MODULE 4

SUBJECT AND CONTENT

Objectives:

By the end of the lesson, the students should be able to:

1. Differentiate representational art and non-representational art.

2. Discuss the difference between an artwork’s subject and its content.
3. Identify the subject matter and content of specific examples art.
4. Enumerate the sources of the subjects of some of the most recognizable works of art in
Philippine art history.

Activity:
Look for the painting entitled “Spolarium” by Juan Luna. List down everything that you
see within the four corners of the work. List as many as you can. Based on your findings, write
an assumption about what the painting means.

INTRODUCTION

One of the major hurdles that spoils an individual’s engagement with an artwork is the
notion that in order to appreciate it, one must be able to extract a specific image, isolate the
artist or maker’s intention and unearth a particular meaning. Failure to do so automatically
implies a failure of comprehension and therefore, failure of the experience.
The primary stage of engaging with art is its perception. For most art forms, the beginning
of engagement is through looking at the artwork. However, like any tool, it is but one component.
What makes the difference is the awareness in the process of looking subjectivity is essential in
navigating through the artwork. Subjectivity is illustrated in the way that selective perception
renders one or two details more prominent than others, prompting the viewer to focus on some
details as essential or standout. His education, background, and his exposure to varying contexts
contribute to what information is taken in and how they are interpreted.
There are clues that mediate between the artwork and the viewer. These clues are the
basic components of a work of art. Subject refers to visual focus or the image that may be
extracted from examining the artwork. Content is the meaning that is communicated by the artist
or the artwork. Form is how the elements and the medium or material are put together. In
simpler terms, the subject seen as the “what”; the content is the “why”; and the form is the
“how”.

Types of Subject

Portraits such as the “Mona Lisa” are good examples of what is called representational art.
These types of art have subjects that refer to objects or events occurring in the real world. Often,
it is also termed figurative art, because as the name suggests, the figures depicted are easy to
make out or decipher. It is clear that the painting is of a woman that is realistically-proportioned;
only the upper torso is shown; a beguiling and mysterious smile is flashed; and that the
background is a landscape – probably a view from a window. Leonardo da Vinci alternates
between applying dabs of paint on the canvas and looking at the sitter in order to capture her
features for the portrait.

The works of Jackson Pollock, who is known for his “action paintings,” are often subjected
to these remarks of a painting that has nothing in it but continuous drips of paint or splotches of
colors. Using large scale canvasses that were usually laid out on the floor or resting on a wall,
Pollock tilted his paint can and allowed paint to drip. Assisting it with movement, he used other
implements such as hardened brushes, knives, sticks and trowels to add detail, texture, and
dimension to his paintings. There were no clear figures that jot out from the canvas; there were
only drips and splashes. This kind of work can be subsumed under the category of non-
representational art. It is also often termed non-figurative art. No n-representational art does
not make a reference to the real world, whether it is a person, place, thing, or even a particular
event. It is stripped down to visual elements such as shapes, lines, and colors that are employed
to translate a particular feeling, emotion, and even concept.

It is in this light that representational works are often favored because they are easier to
recognize. However, it is not simply an issue of assumed preference; rather, it cuts across matters
relating to prevailing themes, norms, and practices of specific historical moments.

Non-representational Art and Abstract Art

One source of confusion is the notion that non-representational art is the same as abstract
art. This is essential to discuss because it introduces the fact that representational art and non-
representational art is not a clear-cut divide; rather, they exist in a spectrum. An abstract work
of Pablo Picasso is a great example to illustrate this. Even with the abstraction of the image, his
work is arguably representational.
As a guide, an artwork, depending on the degree of distortion or abstraction m may be judged as
leaning more toward one over the other. Abstract art is in itself a departure from reality, but the
extent of that departure determines whether it has reached the end of the spectrum, which is
non-representationality - a complete severance from the world.

A proponent of non-representational art was Russian artist Vasily Kandinsky. Although his
chosen art form was paintings, he likened non-representational art to music, art form that he
was also very keen to. He alludes to the sounds and spiritual experiences that music makes
possible in his paintings. It is therefore not surprising that a lot of his paintings are inspired by
music and are titled as impression, improvisation, and composition.

Sources and Kinds of Subject

In discussing the sources and kinds of subjects in artworks, a good starting point is of course, the
nature

There is nothing more rudimentary than human interaction with the physical world around
the earth. Artist throughout history have explored diverse ways of representing nature: from
plants to animals; the qualities of bodies of water and the terrain of landmasses; and even the
perceivable cycles and changing of seasons. Often, these depictions are seen as expressions of
the sacred or the profane, sired by reality or supplemented by the artist’s imagination. One artist
who was attuned with nature was Vincent van Gogh. He saw art and nature as inseparable, often
finding solace and happiness in painting in it (working in the middle of unspoiled fields) and
painting from it (landscapes). In a letter to his brother Theo, he wrote”…if I felt no love for nature
and my work, then I would be unhappy.”

