Elements of Visual Arts Vertical lines

 Are lines that denote action. They suggest poise, balance,

The Elements of Visual Arts are: force, aspiration, exaltation, and dynamism.
 Vertical lines seen in a man standing straight, a tall tree, and
 Line
in statues of saints, and heroes give an impression of dignity.
 Color
 Vertical lines also tend to express as well as arouse emotions
 Texture
of exaltation and inquietude; this is evident in monumental
 Perspective
architecture.
 Space
 The Gothic cathedral express the aforementioned sentiments
 Form
that possessed the soul of Northern Europe in the later Middle
 Volume
Ages.
 Light
Diagonal lines
 Shadow
 Diagonal lines suggest action, life and movement. They give
animation to any composition in which they appear. Almost
 Line
every object in an action assumes a diagonal line. A running
 Line is an important element at the disposal of every artist.
person makes a diagonal line with his body and legs. The
Through the lines, as in painting or sculpture, the artist
degree of action is shown by the angle the diagonal makes in
represents figures and forms.
relation to the ground.
 Lines always have direction. They are always moving. Lines
are use in any work of art, may either be straight or curved.
Curved Lines
 Suggest grace, subtleness, direction, instability movement,
Straight lines
flexibility, joyousness, and grace.
 A straight line is the basic framework of many forms, but it
 They are never harsh or stern since they are formed by
lacks softness and flexibility.
gradual change in direction, they tend to impart these qualities
 Straight lines, however, suggest efficiency, simplicity, and
to any work where they are used.
strength. Straight lines depict flexibility, buoyancy, and grace.
 The restrained curved lines exemplified in the woman’s body
 The straight line moves in one direction only. It may either be
and the bamboo stem where according to Philippine legend,
horizontal, vertical, or diagonal.
man and woman spring, is depicted in a mural by the late
artist Carlos “Botong” Francisco.
Horizontal lines
 Are lines of repose and serenity. They express ideas of
Crooked or Jagged lines
calmness and quiescence.
 Express energy, violence, conflict and struggle.
 Horizontal lines are found in reclining persons, in landscapes,
 Lines may also classified into three groups: lines which follow
calm bodies of water, and in the distant meeting of the earth
or repeat one another, lines which contrast with one another,
and sky in what is commonly called the horizon.
and transitional lines which modify or soften the effect to
others.
  Repetition occurs when two or more lines are drawn within a
corner.
 Lines that are in opposition to another to each other form a
contrast.
 When a curved line cuts across a corner from an opposition
line to another, it forms transitional line.
 Transitional lines modify the sharpness of vertical and
horizontal lines in giving a harmonizing effect.
 Shape
 A shape is created when a line is enclosed. Shape is one of the
seven elements of art and it has a variety of uses in the
creation of art.
 We typically think of a shape as a closed contour. So, if you
take a line and enclose it, then you will have created a shape.
 Shapes can play important roles in the creation of drawings
and paintings.
 Shape can help to create complex drawings and paintings,
affect composition, and contribute to the balance within a
work.
 Shape can also be defined as a two-dimensional area that is
defined by a change in value or some other form of contrast.
 All shapes are two-dimensional, meaning that they have only
length and width.
Types of Shapes
All shapes will fall into one of two categories. Shapes are
either geometric or organic.
Geometric shape
 Geometric shapes or regular shapes are easy to recognize.
Usually, math can be used to find information about these
shapes.
 Geometric shapes generally have a specific name associated
with them. Examples include: circle, triangle, square, and
trapezoid.
 Many man-made objects are made in the form of geometric
shapes. Cell phones, buildings, and wheels are all examples of
man-made forms that resemble geometric shapes.
Organic (or Freeform) Shapes
 Organic or freeform shapes are shapes that seem to follow no
rules. Organic shapes generally do not have a name
associated with them and are typically not man-made. Organic
shapes can resemble things that we find in nature.
We can learn to see the world around us as shapes. Recognizing the
shapes that we see will lead to improved accuracy in our drawings
and paintings. Instead of thinking of objects in terms of lines, we can
think in terms of shapes.
This process of drawing with shapes is usually referred to as
"construction" and it is considered a foundational principle to drawing
and painting.
Shapes defined by objects are positive shapes (space). Shapes
defined around objects are negative shapes (space).
The relationships between the positive and negative shapes help the
brain of our viewers understand what they are seeing. Our brains are
even capable of making sense of complex relationships between
positive and negative shapes.
By organizing geometric and organic shapes, we can draw anything.
Even complicated objects become easy to draw when we isolate basic
geometric and organic shapes.
 Color
 Of all the elements of visual arts, color has the most aesthetic
appeal. Delight in color is a universal human characteristic.
 Color is a property of light. When light goes out, color goes
with it.
  The light of the sun contains all the colors of the spectrum;
violet, indigo, blue, green, yellow, orange, and red. These
colors are so blended that they yield no appearance of color.
When a beam of light passes through a prism, the different
rays of color are separated so we are able to see and identify
them from each other.
Three Dimensional colors
Color has three dimensions or attributes: hue, value, and intensity.
Hue
 Is the dimension of color that gives color its name.
 When we say, the flower is yellow, we're naming its hue.
 Color names such as red, blue green violet, and yellow
indicate hue.
 Blue, red, and yellow are primary hues.
 If these primary hues are mixed in equal parts, the secondary
hues are produced.
 The secondary hues are orange, green, and violet.
 Orange is produced by mixing red and yellow; green by mixing
yellow and blue; and violet by mixing blue and red.
Value
 sometimes called chiaroscuro, refers to the lightness or
darkness of a color.
 It is a quality which depends on the amount of light and dark
in color.
 They give the expression of depth and solidity and lend form
to paintings. An understanding of values will help the artist
use colors to the best advantage.
 It will offer important suggestions for the arrangement of color
values in interior decoration.
 The floor should be the darkest in the room, the walls should
be lighter, and the ceiling, the lightest.
 If the color of the floor is lighter than the wall, it will not give
the feeling of being a solid foundation.
Tints are value above the normal and shades are values below the
normal. Pink is a tint of red, maroon is a shade of red. Sky blue is a
tint, navy blue is a shade.
The value of a hue can be changed. We raise hue by adding more
light so that it reflects more light it can reflect.
Intensity
 Another dimension of color, refers to its brightness or
darkness.
 It gives color strength.
 Difference in intensity may be described as full intensity, two-
thirds intensity and two-thirds neutral.
 Two colors may be both blue but one is more intense than the
other, when it is dulled, it is said to be partly neutralized.
 The more black or white is added, the weaker the intensity
becomes.
Color plays an important role in the works of artists. Painters use one
color to balance and enrich the other to awaken the emotional
responses of the viewer. Although painting is known as the art of
color, color is also important in sculpture and architecture. Buildings
are painted; bronze is selected for its rich brown color and marble for
its whiteness.
Two kinds of color harmonies
 Related color harmonies may either be monochromatic or
adjacent. Monochromatic harmony is made up of several tones
of one hue, like for instance orange, tan, brown, and other
tones from the orange family. Monochromatic harmonies are
simplest and easiest to use. Different tones of the same hue
all have something in common, so it is easy for them to agree.
  Contrasted Color Harmonies which lie directly opposite to
each other in the color circle are called complementary colors.
Red and green, orange and blue, and violet and yellow are
complementary colors. They contrast which each other
strongly; therefore they are more difficult to use harmoniously
than related color combinations.
 Texture
 Is an element that deals more directly with the sense of touch.
 It has to do with the characteristic of surfaces which can be
rough or smooth, fine, or coarse, shiny or dull, plain or
irregular.
 Texture is best appreciated when an object is felt with the
hands.
 Space
 In painting, as in architecture, space is for great importance.
 The exterior of a building is seen as it appears in space, while
interior is seen by one who is inside an enclosure.
 Painting does not deal with space directly.
 It represents space only on a two-dimensional surface.
 Sculpture involves very little space relationship or perception
of space.
 Form
 Form applies to the overall design of a work of art.
 It describes the structure or a shape of an object.
 Form directs the movements of the eyes.
 Since form consists of size and volume, it signifies visual
weight.
 Every kind of form has its own aesthetic effect.
 All the visual arts are concerned with form.
Elements of Auditory Arts and Combined Art
 Poetic devices such as  Properties of musical
 Rhythm sound such as
 Image  Pitch
 Duration
 Volume
 Timbre
Graffiti are writings or drawings which have been scribbled,
scratched, or painted on walls or other surface materials, often within
public view. Graffiti ranged from simple written words of drawings to
elaborate wall paintings. Graffiti existed since ancient times dating
back to Ancient Egypt, Greece and the Roman Empire.
In the contemporary society, spray paint and marker pens are usually
used as graffiti materials. Graffiti do not only express stylistic and
artistic expression. More often they express socio-political messages.
In a hip-hop culture, graffiti have evolved alongside hip-hop music, b-
boying and other elements. Gangs also use their own form of graffiti
to mark territory or to serve as indicator of gang- related activities.
In the Philippines, marking or painting private and government
properties without the owner's consent is considered defacement and
vandalism, crimes punishable by law.
Poetry-performance is specifically composed for or during a
performance before an audience. In the 1980's, poetry performed
was very popular to describe poetry written or composed for
performance rather than print distribution, mostly open to
improvisation.
Performance art is a performance which is presented to the
audience. It can be presented in many ways. Performance may:
 either be scripted or unscripted
 either random or carefully orchestrated
 be spontaneous or carefully planned
 be with or without audience
 be live or via media

