anxiety.
3. Shape
A shape is an enclosed area of space
created through lines or other elements
of the composition.
Art Appreciation 20
Geometric Shapes
Geometric shapes are precise areas that can be made
using a ruler or compass. These shapes can be simple or complex
and generally give an artwork a sense of order. In this example of
geometric shapes in art, Picasso uses circles, triangles, crescents,
and rectangles.
Organic/Free-Form Shapes
Organic shapes are complex
and imprecise. They give works of art a natural feeling. In this
artwork, Grace Hartigan uses a variety of examples of organic and
free-form shapes.
4. Form
Form is an element of art closely related to
shape. Like shape, form can be geometric or organic.
However, unlike shape, form is always three-
dimensional. A form is measurable by length, width,
and height, and encloses volume. Forms can be well-
defined, such as a cube, or they can be free-form, such
as an animal. They can be created by combining two
or more shapes and are often defined by the presence
of shadow and how light plays against it in an artwork.
In this examples of form in art, Dalí uses geometric
forms (spheres) to create his image.
5. Value
Value in art
refers to the lightness
and darkness of
colors and is often
described in varying
levels of contrast.
Art Appreciation 21
White is the lightest value while black is the darkest. To create a tint of a color, the artist adds white.
To create a shade, the artist adds black. In this example of value in art, Rufino Tamayo adds white to
a color to create a tint in the clothes of the women, one of the baskets, and in the checkerboard on
the wall. In this example of value in art, Dürer creates a wide range of values using the shading
techniques of hatching, cross-hatching, and stippling.
6. Texture
Texture refers to the tactile qualities of a surface. This
element of art deals with the way objects feel or the way
it looks like they would feel.
Tactile or Actual Texture

Tactile texture is
the actual feeling of a
surface that can be touched. Think of the actual texture of a
sculpture or a painting created with the impasto technique. In this
example of tactile or actual texture in sculpture, Meret Oppenheim
uses actual fur to cover the saucer, cup, and spoon.
Impasto is the technique of applying paint very thickly to the
surface. In this closeup of Water Lily Pond, you can see Monet’s thick
application of paint to create actual/tactile texture.
Visual Texture
Visual texture is the illusion of texture in an artwork.
Think of a photograph of a forest. The texture of the
trees and leaves is seen, but the photograph remains
smooth. Albrecht Dürer mimics creates the visual
texture of thick fur in his painting of Hieronymus
Holzschuher, but the actual texture is that of oil paint.
7. Space
Space is the element of art that is concerned with how
an artwork depicts depth. It is how artists make a two-dimensional surface look three-dimensional.
Space can give the illusion of objects in an artwork being close, far away, or overlapping one another.
In this example of space in art, John Sloan uses overlapping, foreshortening, relative size,
perspective, and more.
Art Appreciation 22
Linear Perspective
Linear perspective is the mathematical system by which an artist uses lines to create the
illusion of deep, three-dimensional space on a two-dimensional surface. Piero della Francesca was
one of the forerunners of linear perspective. In Ideal City, he used one-point linear perspective to
show the depth of the space.
Atmospheric Perspective
Atmospheric perspective, sometimes
called aerial perspective, refers to how objects
that are far away often appear fuzzier or less
detailed than objects that are close due to the
contrast between light and dark being
increasingly reduced by the effects of
atmosphere. Artists use value and shading to
mimic atmospheric perspective and give their
artworks a realistic appearance. In this example of atmospheric perspective in art, the trees and
mountains in the background are fuzzier and less detailed than the items in the foreground.
Positive and Negative Space

In addition to space being a way to show depth, artists also use
positive and negative space as elements of art. Positive space is the
areas of the artwork filled with the content, and negative space is the
space in between. In Rodin’s The Cathedral, the empty negative space
between the hands creates as much emotion and power as the positive
space of the hands.1
1
https://artclasscurator.com/elements-of-art-examples/
Art Appreciation 23
II. Principles of Arts
1. Contrast
As a principle of art, contrast refers to the arrangement of
opposite elements and effects. For example, light and dark colors,
smooth and rough textures, large and small shapes. Contrast can be
used to create variety, visual interest, and drama in an artwork. In
this example of contrast in art, Caravaggio created a scene of action
and energy by contrasting both light/dark and
directional lines.
Käthe Kollwitz adds contrast using the

elements of art line, value, and shape, but she
also adds contrast of emotion showing the despair of the mother in dark values
and lighter sweeter elements like the heart on the chair in the background.
2. Rhythm
Rhythm is a principle of
design that suggests movement or
action. Rhythm is usually achieved
through repetition of lines, shapes,
colors, and more. It creates a
visual tempo in artworks and provides a path for the viewer’s eye to follow.
In this rhythm example, the artist uses pattern, repetition of

line, and contrast between curved and straight lines to create rhythm
in art. In this example of of rhythm in art, Mondrian repeats shape,
color, and line to bounce the viewer’s eye around the artwork
3. Proportion
Proportion is the size relationship
between the various parts of an artwork. Artists
can use the scale and proportion to create
sensations such as depth, realism, disorientation,
and drama. The human figure is scaled to appear
larger than the city skyline. The proportions
could indicate depth of perspective or could symbolize the relationship of laborers in building a city.
Art Appreciation 24
In this example of proportion in art, the artist manipulates the

individual proportions of the child as well as create varying size
relationship (scale) between the objects in the painting and the child to
create meaning in the artwork.
4. Balance
As a principle of art, balance refers to the distribution of weight in a
composition. While actual weight is a factor in sculpture and
architecture, the principle of balance most often refers to the visual
heaviness of shapes and forms in an artwork. An artwork’s balance
affects the equality and tension of the composition and can lend a feeling of calm or chaos to the
work.
Symmetrical Balance
An artwork with symmetrical balance is well-
balanced and looks even and stable. When one side of an
artwork mirrors the other, it has absolute symmetry.
When the symmetrical balance is not exact, it is called
bilateral symmetry. In this example of symmetrical balance
in art, each animal on the left has its equal counterpart on
the right. The colors are not exact, but it is still considered
symmetrical balance.
Asymmetrical Balance
An artwork with asymmetrical balance is “heavier”
or “lighter” in some areas, looks unstable, and can make
the viewer uncomfortable. Asymmetric balance adds a
dynamic look to artworks and often draws attention to
focal points in the composition. In this example of
asymmetrical balance in art, the artist balances the heavy
black figure on the right with the curtain on the left. If the
Art Appreciation 25
curtain were a different size or a different color, the balance would be thrown off.
Radial Balance
An artwork with radial balance is arranged around a
central component. Forms and objects in a radially balanced
composition appear to radiate out of the circular focal point of
the artwork. With radial balance, like in the example of radial
balance below, one can imagine the artwork as equal pieces of a
pie.
5. Emphasis
As a principle of art, emphasis refers to the area of an
artwork that dominates attention or draws interest. It is
often the place a viewer looks first. Artists create
emphasis by contrasting the elements of art, such as color
or shape.
In this example of emphasis in art, Goya highlights

the man in white through putting him in a spotlight,
having the man wear bright clothes, having many lines throughout the composition pointing to the
man, and having his emotional face be one of the only faces shown.
6. Variety
Variety refers to the elements of a composition that differ from one another. Variety creates
visual interest and energy. A lot of variety can make an artwork look busy or overwhelming. When
paired with unity, variety offers the viewer points of interest. In this example of variety in art,
Kandinsky uses a variety of lines, shapes, values, and colors.
Art Appreciation 26
7. Movement
Movement can be thought of in two
ways – the first refers to how an artist depicts
movement using the elements and principles
of art. The second way refers to the visual
flow of an artwork, indicated by the path a
viewer’s eyes take as they look at the artwork.
Lines, edges, shapes, and colors can be
utilized by the artist to point the way through an artwork as a map for our eyes to follow. In this
example of movement in art, the artist shows the movement of the wind through the shapes of the
paper. The lines of the figures and the lines of the billowing clothing convey movement in art as
well.2
EVALUATE
Instructions: Create your own art which has 2-3 elements and principles of art combined.
Also, write a short interpretation of your own artwork.
Recommended videos:
1. https://www.youtube.com/watch?reload=9&v=BaKOjk8KU9w&ab_channel=JenniferFunnellVisual
Arts
PART 2: Historical Views of Arts
2
https://artclasscurator.com/principles-of-design-examples/
Art Appreciation 27
Learning Objective
 Identify the central themes, tools and techniques used of the different periods
WHAT THIS MODULE IS ALL ABOUT