Other artists to be considered are Monet, Camille Pissarro, Paul Cezanne, and JMW Turner.
In the Philippines, National Artist for Painting Fernando Amorsolo and Fabian de la Rosa gained
prominence from their painted rural scenes such as women in the fields gathering harvest.

Another point to consider as a source is Literature. Greek and Roman mythology were also
ripe with references: from episodes that transport the viewers to heroic encounters of Achilles
and Aeneas; warnings about man’s folly like the vanity of Icarus; the wit and cunning of Odysseus
; the beauty of Aphrodite and the athleticism of Myron. From narrations in literature, artists on
the other hand, gave faces to the Greek and Roman deities or the gods and goddesses whose
fates are seemingly as tragic as those of men. Some of the art forms they took on were wall
paintings or frescos and sculptural works such as busts, statuaries, and ceramics and pottery,
among others.

Religion and belief as source of subject is an integral aspect of human life in the distinct
relationship with a higher controlling power. If the belief system of the Greeks and Romans was
polytheism with a multitude of gods and goddesses, the Judeo-Christian tradition stems from a
belief in a lone creator of the universe or what is called monotheism. This tradition had an
immense influence in western civilization especially in art. Guided by host of styles and
techniques, various media and art forms were also experimented with: paintings, frescos, church
architecture (plan of the space, stained glass windows, tabernacles, and altars) icons , and other
carvings, vestments, tapestry, illuminated manuscripts, and other sacred scriptures among
others. Commissioned by Pope Julius II, the intricate fresco that lines the Sistine Chapel was
created by Michelangelo from 1508 to 1512.
Gothic churches were characterized by three things: soaring heights(ceilings),
volume(flying buttresses and ribbed vaults), and light (stained glass windows, airy and pleasant
interiors) perceiving the majesty and power of God. And all of which happened during the time
when religion was at the heart of everyday life and echoes the belief that “art was central to
religious experience.”

Another point to consider as a source is History and significant events. Historically significant
events particularly in the affairs of humanity are abundant references for art production from
the discovery of fire and the overthrow of geocentric theory in favor of a sun-centered universe,
succeeding advancement brought about by discovery, innovations], and man’s incessant search
for glory plotted a dynamic course of history.
History, as a source for artist in search of subjects, brings into consideration events that are
familiar and sometimes even common or shared in world context: the establishment of nations
and states (discovery, conquest , and colonization), resulting ideologies that they breed
(democracy, liberty, freedom ,and rights), documentary and commemorative artwork( important
leaders and figures).
During the Spanish colonial period in the Philippines, art was predominantly
representational. During the first century of their dominance, art came as an aid for
communication – a means of propagating religion to locals who spoke a different language. Visual
arts from paintings to early sculptures such as santos and other votive figures and icons, were
created to assist Catholic ministry. Of interest was the increase in demand for commissioned
portraits (of an individual or an entire family) from these wealthy ilustrados families to document
themselves in the light of their elevated status. Here, it is evident how during the Spanoish
colonial period, the subjects of artworks, even the manner in which they are translated were
mostly dictated by the patrons who commissioned them for religious and secular arts.

Content in Art

The subject may simply be referred to as the “what” – what is readily seen and relate to the
artwork, its inspiration, and the many kinds of translation. But apart from what is made explicit,
to recognize and grasp, the viewer may sometimes need to go beyond what is visible. Why was
the artwork created in the first place? When this question is asked, we are after the meaning or
message that is expressed or communicated by the artwork.

In understanding the content of art , there are various levels of meaning. The most
common is what we call factual meaning. This pertains to the most rudimentary level of meaning
for it may be extracted from the identifiable or recognizable forms in the art work and
understanding how these elements relate to one another. Conventional meaning on the other
hand, pertains to the acknowledged interpretation of the artwork using motifs, signs, symbols,
and other cyphers as bases of its meaning.

When looking at a particular painting for example, perception and meaning are always
informed (and even colored) by a manifold of contexts: what we know; what we learned; what
we experienced; and the values we stand for it. It is therefore expected that the meaning may
not be singular; rather, a painting may communicate multiple meanings to its many viewers. This
is what we call subjective meaning of art. Michelangelo’s “Creation of Adam” can be read using
various levels of meaning previously discussed. (Present the “Creation of Adam” for discussion)

Note: Topics presented are excerpts from the book “Art Appreciation” by Bernardo Nicolas
Caslib, Jr., Dorothea C. Garing, and Jezreel Anne R. Casaul
 WORKSHEET NO. 4

Answer the following questions as precisely yet as thoroughly as possible.