Digital art
 This art introduces the digital artists to the world of
possibilities for putting their artistic and creative skills to work
online in any number of fields. Artistic expression covers rules
governing images, where to find them and how to manipulate
images and word art, logos, and banner, Digital Art
Technologies include 3D computer modelling, PowerPoint
presentations, web design, film, video and film making.
Modified Art Expression
 It is a range of techniques, manipulating and experimenting
with all aspects of the works. This can be done by calligraphic
text, deconstructed books, intricately hand-cut paper, and
recycled and re-sculptured materials. Modified art expression
is a fascinating collection of artworks that demonstrates each
artist's personal interrelation of the texts, transforming literary
works into visual ones and creating powerful new forms of
expression.
Transcreation (creative translation)
 Successfully this is the process of adapting a message from
one language to another while implications in the maintaining
its intent, style, tone, and context.
 A message that was trans-created evokes the same emotions
and carries the same target languages as it does in the source
language.
 Nowadays, transcreation is widely used in global marketing
and advertising campaign as advertisers seek to transcend the
boundaries of culture and language.
 Transcreation takes account of images which are used within a
creative message to ensure that they are suitable for the
target local market.
In other words, transcreation is taking the essence of a message and
re-creating it is another language or dialect.
Purpose of Transcreation
 The purpose of transcreation is to transfer the intent, style, vocal
tone, and emotional salience of the message from the source
language to that of the targeted audience.
 To do this process, it requires expertise in marketing, linguistic
skills and knowledge of targeted cultures.
 Thus, to produce effective transcreation, local language
copywriters need to have extensive knowledge of their market,
excellent language skills and the ability to creativity adapt
message for the target market.
Transcreation and Translation
 These two terms are not identical but are related processes.
 In translation, a word for word translation is inadequate.
 The best translation takes into account the vocabulary, grammar,
syntax, idiom and local ways of the target audience while
remaining faithful to the text as well as to the context of the
original document.
Transcreation of text to music
 In novel or poetry, one can generate music with emotional
feeling. Example: Recite the poem "Tree" by Joyce Kilmer and
transcreate it to music.
Transcreation of text to dance
 It’s using a dialogue or text to influence and enhance dance
performance.
 According to Karin Barber, when words are uttered, it
captures a prominent instance in the performance.
 She further said that "the text is a permanent artifact,
handwritten or printed, while the performance is the unique,
never-to-be-repeated realization of the text, a realization
 that brings the text to life but which is itself doomed to die
on the breach in which it is uttered."
Transcreation of dance to visual art
 The great majority of the evidence for dance occurred in
Ancient Greek which come from visual art.
 Sculptures and paintings on pots represented dancers.
 Relief sculpture in tombs included scenes of dancers.
 The canon for artistic representation was in place because
the deceased and his or her family needed to be depicted in
a very specific way in order to activate the magic that
transported them to the next world.
Principle of Art and Design
Meaning and Nature of the Principles of Art and Design
The Principle of art and design are the foundation in creating an
art.
They represent how the artist, the elements of art to create a better
effect as well as to help the artist to convey his intent.
Harmony
 Is the principle which produces an impression of unity through
the selection and arrangement of consistent objects or ideas.
 Five aspects of harmony
A. Harmony of Lines and Shapes.
 Lines are made harmonious by either repeating the shape of the
lines or by connecting transitional lines to contrasting lines.
B. Harmony of Size.
 Harmony of size refers to good proportion.
C. Harmony of Color.
 Creating harmony of color means using two or more colors in
decorating an article or object.
D. Harmony of Texture.
 The character of texture can be determined by feeling the object
with the fingertips or by looking at it.
E. Harmony of Idea.
 Combining antique and modern furniture in the same room does
not show harmony of idea.
Rhythm
 In design, rhythm is the regular, uniform, or related visual
movement made through the repetition of a unit or motif.
 It is the basis of almost all performing arts because it is the
principle which is most quickly felt.
 We find rhythm not only in painting and architecture but also in
music, dance and poetry.
Balance
 Balance is a condition or quality which gives a feeling of rest,
repose, equilibrium, or stability.
 Mathematically, objects are balanced when they have equal
physical weights and are placed equally distant from a common
center or axis.
 In art, we do not exactly arrange objects of equal physical
weights or sizes to produce balance.
 It is the visual weights of lines, forms, values, textures and
colors that we really balance.
Formal or Symmetrical Balance
 Formal or symmetrical balance is the balance of equal visual
weights placed at equal distance from the axis.
Two Types of Formal Balance By color contrast - contrasting the colors such the complementary
combination and the traids are more emphatic than analogous or any
1. Bisymmetrical balance
other related hormones.
2. Symmetrical or obvious balance