This part is divided into different sections. Each section has an intended task, which needs to be
accomplished in the week specified. The tasks can be passed online or can be sent through specific
arrangement each week. Discussion for each section will be in chronological order. It will be brief,
focusing on the contexts of the style and the context of the specific periods, the prominent artists,
genre, and artworks.
At the end of this Module, students are expected to accomplish a timeline of art history as discussed.
The students should be able to compare and contrast the historical periods by heart.
The discussion each week starts with the title of the coverage and the specific objectives expected to
be accomplished after the chapter. Then, a short introduction and/or summary of the period follows.
A series of photos of the art representing the periods covered is seen next including their title, the
artist, and the year the artwork was created. One of these may not be reflected if it is not available.
Finally, a series of activities are written as a guide to the students to ensure that they fully
understand that week’s topic and task.
Sources are directly acknowledged except for the introduction where the sources are found under
the references.
INTRODUCTION TO HISTORY OF ART

Before the written word recorded the deeds of mankind, art was the way ancient people shared
their lives and the events that encompassed them. They used whatever mediums were available in
the natural world, and these included painting on cave walls, weaving intricate designs in fabric and
decorating pottery and ceramic vessels that were used in everyday life. All of these mediums were
easily available to ancient man, but few of them have survived to be part of the modern world.
While primitive art may not always be admired by many, the idea behind creating the art is still valid
in today’s world. Any artist, working in any medium, is attempting to convey a message that will be
shared by others. This is the basic reason for creating art, and successful artists are those who
manage to impress their message on many people and keep their art alive through generations.
(http://www.mceline-artisan.com/the-history-of-art)
OBJECTIVES
At the end of this module, the students are expected to:
 demonstrate an understanding and appreciation of arts in general, including their style and
Art Appreciation 28
period, and historical significance
 use artworks to derive the tradition or history of art period
 identify distinct characteristics of arts during the different periods
 identify representative artists and artworks from various art periods
 compare the characteristics of artworks produced in the different art periods
 reflect and derive the mood, idea, or message from selected artworks
 situate Philippine arts in global context
 create their own works of art guided by the styles of different periods
 utilize art for self-expression and for promoting advocacies
 deepen their identity and sensitivity to self, community, and society
 develop an appreciation of the local arts
References:
https://www.google.com/imgres?imgurl=https%3A%2F%2Fbrewminate.com%2Fwp-
content%2Fuploads%2F2017%2F01%2FArtHistory01.jpg&imgrefurl=https%3A%2F%2Fbrewminate.c
om%2Fart-history-thinking-and-talking-about-
art%2F&tbnid=BKFoLy1BNzN3_M&vet=12ahUKEwjruoWpitHqAhXPApQKHRD6C98QMygFegUIARDT
AQ..i&docid=JPVPNr-
O8nsnNM&w=750&h=418&q=arT%20HISTORY&ved=2ahUKEwjruoWpitHqAhXPApQKHRD6C98QMy
gFegUIARDTAQ
https://www.historiasztuki.com.pl/strony/001-01-PREHISTORIA-eng.html
http://www.visual-arts-cork.com/ancient-art.htm
https://www.slideshare.net/kimberlyabao12/grade-9-module-in-arts
Lesson 8
PRE-HISTORIC AND CLASSICAL PERIODS
Learning outcomes:
1. Identify distinct characteristics of arts during the Pre-historic and Classical Period
2. Identify the representative artist and arts during the Pre-historic and Classical Period
3. Evaluate works of art using the concepts and ideas of those periods
4. Make their own background story about an artwork guided by Pre-historic styles and
principles
ENGAGE
Do you think it is necessary to study the history of arts? Why or why not?
EXPLAIN
Prehistoric people often represented their world- and perhaps their beliefs- through visual images.
Art emerged with the appearance and dispersion of fully modern people through Africa, Europe,
Asia, Australasia, and the Americas. Paintings, sculptures, engravings, and, later, pottery reveal not
Art Appreciation 29
only a quest for beauty but also complex social systems and spiritual concepts.( http://www.all-
art.org/history16.html).
The 4 basic types of Stone Age art are as follows: petroglyphs (cupules, rock carvings and
engravings); pictographs (pictorial imagery, ideomorphs, ideograms or symbols), a category that
includes cave painting and drawing; and prehistoric sculpture (including small totemic statuettes
known as Venus Figurines, various forms of zoomorphic and therianthropic ivory carving, and relief
sculptures); and megalithic art (petroforms or any other works associated with arrangements of
stones). Artworks that are applied to an immoveable rock surface are classified as parietal art; works
that are portable are classified as mobiliary art.
Characteristics
The earliest forms of prehistoric art are extremely primitive. The early sculptures known as the
Venuses of Tan-Tan and Berekhat Ram, are such crude representations of humanoid shapes that
some experts doubt whether they are works of art at all. It is not until the Upper Paleolithic (from
roughly 40,000 BCE onwards) that anatomically modern man produces recognizable carvings and
pictures. Aurignacian culture, in particular, witnesses an explosion of rock art, including the El
Castillo cave paintings. The later Gravettian and Magdalenian cultures gave birth to the sensational
cave paintings at Lascaux and Altamira. (http://www.visual-arts-cork.com/prehistoric-
art.htm#introduction)
Sumerian Cuneiform Tablet Venus of Willendorf Maikop Gold Bull

(3,400BC) (25,000 BCE) (2,500 BCE-Russia)
Cave Paintings
Altamira, Spain Chauvet, France
Art Appreciation 30
(15,000 BC) (30,000 BC)
Stone Architecture
Lion's Gate, Mycenae Stonehenge, England

(1,250 BC) (2,900 BC)
Ancient Egypt
Tutankhamun with his wife Ankhsenamun The Great Sphinx and the pyramids of Giza, Egypt
(1,327 BCE) (2,540 BC)
Classical Art encompasses the cultures of Greece and Rome and endures as the cornerstone of
Western civilization. Including innovations in painting, sculpture, decorative arts, and architecture,
Classical Art pursued ideals of beauty, harmony, and proportion, even as those ideals shifted and
changed over the centuries. While often employed in propagandistic ways, the human figure and the
human experience of space and their relationship with the gods were central to Classical Art.
Over the span of almost 1200 years, ideals of human beauty and proportion occupied art's subject.
Variations of those ideals were later adopted during the Renaissance in Italy and again during the
18th and 19th century Neoclassical trend throughout Europe. Connotations of moral virtue and
stability clung to Classical Art, making it attractive to new nations and republics trying to find an
aesthetic vocabulary to convey their power, while, later, in the 20th century it came under attack
by modern artists who sought to disrupt and overturn power and traditional ideals.
(https://www.theartstory.org/movement/classical-greek-and-roman-art/)
Art Appreciation 31
Ictinus and Callicrates: The Parthenon (447-432 BCE)

Artist: Agesandro, Athendoros, and Polydoros
Laocoön and His Sons (27 BCE - 68 CE)
The Colosseum, Rome, Italy (70-72 AD)
Augustus of Prima Porta. (1st Century CE)
Activity 1.
Instruction: Name other artworks similar to the ones posted in the previous pages. Give at least
three for Pre-Historic and three for Classical Periods.
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Activity 2.
Art Appreciation 32
Instruction: The photos in pages 5-6 represents the 10 groups of the class. In your group, brainstorm
what is the story or the reasons of the creation of such art. A group member will share your story to
the class.
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Activity 3.
Manunggul Jar, Palawan, Philippines

(890-710 BC)
Instructions: The photo above is that of “Manunggul Jar”. Make

a 250-word background story of the jar based on Philippine
legend. You can research the overall idea of the story and
incorporate the concepts learned about Pre-historic arts in your
story. Upload the PDF file of your story using the filename
(Week 7-Your Last Name).
Lesson 9
MEDIEVAL PERIOD (EARLY, ROMANESQUE, GOTHIC)
Learning outcomes:
1. Identify distinct characteristics of arts during the Medieval period