1. What are the hurdles of accessing art in terms of its subject and content?

2. Where do artists source their subject? Elaborate and give an example.

3. Name an example of an artwork and speculate on the content of the artwork based on its
factual, conventional, and subjective meanings.
 MODULE 5

ARTISTS AND ARTISANS

Objectives:

By the end of the lesson, the students should be able to:

1. Outline the history of the emergence of artists and artisans.

2. Recognize and critically discuss the function of state sponsorship in the field of arts and culture
through the National Artist Award and the Gawad sa Manlilikha ng Bayan (GAMABA).
3. Identify and define the different individuals and groups who take on varied roles in the world
of art and culture.
4. Classify the practices of artists in terms of form, medium, and technique.

Activity:
Answer the following questions;

1. What art form can you most relate to and appreciate. ( architecture, sculpture, painting, etc.)

2. Name an artist whose works you really like.

3. Is there a particular work of art created by him or her that you relate to and apptreciate? What
is it and why?

INTRODUCTION

In the advent of technology, it is remarkable what has now been made possible. There is a
nagging fear that soon everything may very well be replaced by computers and robots that can
arguably do things with more precision, at a shorter amount of time and less capital in long term.
This nihilist notion is contested by what are arguably the most resilient qualities of man, which is
his creativity and imagination. And as long as there is a cultivation of both these qualities, no
robot or artificial intelligence can replace man just yet.
According to Robert Henri’s “The Art Spirit” (1923), “Art when really understood is the
province of every human being. When the artist is alive in any person, whatever his kind of work
may be, he becomes an inventive, searching, daring, self-expressing creature. He opens ways for
a better understanding, where those who are not artist are trying to close the book he opens,
and he shows there are more pages possible.”

The Artists

In Peter Drucker’s seminal book Post Capitalist Society, he stated that “the real controlling
resource and the absolutely decisive factor of production is neither capital not land nor labor. . It
is knowledge. Arguably, one type of knowledge that fuels the twenty-first century is creativity.
This is evident in the recognition that professionals in the creative sector are integral drivers and
movers in society and an integral segment of this sector are artists. But who are they?
Artists have treaded a long history and the significance of not only the discovery of cave
paintings but also the paintings themselves. These first artist invented a way to get the three-
dimensional world into two dimensions and attach value to their own ideas. And all of the history
of art flows forth from this invention. Out of the shadows of these caves, astounding headway
was seen moving down history from Bronze Age down to the Middle Ages in terms of how man
continued to utilize his surroundings to create varying expressions of his ideas and feelings.
Early on, artists were embedded in the development of culture, and in turn, art was
nurtured by the varying cultures in which it existed. Seen every day, the interaction with these
objects was intimate in the sense that their presence was experienced in a multitude of ways and
in all of the affairs of man: ornamentation in tools and other surfaces, weaving patterns in
textiles, visual features and the design/plan for architectural structures and the ritual and burial
implements, among others.
It was in this light that artists worked and most of the time, the products were considered
not as artworks at all but rather as craft or placed under some other category. It did not take long
before this changed.

The Artisan and the Guild

Museums are packed with numerous artifacts and interesting objects from all over the world
that have surv9ived centuries for us all to see. Magnificent structures that are often appreciated
not only for the historical significance but more so for their aesthetic characteristic that render
them unique, become tourist destination for those who wish to explore and see the remarkable
façade, interior, and even the minutest of details up close. Perhaps what made the difference
was the materials, medium, and the principles behind the process of their creation and also the
emergence of technology and knowledge in managing and conserving all of these objects and
structures.
Gothic cathedrals and other megastructures that were built all over Europe during the
Middle Ages were built by craftsmen and builders who did not have sophisticated technologies
and principles that architect and engineers abide by today. Yet they fulfilled overlapping roles
such as the draftsman, architect, engineer, and even the builders. What they had was a sense on
how the materials behaved, how the environment, light, and weather patterns affected
structures, and other more intuitive principles of creation.
What is meant here is a kind of formalization of craft education in which regulation was
not set in place. Here, skills qualification was needed for an apprentice to register under a
particular craft guild. These guilds were prevalent during the Middle Ages, where towns had
formalized groups of artisans or craftsmen who took on a particular specialization or trade:
shoemaker, textile and glass workers, carpenters, carvers, masons, armorers, and weapon
makers. Here, the practice of artists was not grounded on the idea of individual capacities or
success; rather, in the commitment to work together as a collective. Guilds were a type of social
fellowship, an association structured with rules, customs, rights, and responsibilities. With a
lifetime commitment to a particular trade, an artisan develops immense skill and expertise in his
craft.
A master artisan or crafts man would then be open to hiring apprentices who would be
under his tutelage and instruction. In these guilds, artistry and technology flourished under one
roof.
Although the timeline is a bit skewed, the culture of artisans became prevalent in the
Philippines as well, particularly during the Spanish colonial period. The existence of artisans
proved to be of immense use both for religious and secular art. Spanish friars commissioned a lot
of artisans to carve, paint, and engrave images for churches and public sites. Each locality had a
characterizing style or feature in the way their depictions were made; the manner in which
Boholano would paint saints and scenes different from those of Rizal or in Laguna. Baroque
churches benefited from the talent of these artists. Spanish colonial churches were also lined
with frescos and ceiling paintings, with a number of them undergoing restoration in the early
1900s.
From the church, the next patrons of the art were the then new elite , the ilustrados or the
middle class along with foreign guest who wanted souvenirs to take along with them. Two
important genres for painting at that time were the tipos del pais and letras y figuras. The former
was watercolor paintings that showcased the different local inhabitants of the country in
different garbs, and the latter combined the principle of tipos del pais and incorporated it as a
means to illustrate the letters of one’s name or surname.