Informal or Asymmetrical
Movement
 Informal or asymmetrical balance is the balance of unequal
 Movement in art is when an artist uses visual techniques, like
weights, the heavier one being nearer the axis and the lighter
color and composition, to create the illusion of movement and
one farther.
dynamism within their artwork.
 Sometimes referred to as occult balance and free balance.
 And the result of using the elements of art that they move the
viewer's eye around and within the image.
Proportion
 Is the art principle which shows pleasing relationship between
Pattern
a whole and its part and between the parts themselves.
 Is an arrangement of lines or shapes, especially a design in
 It can be achieved through proper arrangement of space
which the same shape is repeated at regular intervals over a
divisions proportions are generally expressed in terms of ratios.
surface.

There are 3 aspects of proportion.

Unity
1. Proportion in the grouping of objects.  It refers to how all the components of a painting come together
to appear unified.
2. Proportion is space divisions

3. Proportion in scale Novelty

Emphasis
 Is the principle of art which tends to carry fthe eyes from the
center of interest or dominant part of any position to the less
important or subordinate part.
 Principle of the Greek and the Japanese art.
 It is may be the outline, forms, color, texture, ideas.
Methods of emphasizing objects
 The quality of being new and fresh and interesting, 'a new or
unusual experience or occurrence'.
Utility, Adaptability, or Function
 A work of art must not only possess beauty but also utility.
Contrast
 This art principle is synonymous to opposition or contradiction.
 It has some relationship with balance and emphasis.