2. Identify the representative artist and arts during the Medieval period
3. Evaluate works of art using the concepts and ideas of that period
4. Create artwork guided by Medieval Period styles and principles
The history of medieval art is expansive and covers a wide range of centuries and genres. Medieval
art was prominent in European regions, the Middle East and North Africa, and some of the most
precious examples of art from the Middle Ages can be found in churches, cathedrals, and other
religious doctrines. Also prominent was the use of valuable materials such as gold for objects in
churches, personal jewelry, backgrounds for mosaics, and applied as gold leaf in manuscripts.
Art historians generally classify medieval art into three periods.
Early Medieval Art. Art from this period was created between the fourth century and 1050 A.D.
During this time, the Catholic Church and wealthy oligarchs commissioned projects for specific social
and religious rituals. Many of the oldest examples of Christian art survive in the Roman catacombs or
burial crypts beneath the city. Artists were commissioned for works featuring Biblical tales
and classical themes for churches, while interiors were elaborately decorated with Roman mosaics,
ornate paintings, and marble incrustations. A large part of the art created during this time was also
related to Byzantine work of the Eastern Mediterranean. It included a variety of media including
glass mosaic, wall painting, metalwork, and carved relief in precious materials. Byzantine art was
conservative in nature, primarily featuring religious subject matter, and much of it was characterized
Art Appreciation 33
by a lack of realism. Paintings in particular were flat with little to no shadows or hint of three-
dimensionality, and the subjects were typically more serious and somber.
Romanesque art took shape in the eleventh century, initially developing in France then spreading to
Spain, England, Flanders, Germany, Italy, and other regions. As the first style to spread across Europe,
it symbolized the growing wealth of European cities and the power of church monasteries.
Romanesque buildings were characterized by semi-circular arches, thick stone walls, and durable
construction. Sculptures were also prevalent during this time, where stone was used to represent
biblical subject matter and church doctrines. Other significant media during this period include
stained glass and the continued tradition of illuminated manuscripts.
Late medieval art includes Gothic art, which originated in the 12th century with the rebuilding of
the Abbey Church in Saint-Denis, France. Gothic architecture offered revolutionary structural
advancements such as ribbed vaults, flying buttresses, and decorative pinnacles all contributing to
taller, lighter building designs. Similarly, Gothic sculpture borrowed motifs from the architecture of
the period since it was primarily used to decorate exteriors of cathedrals and other religious
buildings. Figures depicted in Gothic sculpture became more realistic and closely related to medieval
cathedrals. Paintings also became more lifelike, and with the rise of cities, foundation of universities,
increase in trade, and creation of a new class who could afford to commission works, artists started
to explore more secular themes and non-religious subject matter.
(https://www.invaluable.com/blog/medieval-art/)
Hagia Sophia in Istanbul, Turkey. 537 AD

Byzantine mosaics at The Palatine Chapel in Sicily.804
AD
Art Appreciation 34
Madonna and Child with Saint Jerome and Saint John

the Baptist. Sano di Pietro. 1405 – 1481 Mosaics on the floor of The Torcello Cathedral in
Venice, Italy.
Detail of a Medieval window at Troyes Cathedral,

France. 14th century.
Gentile da Fabria . The Adoration of the Magi. 1370-

1427
Activity 1.
Instruction: Write your thoughts on the term “DARK AGES”?
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Activity 2.
Instruction: Based on the photos shown in the previous page, what is the common theme of arts
during the Medieval Period? How do you compare and contrast it to Pre-Historic Arts?
Art Appreciation 35
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Activity 3.
Instruction: Look for any item in your house or in church that you think is inspired by Medieval
Period Art. Take a photo and paste it in the square intended below.
Activity 4.
Instruction: Make a clay sculpture with Biblical theme. Take a photo of the process of your work and
the finished sculpture. In a bond paper, put the series of photos and include the reason why you
choose that particular item/character to sculpt. Upload the PDF file of your work using the filename
(Week 8-Your Last Name).
Lesson 10
RENAISSANCE, BAROQUE, AND ROCOCO PERIODS
Learning Outcomes:
1. Identify, compare and contrast distinct characteristics of arts during Renaissance and
Baroque-Rococo Periods
2. Identify the representative artist and arts during the Renaissance, Baroque, and Rococo
Periods
3. Evaluate works of art using the concepts and ideas of the periods mentioned
4. Create artwork guided by Baroque/Rococo styles and principles
Art Appreciation 36
Renaissance art, painting, sculpture, architecture, music, and literature produced during the 14th,
15th, and 16th centuries in Europe under the combined influences of an increased awareness of
nature, a revival of classical learning, and a more individualistic view of man.
Renaissance art is marked by a gradual shift from the abstract forms of the medieval period to the
representational forms of the 15th century. Subjects grew from mostly biblical scenes to include
portraits, episodes from Classical religion, and events from contemporary life. Human figures are
often rendered in dynamic poses, showing expression, using gesture, and interacting with one
another. They are not flat but suggest mass, and they often occupy a realistic landscape, rather than
stand against a gold background as some figures do in the art of the Middle Ages. Renaissance art
from Northern Europe emphasized precise detail as a means of achieving a realistic work.
(https://www.britannica.com/art/Renaissance-art).
Baroque art and architecture, the visual arts and building design and construction produced during
the era in the history of Western art that roughly coincides with the 17th century. The
earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century,
while in some regions, notably Germany and colonial South America, certain culminating
achievements of Baroque did not occur until the 18th century. The work that distinguishes the
Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke
emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations.
Some of the qualities most frequently associated with the Baroque are grandeur, sensuous
richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur
distinctions between the various arts. (https://www.britannica.com/art/Baroque-art-and-
architecture)
The Rococo style originated in Paris about 1700 and was soon adopted throughout France and later
in other countries, principally Germany and Austria. Like the Baroque style, Rococo was used in
the decorative arts, interior design, painting, architecture, and sculpture. It is often characterized as
the final phase of the Baroque, but the style differs from its predecessor in its intimate scale,
asymmetry, lightness, elegance, and exuberant use of curving natural forms in ornamentation.
Rococo painting in France, for example, began with the graceful, gently melancholic paintings
of Antoine Watteau, culminated in the playful and sensuous nudes of François Boucher, and ended
with the freely painted genre scenes of Jean-Honoré Fragonard. French Rococo painting in general
was characterized by easygoing, lighthearted treatments of mythological and courtship themes, the
introduction of the family as subject, rich and delicate brushwork, a relatively light tonal key, and
sensuous colouring. (https://www.britannica.com/art/Baroque-art-and-architecture).
Art Appreciation 37
Michelangelo. Pieta. 1498–1499

Leonardo da Vinci. Mona Lisa. 1503
Caravaggio. The Beheading of Saint John the Baptist.

Filippo Brunelleschi. Cathedral of Santa Maria del 1608
Fiore. 1436
Paolo de Matteis. The Triumph of the Immaculate

Palace of Versailles Interior. France.1631 1716
Art Appreciation 38
Giovanni Battista Crosato. Ballroom ceiling of the Ca

Rezzonico in Venice. 1753
Jean-Honoré Fragonard, The Swing, 1767, oil on

canvas, 81 x 64.2 cm (Wallace Collection, London)
Activity 1.
Instructions: Match the artist to the title of their artwork.
Leonardo Da Vinci The Last Supper

Michelangelo Sistine Chapel Painting
William Shakespeare Romeo and Juliet
Caravaggio The Beheading of Saint John the Baptist
Miguel de Cervantes Don Quixote
Johann Sebastian Bach Toccata and Fugue in D minor
Antonio Vivaldi Four Seasons
Activity 2.
Instructions: Watch the clip on Renaissance Art at https://www.youtube.com/watch?v=xf2G2Il8crw

and answer the following questions:
1. Who are the three artists named as well-loved masters in the world?
2. Where does Renaissance start?
3. Where does the idea of Renaissance place its value?
4. What is chiaroscuro technique in painting?
5. What are the common theme and subjects during this period?
Art Appreciation 39
Activity 3.
Instructions: Listen to Vivaldi’s Winter (from Four Seasons) and then, listen to the Cello and Piano
rendition of Let it Go from the film Frozen. Discuss how Vivaldi’s music inspired this version of the
film music “Let it Go”.
https://www.youtube.com/watch?v=TZCfydWF48c (Vivaldi’s Winter)

https://www.youtube.com/watch?v=6Dakd7EIgBE (Let It Go)
Activity 4.
For Discussion:
1. How Shakespeare inspires other writers.