The Artist and His Studio

Before the Renaissance Period, artwork were left unsigned. Artists claiming authorship for
their works by affixing their mark onto the surface of their paintings were a big milestone in the
history of the artist. The site that saw this shift was a very personal space for the artist himself,
which is the studio. Today, artist studios have been a place of interest for the public. An artist
studio is an extension of the artist himself. Therein, artist flexed their relationship with their
patron as a site where negotiations and works were made. These work stations were segmented
into two, the studiolo and the bottega; the latter is where the work usually happened.
In France, on the other hand , academies and art salons became popular as they did not
only support the production of art but also the discourse around them. Criticism and analysis
were highlighted as i9ntegral aspects of art engagement and therefore the display of the
artworks through official art salons was sought for. Toi be included in the exhibition was deemed
an honor, especially since it did not take a while before it was considered an arbiter of standards
and taste.
During the latter part of the 1800s, artists began to question the merits of stringent artistic
training and education, but it was during the 1900s that art was truly liberated from the traditions
of the past. Perhaps, it was then that artists found freedom to articulate their distinct aesthetic
way of creative production.

Other Players in the World of Art

Since the beginning of art, history have been properly dealt with – ascribed with a name –
and legitimized into a sophisticated network of relationships and exchanges. This network is what
we call the art world.
There is an assumption that an artist works in solitary; that the only time the external world
is allowed in would be when the work is displayed and when in circulation., This would
necessitate the seemingly central position that the artist enjoys in the grand scheme of art
experience. Although a popular opinion still, it has considerably waned, with the emergence of
another art player as a super power – the curator.
The terrain where art is distributed is a global network comprised of individuals, groups,
and institutions such as schools, museums, galleries, art spaces, auction houses and other
commercial market platforms and professions.
 A curator, on the other hand , is one of the most elusive of roles to pin down. Generally, the
role of the curator is more of the interpretation and development of the artwork(s) or the
collection(s) through establish9ingthe significance, relationship, and relevance of these materials
in isolation and / or as part of a wider narrative. Some of the roles expected of curators are the
ability to research and write, as an arbiter of design and layout, and deciding for the display and
hanging of materials for exhibition.
If curators are the hardest to define, it is the buyers and collectors who are construed as one
and the same, but separately taken are probably the easiest to qualify. Buyers are those who
initially assess and survey the artwork that collectors are interested in. It is their role to oversee
the sale of the artwork, on behalf of the collector who may either be too busy or would rather
keep his identity hidden. Patrons or buyers and collectors are those who acquire and purchase
artworks for variety of reasons: for the appreciation and enjoyment of art; for the scholarship
and education opportunity it may provide; for investment; lifestyle, among others. A key player
in making or breaking an artist’s career or shaping the course of a museum’s collection (through
pledges of support and donation).
Art dealers on the other hand, are those whose direct hand is in the distribution and
circulation of the artworks through a variety of means, such as direct sales, through galleries ,
and the more recent player in the Philippines, auction house. It is important to note the major
difference between museum and galleries. They behave in different ways. The most substantial
demarcation that separates one from the other is the ethics that admonishes museums from
entering into the more market aspect of the art world. What this means is that museums involve
themselves in the sale of artwork. The predominant role that museums are mandated to fulfill is
the display of artworks for education of the public and the appreciation of these objects only,
both in isolation or as part of a collection.