By arrangement or grouping of objects -If the Object is grouped

together. The Rule of Thirds
By decoration - objects which have decorations are give more  It is called the “Rule of Thumb”.
emphasis than those without them.
  This is a guideline which appears to the process of
composing visual images like designs, films, painting, and
photographs.
HISTORY OF ARTS & ITS VARIOUS OF PLANES
1. PRE-HISTORIC PERIOD
 The issues of security and survival are depicted in the art of the
prehistoric men and women.
 They engaged in the art of hunting wild animals through the
use of crude implements ranging from stone flakes, bones of
animals to bow and arrow.
 They used animal skins and fur as primary fabric to protect
their bodies from harsh weather conditions.
 Cave paintings were used to scare the wild beast in their cave
dwellings to ensure security of their families.
 They used polished stones in horticulture during the Mesolithic
age.
 They learned the art of animal domestication to respond their
families increasing demands of food.
Example: Paleolithic Cave Painting
2. ANCIENT PERIOD
 The art of writing cuneiform in Mesopotamia,
 Hieroglyphics in Egypt and calligraphies in Asian countries
proved the essentiality of communication and education in
those times construction of temples that are made of stones
and bricks like the ziggurats of Mesopotamia the pyramids of
Egypt and Mesoamerica and
 The Hindu and Buddhist temples in Asian countries and
mosques among the Muslim proved the prowess of ancient
architecture, reflecting religious beliefs and traditions.
 Kingdoms and empires in the ancient periods constructed dikes
and drainage system to prevent floods and protect their crops.
Example: Punic war
3. THE MEDIEVAL PERIOD
 Likewise, while the Catholic Church remained the most stable
institution artists during this period used gothic, Doric, Ionian
and Romanesque architectural design in its construction typical
to western civilization.
 The clout of Christianity greatly influenced architectural art
during this time to the byzantine period.
 The attack of the barbaric tribes during the dark ages desolated
everything into rubbles, except the castles, palaces and
churches that stood because of its massive architecture designs
with wide arches, vault and domes.
 As a period of reawakening, the use of secularism emphasized
the greater degree of freedom in art from the clout of church
influence.
Example: Illuminated Letters & Manuscript Cathedral Strained Glass
Window Madonna
4. THE MODERN PERIOD (1500-1850)
 This liberal consciousness of the artists ushered more
prominence during the baroque period.
 Coinciding with the period of absolutism monarchs
commissioned artists to embellish palaces with gorgeous
masterpieces, using illusory and vivid colors.
 Art in baroque period paved way to the tudor and rococo
styles in the modern era, where monarchs commissioned
artists to embellish their palaces with beautiful, vibrant and
elaborate paintings and wall plasters intellectual industrial and
scientific revolutions form and features in art.
Example: Mona Lisa steered new developments in the art sector
structuralism in the classical period was replaced slowly with
minimalism-an art movement that eliminates the non-essential
Van Gogh’s sunflowers
5. POST-MODERN PERIOD (1851 TO THE PRESENT)
 Minimalism allows the artists to have wider degrees of
freedom in terms of their imagination, but there is defiance of
structuralism.
  Post-modern art characterizes Jacques Derrida's
deconstructionism with higher degree of manipulation and
fragmentation that focuses on the artists' experience.
 They use maximum control of their space to manipulate wider
art planes in their respective genres.
 There is so much experimentation that resulted in some issues
of art bastardization.
READING THE IMAGE OF THE VISUAL WORK
Alice Guillermo (1938-2018)
● Recipient of Palanca Award
● A renowned writer, researcher, art critique and professor
 In understanding the art, one must be able to read the visual
work (for example - painting, print, sculpture, architecture,
film, advertising images)
 As a text that conveys a complex of concepts, feelings,
attitudes, moods, atmosphere and value that derives from
world views and ideologies, public or personal.
 One must also read the work to be able to evaluate it in terms
of conveying signification according to Alice Guillermo.
 She further said that with respect to the form of the work,
there are several issues that have to be considered.
 Each visual art form,, be it painting, poster, comics,
illustrations, and the like has its own technical standard of
excellence and this depend upon the choice and use of a
medium with its particular properties and suitable techniques.
 Therefore, in reading an image of a visual work, it is important
for us to familiarize ourselves with the various art medium and
techniques as well as processes involved in art-making because
these enter into the meaning of the work
Alice G. Guillermo enumerated the basic documentary
information required in reading a work of art.
THE BASIC DOCUMENTARY INFORMATION
TITLE OF THE WORK
 Although the title may be significant or insignificant to the
meaning of the work, one should know the relation of the title
to the work.
 The title may or may not contribute to the work meaning or
identifies the subject, or bears an ironic relationship to the
work, or a witty comment about the work or its subject.
NAME OF THE ARTISTS
 Another documentary information concerning the image is the
name of the artists, particularly their biography.
 The following information must be supplied in addition to their
names generation the artist belongs dominant artistic trends
during their active year name of their peers personal
background and training record, diaries, and published
statements which may shed light of their art.
MEDIUM AND TECHNIQUE
 The following documentaries are needed in identifying
medium and techniques.
 Determine whether the medium is academic or non-academic,
artistic choice as in mixed media or multimedia keen
awareness of the work of art in terms of artistic process
involving particular mediums and techniques identify the
particular kind of materials used note to be added regarding
the ground of a painting (such as cloth, canvass, wood).
DIMENSIONS AND MEASUREMENTS
 The format of the work is a part of its dimensions.
 The dimensions may be measured by metric system
 The measurements may be big, large-scale, mural size,
average, small or miniature.
 The usual format of a painting is rectangular.
 However, symbolism may come into play such as square or
circular format.