2. How Da Vinci inspires the painters.
3. How Michelangelo inspires the painters and sculptors.
4. How Bach inspires the music composers.
Activity 5.
Instruction: Create your own fashion statement using the Baroque-Rococo inspiration. This fashion
statement should be created using whatever material you have at home. Take a photo with your
creation, write down your inspiration behind the chosen fashion piece, and describe the materials
you use. Upload the PDF file of your work using the filename (Week 9-Your Last Name).
Lesson 11
NEO-CLASSICAL AND ROMANTIC PERIODS
Learning outcomes:
1. Identify, compare and contrast distinct characteristics of arts during Neo-Classicism and
Romanticism Periods
2. Identify the representative artist and arts during the Neo-Classicism and Romanticism
Periods
4. Trans-recreate an artwork from literature to music
Neoclassical art arose in opposition to the overly decorative and gaudy styles
of Rococo and Baroque that were infusing society with a vanity art culture based on personal
conceits and whimsy. It brought about a general revival in classical thought that mirrored what was
going on in political and social arenas of the time, leading to the French Revolution.
The primary Neoclassicist belief was that art should express the ideal virtues in life and could
improve the viewer by imparting a moralizing message. It had the power to civilize, reform, and
transform society, as society itself was being transformed by new approaches to government and
the rising forces of the Industrial Revolution, driven by scientific discovery and invention.
Art Appreciation 40
Neoclassical architecture was based on the principles of simplicity, symmetry, and mathematics,
which were seen as virtues of the arts in Ancient Greece and Rome. It also evolved the more recent
influences of the equally antiquity-informed 16th century Renaissance Classicism.
(https://www.theartstory.org/movement/neoclassicism/#nav)
Romanticism embraced individuality and subjectivity to counteract the excessive insistence on

logical thought. Artists began exploring various emotional and psychological states as well as moods.
The preoccupation with the hero and the genius translated to new views of the artist as a brilliant
creator who was unburdened by academic dictate and tastes. As the French poet Charles
Baudelaire described it, "Romanticism is precisely situated neither in choice of subject nor in exact
truth, but in a way of feeling."
In many countries, Romantic painters turned their attention to nature and plein air painting, or
painting out of doors. Works based on close observation of the landscape as well as the sky and
atmosphere elevated landscape painting to a new, more respectful level. While some artists
emphasized humans at one with and a part of nature, others portrayed nature's power and
unpredictability, evoking a feeling of the sublime - awe mixed with terror - in the viewer.
Romanticism was closely bound up with the emergence of newly found nationalism that swept many
countries after the American Revolution. Emphasizing local folklore, traditions, and landscapes,
Romanticists provided the visual imagery that further spurred national identity and pride. Romantic
painters combined the ideal with the particular, imbuing their paintings with a call to spiritual
renewal that would usher in an age of freedom and liberties not yet seen.
(https://www.theartstory.org/movement/romanticism/)
Art Appreciation 41
Caspar David Friedrich. Wanderer Above a Sea of

Antonio Canova. Psyche Revived by Cupid’s Kiss. 1777 Fog. 1818
Jacques-Germain Soufflot and Jean-Baptiste Rondelet. Caravaggio. The Beheading of Saint John the Baptist.
Le Panthéon. 1755-1790 1608
Art Appreciation 42
John Constable. The Hay Wain
Eugène Delacroix. Liberty Leading the People. 1830
Activity 1.
Instruction: Give one reason of what makes an work of art “CLASSIC”.
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Activity 2.
Instructions: Fill out the table below with the styles and characteristics of the Periods indicated in
each column.
Characteristics of Art (Theme, Subject, Genres

Baroque/Rococo Classicism Romanticism
Art Appreciation 43
Activity 3.
Instructions: Listen to 18th Variation from Rhapsody on a Theme by Paganini by Rachmaninoff at

https://www.youtube.com/watch?v=h_BArG3ollw. Describe how the music made you feel and in
what situation would that music have the deepest impact on you.
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Activity 4.
Instructions: Read the story “Love in the Cornhusks” by Aida Rivera-Ford at

https://ischoolsericsonalieto.wordpress.com/2011/01/07/love-in-the-cornhusks-by-aida-l-rivera/.
Then, assign a theme song to the story. Justify your song choice based on the message or feeling
that you understand and sense from the story. In a long bond paper, reflect the lyrics of the whole
song and your justification. Upload the PDF file of your work using the filename (Week 10-Your Last
Name).
Lesson 12
REALISM, MODERNISM, CONTEMPORARY PERIODS
Learning outcomes:
1. Identify, compare and contrast distinct characteristics of arts during Realism, Modern and
Contemporary Periods
2. Identify the representative artist and arts during the Realism, Modern, and Contemporary
Periods
4. Make a painting using any of the movements from Modern or Contemporary Period.
Realism is broadly considered the beginning of modern art. Literally, this is due to its conviction that
everyday life and the modern world were suitable subjects for art. Philosophically, Realism
embraced the progressive aims of modernism, seeking new truths through the re-examination and
overturning of traditional systems of values and beliefs.
Art Appreciation 44
Gustave Courbet: The Stone Breakers (1849-50)

Jean-François Millet: The Gleaners (1857)
Realism concerned itself with how life was structured socially, economically, politically, and
culturally in the mid-19th century. This led to unflinching, sometimes "ugly" portrayals of life's
unpleasant moments and the use of dark, earthy palettes that confronted high art's ultimate ideals
of beauty.
Realism was the first explicitly anti-institutional, nonconformist art movement. Realist painters took
aim at the social mores and values of the bourgeoisie and monarchy upon who patronized the art
market. Though they continued submitting works to the Salons of the official Academy of Art, they
were not above mounting independent exhibitions to defiantly show their work.
Following the explosion of newspaper printing and mass media in the wake of the Industrial
Revolution, Realism brought in a new conception of the artist as self-publicist. Gustave
Courbet, Édouard Manet, and others purposefully courted controversy and used the media to
enhance their celebrity in a manner that continues among artists to this day.
(https://www.theartstory.org/movement/realism/)
Modernism, in the fine arts, is a break with the past and the concurrent search for new forms of
expression. Modernism fostered a period of experimentation in the arts from the late 19th to the
mid-20th century, particularly in the years following World War I.
All the arts sought an authentic response to the industrialization and urbanization of the late 19th
century. In literature, Modernist writers such as Henry James and Virginia Woolf cast off traditional
continuity, employing stream-of-consciousness narration instead. Artists such as Édouard
Manet broke from inherited notions of perspective and modelling. Architects sought unique forms
for new technologies. Choreographers rebelled against both balletic and interpretive traditions, and
composers used untried approaches to tonality. (https://www.britannica.com/art/Modernism-art)
Impressionism
Impressionism is perhaps the most important movement in the whole of modern painting. At some
point in the 1860s, a group of young artists decided to paint, very simply, what they saw, thought,
and felt. They weren’t interested in painting history, mythology, or the lives of great men, and they
didn’t seek perfection in visual appearances. Instead, as their name suggests, the Impressionists
tried to get down on canvas an “impression” of how a landscape, thing, or person appeared to them
at a certain moment in time. This often meant using much lighter and looser brushwork than
Art Appreciation 45
painters had up until that point, and painting out of doors, en plein air. The Impressionists also
rejected official exhibitions and painting competitions set up by the French government, instead
organizing their own group exhibitions, which the public were initially very hostile to. All of these
moves predicted the emergence of modern art, and the whole associated philosophy of the avant-
garde. (https://www.theartstory.org/movement/impressionism/#nav)
Claude Monet: Impression, Sunrise (1872)

Camille Pissarro. The Boulevard Montmartre,
Afternoon. (1897)
Post-Impressionism
Post-Impressionism encompasses a wide range of distinct artistic styles that all share the common
motivation of responding to the opticality of the Impressionist movement. The stylistic variations
assembled under the general banner of Post-Impressionism range from the scientifically
oriented Neo-Impressionism of Georges Seurat to the lush Symbolism of Paul Gauguin, but all
concentrated on the subjective vision of the artist. The movement ushered in an era during which
painting transcended its traditional role as a window onto the world and instead became a window
into the artist's mind and soul. The far-reaching aesthetic impact of the Post-Impressionists
influenced groups that arose during the turn of the 20th century, like the Expressionists, as well as
more contemporary movements, like the identity-related Feminist Art.
(https://www.theartstory.org/movement/post-impressionism/)
Georges Seurat. Sunday Afternoon on the Island of La