MEDIUM AND TECHNIQUE

Medium is the mode of expression in which the concept, idea or message is conveyed. It may
be concrete or tangible, such as paintings, sculptures, monuments, and structures; or it maybe
ephemeral or something transient, such as a track (recording of sound), a film, or a performance.
For concrete works, the objects physically manifest themselves for a prolonged or lasting period.
For ephemeral works, on the other hand, it is durational.
The technique of the art work shows the level of familiarity with the medium being
manipulated. It alludes to the necessity of additional tools or implements (e.g., hammer or chisel
may come in handy foe sculptors), or consideration of time (e.g., behavior of different kinds of
paint especially in drying time requirement), and the specificity of the site of creation (e.g., indoor
or outdoor production requirement).

ENGAGEMENT WITH ART

The art exhibition, by nature, holds a mirror up toi society , reflecting its interests and
concerns while at the same time challenging its ideologies and preconceptions. Keeping art
relevant to society and to a diverse audience at any given point in history is one of the main goals
of the art exhibition and one of the reasons it is so important to the history of art. Therefore, it
is apparent that exhibitions are not only of importance to artists who rely on its being, but more
so to the varied audiences who get to see them.
One of the most common platforms to engage with the art is through exhibitions either at
museums or galleries. Exhibitions may be long-term or permanent hangs, or it may be temporary
or periodically changing. Aside from exhibitions, other opportunities for art engagement
transpire in the classroom ( instruction); studio visits; lectures, workshops, and other evnts that
augment the exhibitions (programs).

AWARDS AND CITATIONS

After an artist has spent considerable time in honing his skills, establishing the relevance of
the body of his works, and even gaining respect from his colleagues in the art world, he may be
considered or nominated for awards and citations. The two major awards given to artist in the
Philippines are the Orden ng Pambansang Alagad ng Sining ( Order of National Artists) and
Gawad sa Manlilikha ng Bayan (National Living Treasures Award).
The conferment of the Order of National Artists is the “highest national recognition given to
Filipino individuals who have made significant contributions to the development of Philippine
arts; namely, music, dance, theater, visual arts, literature, film, broadcast arts, and architecture
and allied arts. The very first recipient of this award was painter Fernando Amorsolo, who was
touted as the “Grand Old Man of Philippine Art”. He was the sole awardee in the year 1972, a
National Artist for Visual Arts.
The Gawad sa Manlilikha ng Bayan (GAMABA) or the National Living Treasures Award was
created in 1992 under R>A> No. 7355. It was first conferred to three outstanding artists in music
and poetry back in 1993. They are Ginaw Bilog, a master of the Ambahan poetry; Masino Intaray,
a master of various traditional musical instruments of the Palawan people; and Samaon Sulaiman,
a master of the kutyapi and other instruments.
Some of the incentives accorded to the awardee are the following: 1. A specially designed
gold medallion; 2. An initial grant of P100,000.00 and a P10,000.00 monthly stipend for life (was
later increase to P14,000.00); benefits such as a maximum cumulative amount of P750,000.00
medical and hospitalization benefits; and funeral assistance or tribute fit for a National Living
Treasure.

Note: Topics presented are excerpts from the book “Art Appreciation” by Bernardo Nicolas Caslib
Jr, Dorothea C. Garing, and Jezreel R. Casaul
 WORKSHEET NO. 5

Answer the following questions as precisely yet as thoroughly as possible.

1. What do you think is the role of the artist in the twenty-first century society?

2. How relevant still are the awards National Artists and GAMABA, not only to the art world, but
also to the Filipino society as a whole?

3. What can you say about the state-sponsored recognition for artists and cultural workers?
What do you think are some of the considerations that must be addressed with regards to
these?
 MODULE 6

ELEMENTS AND PRINCIPLES OF ART

Objectives:

By the end of the lesson, the students are expected to:

1. Enumerate the different elements of visual and auditory art.

2. Differentiate the principles of art.
3. Explain the relevance of the elements and principles of art in the study of art and its products
4. Illustrate examples of hybrid art and dissect what art forms are combined therein.

Activity:

Choose /draw a poster of your favorite food chain. Below, redesign the poster of your
favorite food chain. Which do you think allows for a better view?

INTRODUCTION

In the previous module, it was mentioned that arts have a specialized language. And to be
able to understand this language, the familiarity with some of the elements and principles that
make it legible is required.
This module endeavors to take art and break it into its smaller parts. Like a scientist who
takes a splice or a sample anjd places it under a microscope, this module will allow for a better
view, not of the final picture; rather, the parts that complete it.