DATE OF WORK
 The date of the work which was completed provides the
historical context of the work.
 It also provides the historical context of the work.
 It also provides information as to what period of the artist
development the work belongs, and finally, the date of the
work situates in art history, that is it tells whether the art work
belongs to a particular trend, school, or movement.
PROVENANCE
 This is indicated by the name of the owner of the artwork, of
the collector of the work, or whether it belongs to an art
museum, art gallery, or a private collection.
 Understanding the work of art requires constant research.
 According to Guillermo, the meaning of an important work can
grow with the time as viewing it became a process of
continual discovery which is part of the pleasure that art gives.
MEANING OF ART
 A complex of intellectual, emotional, and sensory significations
which the work conveys and to which the viewer responds,
bringing in the breadth of his cultural background, artistic
exposure and training, and human experience in a dialogic
relationship with the artwork.
THREE LEVELS OF CONTENTS IN ARTS
SEMIOTIC PLANE
 Is the study of "signs", It consists of "signifier" or its
material/physical aspect and its "signified" or non-material
aspect as concept and value.
 The visual elements and how they are used conveys meaning
which form the text of the work.
ICONIC PLANE OR THE IMAGE ITSELF
 The iconic plane focuses on the visual elements and how they
convey meaning in an artwork.
 It's about looking at the image itself and analyzing how it's
portrayed and what it represents.
Example: PARISIAN LIFE (1892) BY JUAN LUNA
CONTEXTUAL PLANE
 Every art has historical or cultural influence.
 Art is viewed in relation to its time, the ideologies and
concerns of that period.
 The theme is derived from the significant circumstances of the
artist and therefore good analysis within this plane demands
that the viewer knows the artist's background.
Example: “DIANA BATHING” BY FRANCOIS BOUCHER (1743)
AXIOLOGICAL PLANE
 As an art critic, find out what is considered as a value in your
nation. Is it depicted in the artwork?
What are the underlying social issues conveyed in the work?
Example: BASAHAN SA SAN JUAN
ART IN EARLY CIVILIZATIONS
Archeological artifacts and remains show a glimpse of the beliefs,
practices, and activities of early civilization. Motives and reasons
behind the creation of sculptures, paintings, and architectural
structures are not clearly defined.
• Early people produced these to reflect their attitudes and beliefs on
spiritual, social, political, and economic matters.
• Early humans transitioned from nomads to permanent settlers.
Changes in their activities became evident on the materials and art
they made. Central themes of their artworks depict religious symbols,
organisms from nature and activities of everyday life.
Prehistoric Art
 Refers to all art that was created before cultures had
developed more complex forms of expression and
communication such as a written language.
  Stability and sense of permanence. Prompted the creation of  New Stone Age.
paintings and sculptures that depict humans, animals, and  Describes all arts and crafts created by societies who had
natural habitat. abandoned the semi-nomadic lifestyle of hunting and
gathering food in favour of farming and animal husbandry.
STONE AGE Example of Neolithic Art
 A period of history (14,000 – 2,000 BCE) when stones were
 Stonehenge – in England, a fascinating edifice that remains
used to make tools for survival; conjures images of men and
a mystery to this day. Regarded as a temple, a complex
women dressed in skin, huddling before a fire in a cave.
calendar tracking the movement of the sun and moon, or a
magical element associated with Merlin the Magician from King
Arthur’s story.
THREE PERIODS OF STONE AGE
EGYPTIAN ART
1) PALEOLITIC
 Egyptian art is religious and spiritual. Techniques and styles
 Late years of the Stone Age. “Paleo” means old or ancient.
vary but the common denominators are evident throughout
Product of climate change.
the respective time periods.
 Humans look for shelters that will provide them warmth as the
climate got colder.
Egyptian civilization is divided into three periods: OLD, MIDDLE,
 Caves paved the way for first attempt to create art.
and NEW KINGDOM.
Example of Paleolithic Art 1) Old Kingdom Art
 They created tombs for important people, particularly the
 HALLS OF BULLS – found in a cave in Lascauz, France. It
PHARAOHS.
represent the earliest surviving examples of the artistic
 Not just for keeping the dead bodies but also to serve as a
expression of early people.
shelter for the next journey in the afterlife.
2) MESOLITHIC  They decorated the tombs with everyday objects that would
reflect day-today activities as if the afterlife is a mere
 Middle stone ages.
continuation of what transpired on earth.
 Refers to all arts and crafts created between the end of the
Paleolithic Ice Age (10,000 BCE) and the beginning of farming,
Example of Old Kingdom Art
with its cultivation and animal husbandry.
 THE GREAT PYRAMID OF GIZA – one of the architectural
Example of Mesolithic Art
wonders. Served as tombs since their main purpose was to
 Venus of Willendorf – a highly abstracted figure of a woman provide a resting place for the Pharaohs.
that highlight body parts associated with fertility. Shows the
2) Middle Kingdom Art
importance of taking care of these body parts for procreation
and survival of species.  One of the key features of the Middle Kingdom is a shift in the
political hierarchy.
3) NEOLITHIC
  Emergence of powerful group of landlords that threatened the
authority and rule of the Pharaoh.
 Because of the struggle between these two influential sides,
art has taken back seat during this period.
 Art got back during the rule of King Mentuhotep.
 Experimentation in terms of style that transpired during this
period.
 Portrait sculpture and fresco paintings were freely drawn some
of the styles that emerged during this period.
Example of Middle Kingdom Art
 Stela of the Gatekeeper Maati – the inscriptions
demonstrate the close ties that bound together rulers and
followers in Theban of the time.
3) New Kingdom
 Art of the New Kingdom had references from both of the
preceding kingdoms. Monuments and sculptures were still
linked with death and reverence for the deceased.
 During previous kingdoms, tombs were just used for
worshipping the dead, but in the New Kingdom, they started
having mortuary temples.
 Mortuary temples (or funerary temples) were temples
that were erected adjacent to, or in the vicinity of, royal tombs
in Ancient Egypt.
 The temples were designed to commemorate the reign of the
Pharaoh under whom they were constructed, as well as for
use by the king’s cult after death.
Examples of New Kingdom Art
 QUEEN NEFERTITI – a bust of the queen with a long and
sensuous neck. Emphasizes the features of the face
(elongated jaw and thick lidded eyes). Artworks created are
natural and seemingly real, highlighting.
JAPANESE ART
 Dates from around 10,000 BC.General to most Oriental and
Eastern art, it incorporates a wide variety of styles and types,
such as ink painting, pottery and sculpture.
 As an island, Japan experienced long periods of isolation.
 Painting is one of Japan’s oldest art forms, and probably
it’s most popular.
 Like China, it began as a simple stick figures decorating silk,