Grande Jatte. (1884-1886) Vincent van Gogh. The Starry Night. 1889
Art Appreciation 46
10 Modernist Art Movements
By Mic Anderson (https://www.britannica.com/list/10-modernist-art-movements)
1. Post-Impressionism
A Sunday on La Grande Jatte—1884, oil on canvas by Georges Seurat, 1884–86; in the Art Institute of
Art Appreciation 47
Chicago.Helen Birch Bartlett Memorial Collection, 1926.224/Photography © The Art Institute of
Chicago
Often thought of as a necessitous precursor to the plentiful art movements formed under the
Modernist umbrella, Post-Impressionism had its start in the waning years of the 19th century. It was
made famous by the unforgettable works of Paul Cézanne, Georges Seurat, Vincent van Gogh, and
others, as they focused on extending the limitations of the movement’s predecessor, Impressionism,
by investigating techniques that would allow them to gain a purer form of expression, while, in most
cases, retaining Impressionism’s use of bright and fantastic colors displayed with short brushstrokes.
Post-Impressionists, unlike many members of other art movements, mainly composed their artworks
independently of others, thus, allowing them to experiment in varying directions, from intensified
Impressionism, as characterized by van Gogh, to pointillism, as seen in Seurat’s most famous
work Sunday Afternoon on the Island of La Grande Jatte (1884–86).
 Fauvism
This famous avant-garde movement is credited with being one of the first of its kind to prosper at
the start of the 20th century. Pioneered by Henri Matisse, Fauvism owed a significant debt to
Impressionism, as it exhibited vibrant colors in order to capture landscapes and still-lifes. However, it
became its own movement as Fauvists, such as Matisse, instilled a heightened sense of
emotionalism into their paintings, often utilizing crude and blatant brushstrokes and vivid colors
straight from their tubes that at first appalled audiences. It was the overly expressiveness of these
raw and basic techniques that led art critic Louis Vauxcelles to christen such painters fauves (“wild
beasts”). Other notable Fauvists include André Derain, Maurice de Vlaminck, and Georges Braque,
the latter evolving from the unclad emotionalism of Fauvism to create the more structured and
logical focuses of Cubism, which is viewed as being a direct descendent of Fauvism.
 Cubism
Possibly the best-known art movement of the Modernist era, Cubism has come to be associated with
one name in particular, Pablo Picasso. However, it should be duly noted that Georges Braque was
also a leader of the movement and that he and Picasso worked so well off of one another that, at
the height of Cubism’s reign, their paintings are practically indistinguishable from one another. It’s
often noted that Cubism was ushered in a definitive movement with the revelation of Picasso’s Les
Demoiselles d’Avignon (1907), which shows nude women in a fractured perspective and which
demonstrates a significant African influence. However, the movement did not receive its name until
1908, when, art critic Louis Vauxcelles (again!) depicted Braque’s House at L’Estaque as being
fashioned from cubes. The central aims of Cubists were to discard the conventions of the past to
merely mimic nature and to start in a new vein to highlight the flat dimensionality of the canvas. This
effect was achieved through the use of various conflicting vantage points the paint pictures of
common objects such as musical instruments, pitchers, bottles, and the human figure. As they
progressed in their work, Braque and Picasso adopted the use of a monochromatic scale to
emphasize their focus on the inherent structure of their works. Though commonly associated with
painting, Cubism had lasting effects on many sculptors and architects of the time.
Futurism
Boccioni, Umberto: Unique Forms of Continuity in Space.

Unique Forms of Continuity in Space, bronze sculpture by
Umberto Boccioni, c. 1913; in the Mattioli Collection.The
Metropolitan Museum of Art, New York, Bequest of Lydia
Winston Malbin, 1989, 1990.38.3, www.metmuseum.org
Perhaps one of the most controversial movements of the
Art Appreciation 48
Modernist era was Futurism, which, at a cursory glance, likened humans to machines and vice versa
in order to embrace change, speed, and innovation in society while discarding artistic and cultural
forms and traditions of the past. However, at the center of the Futurist platform was an
endorsement of war and misogyny. Futurism—coined in a 1909 manifesto by Filippo Marinetti—was
not limited to just one art form, but in fact was embraced by sculptors, architects, painters, and
writers. Paintings were typically of automobiles, trains, animals, dancers, and large crowds; and
painters borrowed the fragmented and intersecting planes from Cubism in combination with the
vibrant and expressive colors of Fauvism in order to glorify the virtues of speed and dynamic
movement. Writers focused on ridding their poetry of what they saw as unnecessary elements such
as adjectives and adverbs so that the emphasis could rest on the action of infinitive verbs. This
technique in conjunction with the integration of mathematical symbols allowed them to make more
declarative statements with a great sense of audacity. Although originally ardent in their affirmation
of the virtues of war, the Futurists lost steam as the devastation of WWI became realized
 Vorticism
The second edition of Blast (1915), published by Wyndham Lewis.Public Domain
A specifically English artistic movement, since its

mouthpiece was the famed London-based magazine Blast,
Vorticism followed in the same vein as Futurism in that it
relished in the innovative advances of the machine age and
embraced the possible virtues of dynamic change that were
to follow. It was founded right before the start of WWI by
the celebrated painter Wyndham Lewis and the ubiquitous
poet of the Modernist period Ezra Pound. However,
whereas the Futurists originated in France and Italy and
then sprawled out over the continent to Russia, Vorticism
remained local in London. Vorticists prided themselves on
being independent of similar movements. In their literature,
they utilized bare-bones vocabulary that resonated in
likeness to the mechanical forms found in English shipyards
and factories, and, in their writings as well as their paintings,
Vorticists espoused abstraction as the only way to sever ties
with the dominant and suffocating Victorian past so that
they could advance to a new era. However, Vorticism, like Futurism, struggled to cope with the
incomprehensible destruction during WWI that was a result of the new machines which they so
highly praised. As WWI came to an end and valued Vorticists,
namely T.E. Hulme and Gaudler-Brzeska, died in action,
Vorticism shriveled to a small few by the beginning of the
1920s.
Constructivism
“Monument to the Third International,” model designed by

Vladimir Tatlin, 1920, reconstruction by U. Linde and P.O.
Ultvedt completed in 1968 by A. Holm, E. Nandorf, and H.
Östberg; in the Modern Museum, Stockholm, The National
Swedish Art Museums.© Tatlin; photograph © Moderna
Museet, Stockholm
Art Appreciation 49
As Cubism and Futurism spread west to Russia at the end of the 1910s, they were absorbed into the
utopian spirit of the October Revolution, thus creating a new art movement known as
Constructivism, which embraced theory that art should be “constructed” from modern industrial
materials such as plastic, steel, and glass in order to serve a societal purpose instead of merely
making an abstract statement. Often credited with serving as the impetus for the movement is
Vladimir Tatlin, who in 1913, while studying in Paris, was highly influenced by the geometric
constructions of Picasso. After migrating back to Russia, he, along with Antoine Pevsner and Naum
Gabo, published the Realist Manifesto in 1920, which, like the Futurists and Vorticists, declared an
admiration of machines and technology as well as their functionalism. One of the most iconic
artworks of this movement is Tatlin’s Monument for the Third International (1919–20), a strangely
spiral-shaped structure that was intended to serve as a government building. Most Constructivists,
like Tatlin, thought painting to be a “dead” art form, unless it was to serve as a blueprint for
something to be physically built. Therefore, they worked mainly with ceramics, fashion design,
graphics, and in architecture. As Soviet opposition to their movement increased, many
Constructivists fled from Russia and inspired the movement is Western countries such as Germany,
France, and England, where they gained a great deal of significance.
 Suprematism
Another uniquely Russian Modernist movement was Suprematism, started conjointly with
Constructivism, though with a stronger emphasis and embracement of the abstraction capable by
painting on a canvas. It is denoted as the first movement to utilize pure geometrical abstraction in
painting. Kazimir Malevich is viewed as its founder, as he, along with the input of many of his
contemporaries, authored the Suprematist manifesto. The movement’s name originated from a
quote of Malevich’s, in which he stated that the movement would inspire the “supremacy of pure
feeling or perception in the pictorial arts.” His central goal was to break art down to its bare bones,
often employing basic shapes, such as squares, triangles, and circles, as well as primary and neutral
colors. As he progressed in his work, Malevich included more colors and shapes, but he epitomized
the movement in his “White on White” paintings in which a faintly outlined square is just barely
visible. Suprematism was often imbued with spiritual and mystic undertones that added to its
abstraction, and, as was the case with Constructivism, the movement essentially came to complete
end as Soviet oppression increased.
 De Stijl
“Card Players,” oil painting by De Stijl artist Theo van