ELEMENTS OF ARTS: VISUAL

Taken off from the scientific reference, elements of art are akin to the atoms that are
defined as the units or “building blocks” of matter. In the same line of reasoning, the elements
of art are the aspects of an artwork that can be isolated from each other. These elements of art
are generally produced when something is done to the medium after the technique is carried
out. It must be underscored, however, that all works of art require all elements to be present.
Elements are the necessary preconditions for the creation of art.

The elements of art and design are the following: line, shape and form, space, color, and
texture

1. Line
A line refers to a point moving at an identifiable path – it has length and direction. It also
has width and is one- dimensional, however, it has the capacity to either define the perimeters
of the artwork (edges) and/or become a substantial component of the composition. Its
orientation /direction, shape, and thickness import not only the visual elements into the artwork,
but suggest meaning or message being conveyed by the artist. Example: “Todos juntos Podemos
parar el sida” (Together We Can Stop AIDS) by Keith Haring.

A quality that is ascribed to lines is its ability to direct to follow movement or provide hints
as to a work’s focal point. There are different images of lines:
a. Horizontal and vertical lines - refers to the orientation of the line. Horizontal lines are
normally associated with rest or calm. Landscapes often contain these elements and often
connotes a visual sense of being parallel to the ground. Vertical lines connote elevation or height,
which is usually taken to mean exaltation or aspiration for action. Together these lines
communicate stability and firmness.
b. Diagonal or crooked lines – diagonal lines convey movement and instability, although the
progression can be seen. Crooked or jagged lines are reminiscent of violence, conflict or struggle.
c. Curved lines – these are lines that bend or coil. They allude to softness, grace, flexibility,
or even sensuality.

Lines may not necessarily be explicit or literally shown. Implied lines may be just as powerful,
if not more. One of the most important Spanish artists is Francisco de Goya. Known for his prints,
he is master of etched works and use of aquatint. He made use this medium to articulate his
political views about the ills of society. Example: “Porque esconderios?” (Why Hide Them?) by
Francisco de Goya.

2-3. Shape and Form – These two are related to each other in the sense that they define the
space occupied by the object of art. Shape refers to two dimensions: Height and width, while
form refers to the three dimensions: height, width, and depth. Even if shapes are part of a bigger
picture, each can be identified by breaking the visual components apart and making distinctions
based on what we know and what we have seen. Two categories can be used as a broad
distinction:
a. Geometric - these shapes find origin in mathematical propositions. As such, its translation and
use are often man-made such as squares, cubes, triangles, cubes, circles, spheres, and cones.
b. Organic- organic shapes are those readily occurring in nature, often irregular and
asymmetrical.

Shapes may also be implied. For instance, Raphael’s famous painting “The Madonna of the
Meadows” depicts three figures. The position in which the group takes allude to a triangular
shape reinforced by the garb of Mary.

4. Space – Related to shape and form is space. It is usually inferred from a sense of depth,
whether it is real or simulated. Real space is three- dimensional and sculptures are a perfect
example of artworks that bear this element.
However, not all works are sculptures. In two- dimensional artworks, they m be implied.
a. Positive and negative space- usually identified with the white space is the negative space. The
positive space, on the other hand, is where shadow is heavily used.
b. Three-dimensional space- can be simulated through a variety of techniques such as shading.
An illusion of three-dimensionality can be achieved in a two -dimensional work.

5. Color - Colors perhaps one of the elements that enhances the appeal of an artwork. Its effect
has range, allowing the viewer to make responses based on memory, emotion, and instinct,
among others. This element is a property of light, as it is reflected off the object. Color is not
intrinsic to an object and without light, one cannot perceive color. A ray of sunlight passing
through ba prism reveals an array of colors akin to that of a rainbow.
The color wheel corresponds to the first property of color, hue.

a. Hue – this dimension of color gives its name. It can be subdivided into:
* Primary colors – red, yellow, and blue
* Secondary colors – green, orange, violet
* Tertiary colors – six in total, these hues are achieved when primary and secondary colors
are mixed.

b. Value – this refers to the brightness or darkness of color. Used by artist to create an illusion of
depth and solidity, communicates a feeling or establishing a scene (e.g. day and night)
* Light colors – taken as the source of light in the composition
* Dark colors – the lack or even absence of light.
* Tint – this is a lighter color than the normal value (e.g. pink for red)
* Shade – this is the darker color than the normal value (e.g. marron for red)

c. Intensity – this is the color’s brightness or dullness. It is identified as the strength of color,
whether is vivid or muted.
* Bright or warm colors – positive energy
* Dull or cool colors – sedate/soothing, seriousness or calm.