paper and pottery, and developed into a way of expressing
centuries of cultural and political evolution.
 Japan’s first civilization molded and then painted pottery
and clay figures. Settlers who arrived later, around 350 BC,
brought with them their knowledge of bronze manufacturing
and decoration.
 When, in the 7th and 8th centuries, Buddhism spread out
across the East, Japan embraced it and learned more
advanced methods of casting bronze.
 These included many sculptures of Buddha himself. But by the
end of the Edo period between 1603 and 1869 AD, most
of this had disappeared because of the warning support from
Buddhist temples and Japanese nobility.
 After 1130 BC, Japanese picture scrolls grew in popularity.
These large canvasses were used to paint stories and are
examples of some of the earliest-and best-illustrations of men
and women. Other popular periods of Japanese art include the
Kamakura, in which sculpture, calligraphy and painting all
flourished from 1180 to 1333 AD.
 Art became more elitist and aristocratic during the Muromachi
period of 1338 to 1573 AD. Colors became more conservative
too; black and white or the use of a single color became
commonplace. But as Japan move further away from China,
secular, independent art began to flourish. Both religious and
secular art were hugely popular until after the Onin War
from 1467 to 1477 AD, when Japan entered a period in
which religion played a far less important role. This is the
primary reason for Japan’s loss of interest in sculpture -a form
of artistic expression that’s most associated with religion.
EXAMPLES OF JAPANESE ARTWORKS
1.)”The Great Wave off Kanagawa-Katsushika Hokusai”
 The image depicts an enormous wave threatening boats off
the coast of the prefecture of Kanagawa
 It is Hokusai’s most famous work, and one of the most
recognizable works of Japanese art in the world.
2.)”Sunrise over the Eastern Sea-Fujishima Takeji”
 In 1928, the third year of the Showa period, Fujishima
Takeji was requested to produce a work to decorate the
emperor’s study, in celebration of the enthronement of the
Showa Emperor.
 Fujishima chose “dawn” as the theme that would suit the new
emperor.
3.)”Fine wind, Clear morning”
 also known as Red Fuji, is a woodblock print by Japanese
artist Hokusai, part of his Thirty-six Views of Mount Fuji
series, dating from c. 1830 to 1832.
 The work has been described as “one of the simplest and
at the same time one of the most outstanding of all
Japanese prints
KOREAN ART
 Korean arts are unique cultural treasures that have been
bequeathed from master artisan to master artisan since
antiquity.
 Inspired by the natural world, these beautiful traditional
handicrafts are marked by their use of natural, organic forms
and simple adornment.
 In 678, AD, Korea pushed the Chinese out of their country and
back to Manchuria. This period of cultural growth and
consolidation is often seen as a significant chapter in Korean
history. This created for the first time, single Korean
government and it lead to a flourishing art scene.
 The Goryeo Dynasty, from 918 to 1392 AD, is recognized as
one of the most important periods in Korean cultural
development.
 Korean Art, has through the ages, been heavily influenced by
Chinese arts and vice-versa. This has helped to strengthen and
widen the artistic style and identify in the both countries. The
United Silla period from 676 to 935 AD is understood to have
produced some of the best Buddhist arts in Korea
 The Joseon Dynasty, established in 1392, led the way for a
cultural renaissance in Korea.
 During the twentieth century, painting was the most popularly
art form. One of the particular importance was abstract
painting was the most popular art form.
 In the 1970s and 1980s Korean monochrome paintings grew in
popularity and helped to challenge pre-conceived idea about
ink and oil painting.
 Many painting styles within this period include landscape,
depicting nostalgic places and mountainous scene with trees
and cloud. Ink drawings and painting were used in particular
because they were able to successfully highlight and contrast
between light and dark.
 Ceramics, stoneware, porcelain were also during this period.
EXAMPLE OF KOREAN ARTS
1.) Porcelain Dragon Jar
 Painted with cobalt-blue dragons were popular from
seventeenth trough nineteenth century. Original associated
with water, dragons were also Imperial emblems throughout
East Asia.
2) Sea, Cranes and Peaches Haehakbandodo
 The Haehakbandodo illustrates symbols of the sea, cranes and
peaches, which represent prosperity and desire for longevity
  Necessary restorations for its rare gold plated designs have
been completed for display.
BRIEF HISTORY OF ORIENTAL AND EASTERN ART
 The history of Oriental and Eastern Art is characterized as
beautiful, exotic and mysterious.
CHINESE ART
 Chinese art has existed for thousand years and is famously
diverse in color, form and style. It is originated as “early
stone” from around 10,000 B.C and comprised mainly of
pottery and sculpture.
 Landscape, the highest form of Chinese painting, rose to
prominence during the years of the five Dynasties from 907 to
1127 AD.
 Chinese sculpture is one of the most recognized forms of
Oriental and Eastern Art.
 Existed since the beginning of the first dynasty in 2,100 B.C.
 The finest examples date back to the Paleolithic era.
 Late Imperial China of 1368 to 1911 A.D, Ming Dynasty
comprised the first 276 years.
 Few hundred years, Qing Dynasty saw the rise of Orthodox
School and Invidualist Painters.
 Former celebrated older styles of thin brush strokes and
calligraphy.
 Shanghai School, of the late Qing Dynasty to the twentieth
century.
 Chinese Communist revolution of 1949.
 Cultural Revolution, government supported considered
“favorable art” and “unfavorable art” artists were punished.
 Contemporary, modern-day Chinese arts includes new forms
of expression.
EXAMPLE OF CHINESE ARTS
1.) Eastern Han calligraphy
 Calligraphy, an ancient form of stylized writing, became
popularized in Ancient China during the Han Dynasty (206
BCE-220 CE), though evidence of this Chinese art style can be
traced back to 1200 BC.
2.) Five oxen
 Is currently housed at the Palace Museum in Beijing and
lauded as a “treasure” of China, but the priceless artifact
almost perished during its turbulent history.
Various Arts Movements and Styles
Meaning of Art Movement
 Art movement refers to the tendency of style in art that has a
specific common philosophy or goal.
 Art movement is followed by a group of artists during a
restricted period of time (from a few months to a decade) with
the heyday of such movement.
Art movement are very important in modern art when "each
consecutive movement is considered a new avant-garde.
Art movements
1. Impressionism (accurate depiction of light in the ordinary
subject matter)
 This art movement originated from a group of Paris-based
artists where independent exhibitions brought them to
prominence during the 1870s and 1880s.
 The impressionistic art during the 19th century was
characterized by relatively small, than and yet visible brush
strokes, open composition, as well as emphasis on accurate
depiction of light in its changing qualities of ordinary subject
matter.
2. Post-Impressionism (emphasized abstract qualities or symbolic
content of art)
 This art movement roughly began between 1888 and 1905.