Doesburg, 1917; in the collection of the Haags
Gemeentemuseum, The HagueCourtesy of the Haags
Gemeentemuseum, The Hague
The name De Stijl (Dutch for “The Style”) adequately

sums up this movement’s aim while also
characterizing their intentions on how to achieve
that aim: with a simple, direct approach. Founded by
a cohort of Dutch artists in Amsterdam that included
Theo van Doesburg (who founded the group’s
periodical De Stijl), Piet Mondrian, and Jacobus
Johannes Pieter Oud, De Stijl was infused with a
great deal of mysticism resulting primarily from
Art Appreciation 50
Mondrian’s devotion to Theosophy. The movement also had a great deal of influence from Parisian
Cubism, though members of De Stijl felt that Picasso and Braque failed to go far enough into the
realm of pure abstraction. They, like Suprematists, worked mainly in an abstract style and with
unadorned shapes—such as straight lines, intersecting plane surfaces, and basic geometrical
figures—and the primary colors and neutrals. With these techniques, they sought to investigate the
laws of equilibrium apparent in both life and art. Although the movement comprised painters,
sculptors, typographers, poets, those in the decorative arts, it was the architects, most prominently
Oud with his Worker’s Housing Estate in Hoek van Holland (1924–27), who were able to best capture
the austere and harmonic essences of the movement.
Dada
Fountain Sculpture by Marcel Duchamp. 1917
Perhaps best summed up by the famous Dadaist poet Hugo Ball, the
Dadaist goal of art was not to have art be “an end in itself, but [to be] an
opportunity for the true perception and criticism of the times we live in.”
And surely enough the times of Dadaism were filled with grief,
destruction, and chaos, as they witnessed the rampant mass devastation
of WWI. The movement was a loosely knit international network that was
prominent in Zürich, Switzerland; New York City; Berlin, Cologne, and
Hanover, Germany; and Paris. Dadaists were not connected by their
styles, mediums, or techniques. Instead, they were connected by their uniform practices and beliefs.
They saw themselves as crusaders against rational thought, which they believed to be responsible
for the declination of social structures, the growth of corrupt and nationalist politics, and the spread
of violence and war. They challenged and mocked the definition of art and its elitist establishment
with such works as Marcel Duchamps Fountain (1917), which was a porcelain urinal, and they
utilized photomontages, as well as a plethora other artistic mediums, in their public meetings to
protest against the nascent Nazi party in Germany. Dadaists fought strongly across the globe against
such repressive social institutions, though were written-off by some as merely absurdist and
inconsequential based on their plentiful antics and scattered network.
 Surrealism
The Dalí Museum,

St. Petersburg,
Florida.Christian
Heeb—Laif/Redux
As one of the most

famous art
movements of the
Modernist era,
thanks mainly to
the indelible
work The
Persistence of
Memory (1931) by
Salvador Dalí,
Surrealism has
Art Appreciation 51
come to be remembered for its production of visceral, eye-grabbing and aesthetic images. Leaping
off from the absurdist inclinations of the Dadaists and the psychoanalytical writings of Sigmund
Freud, André Breton, a well-known poet and critic of his time, published “The Surrealist Manifesto”
in 1924, in which he declared the group’s intention to unite consciousness with unconsciousness so
that the realms of dream and fancy could merge with everyday reality in an “absolute reality, a
surreality.” Although they were best-remembered for the work of their painters—such as Jean Arp,
Max Ernst, and André Masson—Surrealists worked with a variety of mediums, including poetry,
literature, sculpture, and the then-new medium of film. Because Breton was militant in the
adherence to his manifesto by the members of the movement, many members splintered off into
new art forms, though still incorporating techniques and motifs of Surrealism.
Activity 1.
Instruction: Give the meaning of Composition 8 based on the Elements of Visual Art.
Moshe Safdie. Marina Bay Sands, Singapore. 2010
Art Appreciation 52
Wassily Kandinsky. Composition 8. 1923

Activity 2.
Instruction: Write the general characteristics of modern art. How far does modernism push the
boundaries of what people perceived as a standard acceptable work of art? With these
developments, for you what is the definition of good art?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
________________________________________________________________________________.
Activity 3.
Instructions: Make your own painting based on a particular idea/movement (-ism) using any medium.
Take a photo of the process of painting and the finished artwork and explain the inspiration of
choosing the specific painting, medium, and movement (-ism).e. Upload the PDF file of your work
using the filename (Week 11-Your Last Name).
Art Appreciation 53
Elaborate
How does history shape our view of arts?
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
Evaluate
Instruction: After the discussion on Art History, submit a timeline from Pre-Historic Period until the
Contemporary Period. Make your timeline as creative as possible. Upload the PDF file of your work
using the filename (Week 12-Timeline-Your Last Name).
Art Appreciation 54
PART 3: CULTURE AND THE ARTS
Lesson 13
Philippine Arts:
Indigenous Arts, Muslim Arts and Christian Arts
Engage: Draw an object which best reminds you of Philippine Art.
Explore: Give 3 adjectives that you think would best describe Philippine Art. Briefly explain your choices.
Explain:
HISTORICAL DEVELOPMENT OF PHILIPPINE ARTS
I. ETHNIC ART (PRE-13 AD)

Also known as Pre-colonial Art, the ethnic art was mainly for ritual purposes or for everyday use. As
local communities become established, art starts to go beyond mere craft, i.e. stone weapons or jewelry but
starts to have decorative elements, meaning and context.
Long before the coming of the Spaniards, the earliest people who lived here had created their tools
and artifacts from locally available materials. Aside from these, they began to create cultural objects such as
receptacles, including pottery. They also used shells, flowers, plumage, jade, beads of glass, cornelian, agates,
as well as gold.
Sculpture was associated with religion; i.e., effigies representing spirits.
Literature during the Pre-Hispanic Period is oral in tradition and is related to rituals and social
gatherings. The earliest attempts to explain the mysterious forces which affect man’s daily life are contained in
legends, myths, tales, poems, proverbs and riddles.
 The Epic
Some of the epics that we have survived are the Ifugao epics Alim and Hudhud, the Bicol epic
Ibalon, the Ilocano epic Biag ni Lam-ang, the Visayan epics Labaw Donggon and Maragtas, and the
Maranaw narrative poetry Darangan. These epics deal with the adventures of super heroes who
fought monsters and the lives of Gods and Goddesses.
 Music
The Ancient Filipinos had metrical works which were always sung. They had lullabies,
planting songs, boat songs, feasting and mourning songs. They had musical instruments like the nose
flute, instruments resembling the violin, the harp and a variety of gongs. Bamboo zithers, percusion
sounds, wind and string instruments are samples of Philippine indigenous culture.
Ethnic groups used wood, iron, bronze, brass, gold and bamboo.
II. ISLAMIC ART (13 AD)
Muslim Influence
Art Appreciation 55
Islam as a religion has long been established since the early A.D. 600s. Along with its emergence
around the world, it also paved way for the development of its own unique style of art. Islamic art place
emphasis on creating an art form that is built on the beauty and respect for the teachings of Islam.
Islamic Calligraphy
Islamic art is characterized by designs of flowers, plant forms and geometric designs. It is used in
calligraphy, architecture painting, clothing and other forms of fine art. As Islam spread around the world, this
distinct form of art has become an integral part of the identity of its followers, including the Philippines.
The Development of Islamic Art in the Philippines
In the 13th century, traders and missionaries have introduced the religion of Islam in the Philippines.
Islamic art meshed with ethnic culture and produced a Filipino Muslim art that reflects the ethnic background
and Islamic identity of the people. During the Spanish colonization and American occupation, Islam has been
concentrated mostly in the South but this did not halt the flourishing of Islamic art.
Art of Filipino Muslims
Islamic art in the Philippines is found predominantly in Muslim ethnic groups where every group
offers their own distinct flavor of Islamic art. This distinct art is commonly seen in homes, clothing and places
of worship of Filipino Muslims.
III. SPANISH ERA (1521-1898)
When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate
the Catholic faith through beautiful images. With communication as problem, the friars used images to explain
the concepts behind Catholicism, and to tell the stories of Christ’s life and passion.
Spanish Colonial Regime

Spanish arrived in 1521 and began the colonization of the Islands in 1571. The propagation of the
Catholic Faith the 17th Century successful without religious paintings, engravings and sculpture, as well as
devotional hymns and verses, the earliest examples of literary and musical compositions after which the
natives began to produce poems, paintings and musical compositions which echoed Western artistic styles.
 Poetry
The friars published devotional and catechetical books to proselytize the colonized people, as well as
grammar books and vernacular – Spanish dictionaries and incorporated into these publications, the first
examples of vernacular poetry to be printed in Roman alphabet. Some of these poems were written by
the natives; some by missionaries.
 Early Comedia
The pompous celebrations, centering on the church, drew the colonized people toward the new
culture and gave expression to their festive spirit that had been manifested in their own rituals.
In 1619, the comedias were staged to celebrate authorization of Pope Urban VIII of the belief in the
Immaculate Conception; such as Comedia de los Maritires de Japon and Comedia dela Concepcion.
The year 1637 saw the successful expedition of Governor-General Sebastian de Corcuera against the
Muslims of Mindanao. A play depicting the skirmish between the Christians and the Muslims was staged in
Cavite. This play became the predecessor of the Moro-Moro and revolved around the love between a
Christian prince and an Islamic princess who belonged to warring factions. It always ended in the triumph
Art Appreciation 56
of Christians and the consequent baptism of the Islamic royalty and the people.
 Music
Pre-colonial musical forms and indigenous instruments were abandoned for Western modes. The
seminary was natural training ground for choristers. In the rosters of the monasteries of different religious
orders, there were many names of native aspirants for the religious vocation who became outstanding in
the field of music.
 Philippine Folk Art