6. Texture – Like space, texture can be either real or implied. This element in an artwork is
experienced through the sense of touch (and sight). This element renders the art object tactile.
Often, texture is commonly associated with textiles.

a. Texture in the two- dimensional plane - By creating this visual quality in the artwork, one can
imagine how the surface will feel if it was to be touched. Some of the words used to describe
texture are the following: rough or smooth, hard or soft, hairy, leathery, sharp, or dull, etc.

b. Surface texture – refers to the texture of the three-dimensional art object.

Planes and Perspective

Picture plane is the actual surface of the painting or drawing, where no illusion of a third
dimension exists. Here the elements lay flat, as if one was looking through a window into what
lies on the other side of the glass.
During the Renaissance, specifically in the fifteenth century, chiaroscuro was developed. It
made use of light and dark contrast and tones in which paintings not only looked three-
dimensional, but also more dramatic. Linear perspective changed the way pictorial
representation was done.
a. As forms and objects recede, the smaller they become.
b. We were taught that parallel lines never meet. However, when they, too, seem to
converge when they recede into a distance, at a point, they both disappear. This point of
disappearance is called the vanishing point.
An example often used to illustrate linear perspective is the railroad where tracks
disappear off at a distance.

There are three types of perspective, grounded on the number of vanishing points used
by the artist:
 a. One-point perspective – often used in depicting roads, tracks, hallways, or rows of
trees; these type of perspective shows parallel lines that seem to converge at a specific and lone
vanishing point, along the horizon line.
b. Two-point perspective – pertains to a painting or drawing that makes use of two
vanishing points, which can be placed anywhere along the horizon line. Often use in depicting
structures such as houses or buildings that are viewed from a specific corner.
c. Three-point perspective – in this type of perspective, the viewer is looking at a scene
from above or below. As the name suggests, it makes use of the three vanishing points, each
corresponding to each axis of the scene.

ELEMENTS OF ART: AUDITORY

Together with literature, music as an art form is classified as auditory art. However, some
would argue that it is under the broad category of performance art. Either way, music, much like
visual arts, has its own building blocks or elements.
Music is sound organized in a specific time. It is considered an implement to cultural activities,
answering a specific role or function. Singing or dancing to music was also often included in
opportunities for members of society to gather and interact. Some are adept with the skill and
sense to produce music, while others consume it as listeners, audiences, and even performers.
Some of the common elements of music are the following:

1. Rhythm – often associated with the term beat, meter, and tempo. It is the element of music
that situates it time. It is the pulse of the music. Beat is the basic unit of music, while tempo refers
to the speed (beast/second). Beats can be organized into a recognizable pattern, which is called
the meter.
Classical terms used to refer to the variations in tempo, some of which are:

Largo – slowly and broadly

Andante – Walking pace
Moderato – at moderate speed
Allegro – fast
Vivace – lively
Accelerando – gradually speeding up
Rallentado - gradually slowing down
Allargando – getting slower, broadening
Rubato – literally “robbed time” rhythm is played freely for expressive effect.

2. Dynamics – The element of music that refers to the loudness or quietness of music is
dynamics. Classical terms used to refer to the different levels pertaining to this:

Pianissimo (pp) – very quite

Piano (p) – quite
Mezzo-piano (mp) – moderately quite
Mezzo-forte (mf) – moderately loud
Forte (f) – loud
Fortissimo (ff) – very loid

Crescendo – increase in loudness

Decrescendo – decrease in loudness
3. Melody - Refers to the linear presentation (horizontal) of pitch. By horizontal, it means that in
musical notation, it is read in succession from left to right. Pitch is the highness or lowness of
musical sound.

4. Harmony – If melody is horizontal, harmony is vertical. It arises when pitches are combined to
form chords. When several notes are simultaneously played, this refers to chord.
Harmony can be described in terms of its “harshness”: dissonance is the harsh-sounding
combination while consonance is the smooth -sounding combination.

5. Timbre - Is often likened to the color of music. It is a quality that distinguishes a voice or an
instrument from another. Dependent on the technique, the timbre may give a certain tone or
characteristic to music, much like how a painter evokes different effects or impressions onto the
canvas.

6. Texture – The number of melodies, the types of layers, and their relatedness in a composition
is the texture of music. It may be:
a. Monophonic – single melodic line {acapella)
b. Polyphonic – two or more melodic lines. (partner or round song) Row, row, row your boat
and Are you sleeping. Ako kini si Angi and Leron, Leron Sinta.
c. Homophonic – main melody accompanied by chords. (Song with accompaniment)

Principles of Art

If the elements of art were like the letters (i.e., combining these letters will form words,
phrases, and sentences), then the principles of art would perhaps be the closest to the rules of
grammar and composition. Learning these principles will open vast possibilities for the novice
looker to have a more pleasurable experience of art. It will provide explicit ways in which these
elements are used , manipulated, interact, and inform the overall composition of the artwork to
assist the artist in conveying his intention. These principles are: balance, scale and proportion,
emphasis and contrast, unity and variety, harmony, movement, rhythm, and repetition and
pattern.