  Post impressionism encompasses neo-impressionism,
symbolism, synthetism, Cloisonnism, along with later
impressionists.
 Paul Cézanne was the father of post-impressionism.
 Among the post-impressionists were Paul Gauguin, Vincent
Van Gogh, and George Seurat.
 Post-Impressionism art movement likewise encompasses a
wide range of stylistic variations focused on abstract form and
pattern when paint is applied to the canvass surface.
 Structure, order and optical effects of color dominated the
post impressionist's aesthetic vision.
 Some argue that Neo-Impressionism became the first true
avant-garde movement in painting.
3. Cubism (emphasis in the use of geometrical shapes)
 It takes the abstract form through the use of cone, cylinder, or
sphere at the expense of other pictorial elements.
 Cubists want to show form in their basic geometrical shapes.
 Paul Cezanne's works played an important part in the
6. Dadaism (art is playful and highly experimental)
development of cubism.
 It was further developed by Georges Braque of France and
Pablo Picasso of Spain.
4. Fauvism (extremely bright color art works)
 Fauvism was the first important art movement of the 1900s.
 The fauves flourished as a group only from 1903 to 1907 but
their style greatly influenced many later artists.
 Henri Matisse led the movement.
 Other important fauves included Andre Derain, Raoul Dufy,
and Georges Rouault, all from France.
 The Fauves did not attempt to express ethical, philosophical,
or psychological themes.
7. Surrealism (art is weapon against evil and restrictions in society)
 Most of these artists tried to paint pictures of comfort, joy,
and pleasure.
5. Expressionism (spiritual rebirth in a materialistic age)
 Expressionism was introduced in Germany during the first
decade of the twentieth century.
 It has casts its influence on European artists from 1910 up to
the present.
 It also seemed to have influenced the playwrights in English
and Filipino in the Philippines.
 As can be seen on the work of Amelia Lapeña Bonifacio
"Sepang Loca" (1958).
 The exponents of expressionism believed in the necessity of a
spiritual rebirth for man in age that was becoming influenced
by materialism.
 Paul Dumal's "Paglilitis ni Mang Serapio" (1969) and Reuel
Aguila's "Mapait sa Bao" are plays which depicted the idea of
rebirth of the individual as possible only within the context of
the transformation of the entire society.
 The emotional expressions is expressionist paintings be
described as involving pathos, morbidity, violence, or chaos,
and tragedy. It also sometimes portray defeat.
 Dadaism is a protest movement in the arts formed in 1916 by
a group of artists and poets in Zurich, Switzerland.
 The Dadaist reacted to what they believed were utworn
traditions in art and the evils they saw in society.
 They tried to shock and provoke the public with outrageous
pieces of writing poetry recitals, and art exhibitions.
 Much dadaic art was playful and highly experimental.
 The name "dada," is a French word meaning "hobby horse,"
deliberately chosen because it was nonsense.
 Perhaps the best-known Dadaist was the French artist Marcel
Duchamp.
 The surrealist movement in art and literature was founded in
Paris in 1924 by the French poet Andre Breton.
  Like Dadaism, from which it arose, surrealism uses art as
weapon against the evil and restrictions that surrealists see in
society.
 Unlike Dadaism, it tries to reveal a new and higher reality than
that of daily life.
 Using these methods, the surrealist declares that a magical
world - more beautiful than the real one- can be created in art
and literature.
10. Abstract Expressionism (characterized by large canvasses and
 Much of the beauty sought by surrealism is violent and cruel.
strong color)
8. Pop Art (uses images of popular culture, as opposed to elitism)
 It started in Britain and the United States during the mid-to-
late 1950's.
 The movement presented a challenge to traditions of fine art
by including imagery from popular mass culture, such as
advertising, comic books, and mundane cultural objects.
 One of its aims is to use images of popular (as opposed to
elitist) culture in art, emphasizing the banal or kitschy
elements of any culture, most often through the use of irony.
 Among the early artists that shaped the pop art movement
were Eduardo Paolozzi and Richard Hamilton in Britain, and
Larry Rivers, Robert Rauschenberg and Jasper Johns among
others in the United States.
 Pop art is widely interpreted as a reaction to the then-
11. Optical Art (uses optical illusion created in black and white)
dominant ideas of abstract expressionism, as well as an
expansion of those ideas.
 Due to its utilization of found objects and images, it is similar
to Dada.
 Pop art often takes imagery that is currently in use in
advertising.
 Product labeling and logos figure prominently in the imagery
chosen by pop artists, seen in the labels of Campbell's Soup
Cans, by Andy Warhol.
12. Photorealism (reproduce the image realistically as possible)
9. Constructivism (as an art)
 Constructivism started as early as the 20th century in Russia.
As an art, this is applied in the construction of evils existing in
the present.
 It is contrasted with surrealism.
 Surrealism art emphasizes what is inside a man's mind.
 In constructivism, it emphasizes the reconstruction of the evils
of what society has done to man.
 This is a style of abstract painting that originated in New York
after World War II and gained an international vogue.
 Although it has close antecedents in European art, the term
was first applied to the New York School, whose work was
characterized by great verve, the use of large canvasses, and
a deliberate lack of refinement in the application of the paint.
 Strong color, heavy impasto, uneven brush strokes, and rough
textures are other typical characteristics.
 In other words, abstract expressionism departs completely
from subject matter, from studied precision, and from any
kind of preconceived design.
 Jackson Pollock was one of the abstract expressionist painters
of the New York School.
 Optical Art is op art for short. This is a style of visual art that
emphasize the use of optical illusions.
 Optical art works are abstract, with many better known pieces
created in black and white.
 Typically, they give the viewer the impression of movement,
hidden images, flashing and vibrating patterns, or swelling or
warping.
 Photorealism is a genre of art that encompasses Painting,
drawing, and other graphic media, in which an artist studies a
 photograph and then attempts to reproduce the image as
realistically as possible in another medium.
 Although the term can be used broadly to describe artworks in
many different media, it is also used to refer specifically to a
group of paintings and painters of the American art movement
that began in the late 1960s and early 1970s.
13. Art Noveau (emphasis on natural forms and structure)
 This art movement was most popular sometime in 1890 and
1910 but after 1910 this movement was replaced by
architectural and decorative style known as Art Deco and then
by Modernism.
 This art noveau (New Art in English) is an innovative style of
modern art that become popular sometime in 1890 to 1914.
 This kind of art movement was very useful in architecture,
applied art and decorative arts.
 Its typical decorative flat patterns mostly curvaceous in shape
is in line with its philosophy of applying artistic design to