With the arrival of Spanish colonizers, the indigenous traditions in the Philippines continued in the
ethnic art of groups which resisted colonization and in the folk art of the Christianized lowlanders.
With the spread of Christianity in the islands appeared numerous artistic forms revolving around fiestas. The
ceremonies to honor the patron saint, the processions which began from the church and wended through the
streets of the town replaced the earlier rituals led by the native high priest.
The fiestas and celebrations served to draw the people to Christianity. These were likewise of
significant influence on the imagination and artistic creativity of the people, as they were occasions of lavish
and colorful spectacles.
The fiestas united the whole town in its collective character. A good example is the feast of San isidro
Labrador in Lukban and Sariaya, Quezon.
 Visual Arts
The Spanish colonizers also introduced easel painting in the country and Western styles in sculpture and
architecture. Fr. Antonio Sedeno, a Jesuit, introduced the line in the construction of buildings.
Early paintings and sculpture jobs for the church were largely given to the Chinese artisans living in a
community outside Intramuros called Parian.
Damian Domingo also known as Damian Gabor Domingo was identified as the 1st Filipino to paint his face.
He was the first one to make a self-portrait in the Philippines. He was the Founder of the Academia de Dibujo y
Pintura, the first school of drawing in the Philippines (1821). He was also known as the "Father of Filipino
Painting" or "The First Great Filipino Painter".
IV. THE 17th, 18th and 19th Century
A. 17th Century (1601-1700)

The propagation of the Catholic Faith made use of religious paintings, engravings, sculpture,
devotional hymns and verses.
The types of poems, metrical tales, metrical romances and reenactments that flourished
were the Comedia, the Moro-Moro, the shadow play, the panunuluyan, the salubong, the zarzuela,
the Cruz de mayo, the Flores de Mayo and the duplo.
 The Visual Arts

The bulk of sculpture in the 19th century consisted of religious statues
commissioned by the Church and the rich families.
The artists- Juan Luna, who belong to the classical-romantic style, and Felix Hidalgo, who
painted in the upcoming impressionist style, became famous here and abroad.
 Architecture
Many Philippine churches show influence of the baroque style, having massive walls and
thick buttresses, turrets and spiral motifs, ornate sculptural facade, and graceful, curving
Art Appreciation 57
balustrades.
Many changes have affected Philippine art- changes during the American Regime and
the Japanese Period. Influences shown in literature in the Period of reorientation, the Period
of Imitation, the period of growth and self-discovery and the period of Post-War
Reorientation.
B. 18th Century (1701-1800)
 Metrical Romances
At first, the only reading material approved by the friars was the lives of Christ and the
Saints. Later, metrical romances. Spanish medieval tales in verse were introduced into the
country. These works were brought in by the Mexican soldiers and sailors who came with the
galleons.
A metrical tale composed of octosyllabic verses is called CORRIDO, to be distinguished
from the AWIT which is made of dodescasyllabic lines.
Jose de la Cruz (1746-1829), popularly known in his time as Huseng Sisiw, was reputed to
be a master of metrical romances.
 Music and Dance

Philippine dances showed considerable European influence. The contradanze, the
minuet and fandango enjoyed a vogue in the islands, but these were interpreted here with
willowy grace and light manner, not with Spanish fire and vigor.
During this century, native folk songs acquired the duple-meter through Spanish
influences- and the native pentatonic musical sense was transformed into its closest Western
counterpart.
Singing, which in the pre-Hispanic times ordinarily accompanied almost everyday
chores because of the people’s ritualistic temperament, acquired self-consciousness; singing
the “pasion” and the “harana” or the solo recitation of LOA became a matter of skill or social
influence in the village.
 Engraving
Nicolas Bogay, one of the outstanding engravers who ran a printing press and
Francisco Suarez are both known for their designs in 1733, and 12 scenes depicting
representative life in the islands. They signed their works, proudly writing “Indio Tagalo”
after their signatures.
Engraving was printed from copper plates and woodcuts at the beginning of the
17th century. In the 19th century, the introduction of lithograph prints eventually replaced
engraving on copper.
 The Santos
Carving, which started in the pre-Hispanic activity of making the likha, was
redirected later by the friars into the creation of the santos. Most of the santos that have
been preserved are carved out of wood, the most available material. Bone and Ivory were
not rare either, but the statues made of these materials belonged to the affluent families in
those times.
The usual subjects of santos were Christ, depicted in many scenes of His life, the
Holy Trinity, the Blessed Virgin Mary in different conventions representing various devotions
i her honor, Adam and Eve, and The Apostles.
Art Appreciation 58
The making of effigies of these religious personages with their symbols drew out the
fertile imagination of early carvers and gave them opportunity to represent secular matters
such as Dog beside San Roque and Rooster with St. Peter.
C.19th Century (1801-1900)
 Visual Arts
One of the aims of the Sociedad Econommica de Amigos del Pais, a civic-conscious
organization, was to encourage the development of the visual arts. For this purpose, the society
established the Escuela de Dibujo y Pintura in 1821. The first teacher was Damian Domingo, a
mestizo whose talents impressed local authorities. The technique of piitin in tose times may be
from his works. The detailed and fine lines give volume or body to objects or parts of the human
figure, and the quality of softness suggests the use of Chinese brush.
With the establishment of the first School of Fine Arts, the painting of secular subjects
was formally taught. The earliest portraits were done in a miniature, the size of the lockets. Large
portraits of the wealthy natives began appearing in 1850.
Two of our 19th century artists became famous abroad, Juan Luna and Felix Resurreccion
Hidalgo.
Juan Luna (1857-1899) went to Spain at the age of 20 and enrolled at the Academica de San
Fernando in Madrid.
In 1884, the famous SPOLARIUM was awarded a gold medal at the Exposicion Nacional de
Bellas Artes.
The art of Juan Luna belongs to the classical romantic style, which was the officially approved
trend in European Art centers in those times.
 Architecture
 Houses.
There are many residences preserved in our cities and towns which date
back to the Spanish times. They are often referred to as Spanish colonial house
resembles houses.Basically, the Spanish colonial house resembles houses in spain
only in its use of stone, brick and tiles. Aside from the steeply sloping tent- like roof
and the need for wide windows, its utilization of the ground floor only for storage
and garage for the carruaje and carro is basically nipa hut in concept. The
balustraded azotea developed from the batalan.
 Funiture
The furniture during the Spanish times was based on the European
counterparts. Thin and smooth webs of rattan fibers replaced the heavy upholstery,
but the ba rique carvings on the back, legs sides and arms of chairs were retain. The
ganillera, originally a pre-Hispanic bamboo chicken coop, was transformed into an
ornate furniture in the 18th century; the bamboo slats were replaced with carved
wooden balustrades.
 Churches
Art Appreciation 59
The first churches were parts of mission complexes which were also
fortresses. A mission complex is composed of the following structures: the church
which has a fenced open-air space before its portals called the atrium; the convento,
the priests’ residence which is usually adjacent to the church by its sacrisity; and the
belfry, which is either incorporated with the church as commonly seen in Central
Luzon, Manila, Southern Luzon, and the Visayas, or separated from the church, as in
towns of Northern Luzon.
 Theater
Early manifestation of the drama in the country may be seen in some features of DUPLO.
DUPLO is a game of wit used to relieve th sad feelings during a death anniversary celebration.
The CENACULO is a dramatic presentation recalling the Passion of Jesus Christ of and is
usually held during the Holy Week.
The CARILLO is a shadow play. Cardboard figures projected on a screen were manipulated in
order to execute movements and gestures. Action was usually accomplish by dialogue spoken by the
manipulator.
The ZARZUELA was derived from “zarza”, a Spanish word meaning “Bramble bush”, referring
to the hamlets or small villages of Spain. This usually consistent of short pieces of songs and
recitations. Such occasions eventually became known as fiestas de zarzuela.
The first zarzuela began in the early 1870’s. A one act zarzuela, “Junto al Pasig”, was written
by Rizal and set to music.
V. AMERICAN ERA (1898-1940)
From one colonizer to another – after more than three centuries of Spanish rule, the Americans
came. They set out to conquer the Filipinos through education and governance – the public school
system and a system of government.
Classicism: Fabian dela Rosa (1869 – 1937) was the first painter of note for the 20th century. He
was noted for his realistic portraits, genre, and landscapes in subdued colors. He was enrolled at the
Escuela de Bellas Artes y Dibujo and took lessons from Lorenzo Guerrero.
Modernism would have its seeds planted in the 1890’s with Miguel Zaragosa’s two pointillist
works. Emilio Alvero later produced several Impressionist still life paintings. But it would take an
architect to give modernism its needed boost in the country. Juan Arellano would be known as an
architect but his Impressionist landscapes are as impressive as his buildings.
Carlos “Botong” Francisco, (1913 – 1969), Angono-based painter, depicted Philippine history in
his “History of Manila” mural at the Manila City Hall.
Art Appreciation 60
VI. JAPANESE ERA (1941-1950)
The arrival of the Japanese caused tremendous fear, hardships and suffering among the Filipinos. The
Filipino way of life was greatly affected during the Japanese period. The Filipinos lost their freedom of
speech and expression. The development of art was also stopped. Filipinos greatly feared the "zoning".
There were Filipinos spies hired by the Japanese to point those who were suspected of being part of the
guerilla movement. The Japanese made some changes in the system of education.
Under their rule, the Japanese imposed their own music on the country. Japanese music was heard
daily in radio broadcasts. Their songs were also taught in public schools. Students, however, never took
these songs to heart.
In response to the Japanese propaganda, Filipino painters reacted by producing the following works:
“A Day Begins” by Vicente Alvarez Dizon, 1942, genre scenes that seem neutral. Yet there were still many
artists who portrayed the atrocities of war in their collections such as “Rape and Massacre in Ermita” by
Diosdado Lorenzo.
VII. MODERN ERA (1960-1969)
Modern era in Philippine Art began after World War 2 and the granting of Independence. Writers and
artists posed the question of national identity as the main theme of various art forms. Modern art is
characterized by the artist's intent to portray a subject as it exists in the world, according to his or her
unique perspective and is typified by a rejection of accepted or traditional styles and values.
VIII. CONTEMPORARY ARTS (1970 up to present)
Contemporary art is the work of artists who are living in the 21st century. Contemporary art
mirrors contemporary culture and society, offering the general audiences a rich resource through
which to consider current ideas and rethink the familiar. The work of contemporary artists is a
dynamic combination of materials, methods, concepts, and subjects that challenges traditional
boundaries and defies easy definition. Diverse and eclectic, contemporary art is distinguished by
the very lack of a uniform organizing principle, ideology, or -ism.
Elements/Principles
a) Appropriation: Traditional Art (i.e.: Paintings and Portrait) appropriated/ used/ placed in
T-shirts, Mugs and the likes
b) Performance: The depictions of ordinary events/activities into socially relevant themes
such as poverty, commercialism and the likes.
c) Space: transformation of space (sculpture installation in malls and parks, flash mobs
presentations)
d) Hybridity: The mixing of unlikely materials to produce an artwork (sand, mud, coffee and
the likes)
e) Technology: the use of video and social media/ internet (Youtube sensations,
Instagram/Facebook)
Art Appreciation 61
Elaborate: Summarize the Historical Development of Philippine Arts by completing the table below:
ERA TIME CHARACTERISTICS DISTINCT FEATURES
B.
Evaluate: (Group Task) Using the information from Elaborate, create a timeline of the history of Philippine Arts.
Then, attach an e-portfolio of examples of art from the different eras of the History of Philippine Art.
Scoring Criteria
 Content Completeness & Accuracy – 40 pts.