1. Balance – This principle refers to the distribution of the visual elements in view of their
placement in relation to each other.

3 Forms of Balance:

1. Symmetrical – the elements used on one side are reflected on the other. This offers the most
stable visual sense to any work.
2. Asymmetrical – the elements are not the same (or of the same weight) on each side putting
the heaviness on one side.
3. Radial – there is a central point in the composition, around which elements and objects are
distributed.

2. Scale and Proportion – Scale pertains to the size in relation to what is normal for the figure or
object in position. (e.g. “Plaintor” (2001) by Claes Oldenberg and Coosje van Bruggen)
 Proportion, on the other hand, is the size of the components, or objects in relation to one
another when taken as a composition or a unit. This can also refer to values such amounts or
number of elements or objects in the composition. (e.g. “Vitruvian Man” by Leonardo Da Vinci)
In which the human body is an example of a classical proportion in architecture. For Da Vinci,
man’s body can be used to better understand the symmetry that exists in nature and the
universe.

3 -4. Emphasis and Contrast – Emphasis allows the attention of the viewer to a focal point(s),
accentuating or drawing attention to these elements or objects and can be done through
manipulation of the elements, especially that of contrast.
Contrast is the disparity between the elements that figure in to the composition. One object
may be made stronger compared to the other objects (hence emphasis). The use of negative and
positive space is an example of contrast and also the use of complementary colors in the work of
art.

5 -6. Unity and Variety – Compositions are intended to imbue a sense of accord or completeness
from the artwork. This is unity. Variety, on the other hand, is the principle that aims to retain the
interest by allowing patches or areas that both excite and allow the eye to rest.

7. Harmony – Unity and variety is related to the principle of harmony, in which the elements or
objects achieve a sense of flow and interconnectedness.

8. Movement - This refers to the direction of the viewing eye as it goes through the artwork,
often guided by areas or elements that emphasized. These focal points can be lines, edges, shape,
and color within the work of art.

9. Rhythm - This is created when an element is repeated, creating implied movement. Variety of
repetition helps invigorate rhythm as depicted in the artwork.

10 – 11. Repetition and Pattern - Lines, shapes, colors, and other elements may appear in an
artwork in a recurring manner. This is called repetition. In addition, the image created out of
repetition is called pattern.

Combined or Hybrid Art

Looking at the elements and principles of art previously discussed, it is apparent that an art
maybe defined under strict lines that separate one art form or style to another. In a broad sense,
it is easy to decipher visual arts from auditory arts. The idea of a single-medium-based art seems
like a strange past that no longer holds in an interdisciplinary reality we live in.
In contemporary art, these developments were mirrored in the multifaceted nature of
artworks that were created. It is not surprising that themes, subjects, and the problematique
addressed shaped and produced new kinds of articulation in which two or more art forms and
styles are combined. Some examples or combined arts include dance, theater, installation art,
film, video art, documentary, photography, puppetry, design, and other forms of production. In
combined arts , the artist is challenged to deconstruct an idea or stimulus, from which the
content, narrative, technique, art forms, and styles will take form. A clear example of combined
art is a theatrical performance that taps into many art forms such as music, 2D and 3D art,
literature, lighting, and set design, among others.
 Another movement that is reminiscent of the motivations of the Renaissance, and whose
emergence is hinged on the frontiers of science and technology, is called hybrid arts. Referencing
and trapping into the fields of robotics, artificial intelligence, biotechnology, natural and
computer science, telecommunications, information, digital media and interface technologies,
artists whose works tread under this movement disrupt the norms in terms of what is considered
as art, and even the way people envisage artistic production. Hybrid Arts are driven by the
expansion of the imagination and what is possible through the “blistering pace of scientific and
technological development.” At its heart is an inquiry – and through information and data, the
capacity of the artist to move around platforms, and the implementation and manipulation of
newfound tools in production, the artist is able to address that inquiry.

Note: Topics presented are excerpts from the book “Art Appreciation” by Bernardo Nicolas
CaslibJr., Dorothea C. Garing, and Jezereel R. Casaul
 WORKSHEET NO.6

Answer the following questions as precisely yet as thoroughly as possible.

1. What are the elements of art? Describe each briefly.

2. What is the relevance of combined arts and hybrid art in the twenty-first century?

3. Differentiate combined arts and hybrid art briefly.