everyday objects as part of the everyday life.
 These artistic designs were especially depicted on birds,
flowers, insects, hair, and curvaceous bodies of beautiful
women and indication of making beautiful things in
environment available to everyone.
14. De Stijl or Neoplasticism (emphasis is pure abstraction using
only black, white, and primary colors.)
 The Dutch term for De Stijl is "The Style."
 This Dutch Artistic movement which was founded in 1917 in
Leiden, Netherlands.
 Proponents of De Stijl advocated pure abstraction and
universality by a reduction to the essentials of form and color;
they simplified visual compositions to vertical and horizontal,
using only black, white and primary colors.
 De Stijl is also the name of a journal that was published by the
Dutch painter designer, writer, and critic Theo van Doesburg
that served to propagate the group's theories.
 The artistic philosophy that formed a basis for the group's
work is known as Neoplasticism-the new plastic art (or Nieuwe
Beelding in Dutch).
 According to Theo van Doesburg in the introduction of the
magazine "De Stijl" 1917 no.1, the "De Stijl"-movement was a
reaction to the "Modern Baroque" of the Amsterdam School
movement (Dutch expressionist architecture) with the
magazine "Wendingen" (1918-1931).
15. Conceptual Art (conceptualism)
 Following a set of written instructions, concepts, or ideas take
precedence over traditional aesthetic, technical and material
concerns.
 Some works of conceptual art, sometimes called installations,
may be constructed by anyone simply by following a set of
written instructions.
 This method was fundamental to American artist Sol LeWitt's
definition of Conceptual art, one of the first to appear in print.
 In conceptual art, the idea or concept is the most important
aspect of the work.
 Tony Godfrey, author of Conceptual Art (Art and Ideas)
(1998), asserts that conceptual art questions the nature of art,
a notion that Joseph Kosuth elevated to a definition of art
itself in his seminal, early manifesto of conceptual art, "An
after Philosophy" (1969).
 With the emergence of a language-based art in the 1960s,
however, conceptual artists such as Joseph Kosuth, Lawrence
Weiner and the English Art and Language group began a far
more radical interrogation of art than was previously possible.
 Through its association with the Young British Artists and the
Turner Prize during the 1990s, in popular usage, particularly in
the UK, "conceptual art" came to denote all contemporary art
that does not practice the traditional skills of painting and
sculpture.
  It could be said that one of the reasons why the term
"conceptual art" has come to be associated with various
contemporary practices far removed from its original aims and
forms lies in the problem of defining the term itself.
 As the artist Mel Bochner suggested as early as 1970, in
explaining why he does not like the epithet "conceptual", it is
not always entirely clear what "concept" refers to, and it runs
the risk of being confused with "intention."
16. Installation Art (materials are configured to present message
to viewer)
 It is a form of conceptual art whereby the objects or materials
are configured or arranged in a room or spaces to present a
message to the viewer.
 The objects configured may have an impact on the viewer
since their viewers are allowed to experience the craftmanship
of the artist.
 The installation of the objects may only be temporary unless
they are photographed or documented to be presented as
evidences of an artwork.
 Some of the installation arts were the "still-life" line drawings
of clustered objects made from adhesive tape" by Michael
Craig-Martin; the "Earth Rooms" of Walter de Maria, "a room
filled with sump oil viewed from a foot bridge" by Richard
Wilson.
 Critics of this art form stressed that installation art has low
intrinsic value because their real value is the artistic effect the
artist produce.
17. Body Art (emphasis is on human body)
 Body art is a form of body painting, using the body as a
canvas or artwork employing color pigments for cultural
motives.
 Face painting, body painting and tattoo art are forms of body
art that dates back from pre-historic times.
 These art forms during the early times were employed to
identify prominent personalities like tribal chiefs.
 Modern body art is utilized as a cosmetic make-up as shown in
stage plays, television programs, in circuses and movie
characters.
 Other types of body arts are mine and living statues (the art
of conveying action and emotion employing body gestures);
nail (decorating the fingernails and toenails) and human nude-
scope photography (photos of female nudes).
 Among the well-known body artists were Chris Burden, Gina
Pane, Benjamin Vantier, Ketty La Rocca, Annie Leubovitz, and
Spencer Tunick.
18. Land Art (emphasis is on earth materials)
 Land art is an art movement known also as "Earthworks",
"Earth Art" or "Landscape art" that started in America in the
1960s by developing man's awareness of his relationship with
his environment through "thought- provoking construction" of
art works, that uses materials such as stones, rocks clay to
create artistic imagery.
 The purpose of these artworks is to touch the sensibilities of
man towards the environment.
 Some of the famous land artists were Robert Smithson's
"Special Jetty" where they re-arrange rock, soil, algae to form
a long (1,500 feet) spiral-shaped Jetty jutting out into the
Great Salt Lake; Christo Javacheff and Jeanne-Claude's
"encirclement of eleven Florida Islands in pink polypropylene
fabric"
19. Street Art (visual art created in public locations for public
visibility)
 It has been associated with the terms "independent art,"
"post-graffiti", "neo-graffiti" and guerrilla art.
  Street art has evolved from the early forms of defiant graffiti
into a more commercial form of art, as one of the main
differences now lies with the messaging.
 Street art is often meant to provoke thought rather than
rejection among the general audience through making its
purpose more evident than that of graffiti.
 The issue of permission has also come at the heart of street
art, as graffiti is usually done illegally, whereas street art can
nowadays be the product of an agreement or even sometimes
a commission.
 However, it remains different from traditional art exposed in
public spaces by its explicit use of said space in the conception
phase.

20. Rococo Art (graceful style in art)

 Rococo started in the 18th century in France during the reign

of King Louis XV.
 Rococo painting placed emphasis voluptuousness and
picturesque intimate presentation of farm and country.
 Rococo architects took a different approach from a lavishly
decorated architecture which appeared in Rome and Spain.
 The exteriors of Rococo buildings are often simple, while the
interiors are entirely dominated by their ornament.
 The style was highly theatrical, designed to impress and awe
at first sight.

21. Futurism (emphasis is on modern society)

 Futurism developed in Italy about the same time cubism

appeared in Futurist painters wanted their works to capture
the speed and force of modern industrial society.
 Their paintings glorified the mechanical energy of modem life.
 Subjects included automobiles, motorcycles, and railroad
trains - subjects that express the explosive vitality of a modern
city.