 Presentation & Organization – 40 pts.
 Overall Aesthetic Value – 20 pts.
100 pts.
Art Appreciation 62
Lesson 14
Appropriation
Learning Outcomes:
Create your own art appropriation
ENGAGE
If, for example, an artist created a painting and displayed it in a museum, who do you think owns the
artwork?
EXPLORE
Is appropriation a form of plagiarism? If so, can we consider any masterpiece appropriated a form of
a art?
EXPLAIN
What's the Intent of Appropriation Art? Appropriation artists want the viewer to recognize the
images they copy. They hope that the viewer will bring all of his original associations with the image
to the artist's new context, be it a painting, a sculpture, a collage, a combine, or an entire installation
Art appropriation is the act of using or borrowing a cultural expression and properties for a different
purpose. When a possession of a tangible work of art is transferred from members of one culture to
members of another culture, it is referred as an object appropriation. This is a challenging task but
so interesting to do for the students.
The five (5) acts of cultural appropriation
1. object appropriation
2. content
3. style
4. motif appropriation
5. subject appropriation
There seems to be a very thin demarcation line between appropriation art and forgery. Traditionally,
forgery can be classified into two forms: outright copies of existing works and pastiches, which are
works that bring together the elements from a work and infusing them to a new work. But in
contemporary times, forgery can be a form of creating an approximate of what an artist would do by
prediction. This can be done by observing the the techniques and style the artist employed and even
focal points highlighted in his previous and existing works.
Art Appreciation 63
ELABORATE
Research on one (1) appropriation artist and highlight his or her artwork. Using that artwork, answer
this essay question: to what extent is art appropriation a form of forgery?
EVALUATE
Activity: Create your own appropriation may it be an object, content, style, motif, or subject
appropriation
Art Appreciation 64

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GEC 106- ART APPRECIATION 2022

MINDANAO STATE UNIVERSITY AT NAAWAN

Course Number: GEC 106

Course Description: This course develops students’ ability to appreciate, analyse

Number of Units: 3 Units

1. Demonstrate an understanding and appreciation of arts in general, including their

PART II: HISTORICAL VIEWS OF ARTS

Lesson 8: Pre-historic and classical periods

PART III: CULTURE AND THE ARTS

Supplemental video clip

When we hear the word art, some of our minds jump to

Explore: Listen to the song “Paraiso” by Smokey Mountain. Click

1. Why is creativity necessary in art-making? ________________________________

Why is art important?

1.2 Art as a Form of Expression and Communication

(1) Art is universal because it serves human basic needs.

(2) It is not nature

1. Art is not nature because art is man-made. It is a human expression.

Evaluate Discuss the 3 assumptions of arts.

1. San Juanico Bridge 2. Urinal 3. A King’s Chair

Aesthetic function An artwork functions aesthetically when it becomes instrumental for

For example, in a photograph of a dog running on the

In conclusion, the subject is the most recognizable part

An artwork that has a subject is classified as a representational art. It is also known us

Kinds and Sources of Subject

Elaborate Differentiate subject and content.

(2) Examine carefully the Artwork above.

Explore What is the difference between an artist and an artisan?

An artist is generally defined as an art practitioner such as a painter, sculptor,

The concept of imagination

Hunter (2012) enumerates eight different modes of imagination, to wit:

5.3.1 Effectuative imagination combines information together to synergize new concepts

5.3.6 Emotional imagination is concerned with manifesting emotional dispositions and

In theatre or performing arts, pre-production involves the following: conceptualization of

In post-production, evaluation, critiquing, 'success' press release, sending thank you

Medium and Technique

Nevertheless, there is no easy play of medium. Either an artist or an artisan requires

Elaborate Explain the concept of imagination.

Evaluate How do you explain the three stages of art production?

1. Color is the visual property of the pigment of an

2. Line is an element of art defined as the path of a point moving through

Tactile or Actual Texture

Positive and Negative Space

II. Principles of Arts

Käthe Kollwitz adds contrast using the

In this rhythm example, the artist uses pattern, repetition of

In this example of proportion in art, the artist manipulates the

In this example of emphasis in art, Goya highlights

PART 2: Historical Views of Arts

WHAT THIS MODULE IS ALL ABOUT

INTRODUCTION TO HISTORY OF ART

At the end of this module, the students are expected to:

Sumerian Cuneiform Tablet Venus of Willendorf Maikop Gold Bull

Altamira, Spain Chauvet, France

Lion's Gate, Mycenae Stonehenge, England

Ictinus and Callicrates: The Parthenon (447-432 BCE)

The Colosseum, Rome, Italy (70-72 AD)

Augustus of Prima Porta. (1st Century CE)

Manunggul Jar, Palawan, Philippines

Instructions: The photo above is that of “Manunggul Jar”. Make

1. Identify distinct characteristics of arts during the Medieval period

Hagia Sophia in Istanbul, Turkey. 537 AD

Madonna and Child with Saint Jerome and Saint John