Republic of the Philippines

BATANES STATE COLLEGE

Basco, Batanes

Art Appreciation

CHAPTER 3
Work of Art: Its Subject, Form and Content

I. Lesson Overview
Subject, form and content are considered the essential components in the
creation of art. These are inseparable components such that is would be difficult to
dispense the other when an artist plans for his next work. In general terms, subject is
the component that seek to answer the “what” (topic, image, focus) of the artwork.
Form, on the other hand, is answering the “how”, which suggests the artist strategies
in term of development, composition, and substantiation. Finally, content is the
component that expounds on the “why’s” of an artist. This seeks to describe the
artist’s ability to communicate his conscious and unconscious intentions,
meanings/rootedness and context (Ocvirck, Stinson, Wigg, Bone, & Cayton (2013).
In this chapter, you will explore the world of arts in its process of creation through
subject, form and content.

II. Intended Learning Outcomes

At the end of this module, you should be able:
1. Differentiate the components of creating a work of art such as subject, form
and content;
2. Classify artworks according to their categories of subjects, form , and content;
3. Analyze how artists convey their artworks in relation to the real-world
counterparts;
4. Characterized sources and kinds of arts and
5. Use the sources of arts for possible artistic and creative pursuits.

III. Learning Contents and Activities

1. Subject
The choices for subjects in the visual arts are endless. An artist can choose the
list of persons, objects, themes and even ideas, etc. (Ocvirk et al., 2013). When
you are confronted with an art piece, the image that you can easily identify is the
subject of the art (Ragans, 2005). There are two types of subjects of art, namely,
representational. Representational subjects are those that appear to be very much
like how people see them in the reality. In effect, they are easily and clearly
identified by the viewers and viewers and audience of the art. However, artists
have the freedom to portray these subjects in their own terms. Most of the time,
they employ abstraction, the process of simplification or alteration or
rearrangement. Abstracted subjects tend to look less like the object on which they
are based, but still discernible. However, some artists may implement extreme
forms of abstraction i.e. the subject is not anymore, a representation of a
physically identifiable subject. In this regard, the artists rely on the different
applications of the elements and principle of art rather than relying on
representing the actual physical image of the subject. In some references, they are
called objective and non-objective images.

In some forms of art, like music, subjects can be representational and

non-representational. There are musicians who choose to produce music without
lyrics. In the absence of lyrics, identifying the subject will be more difficult than

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 some those with lyrics. Sometimes there may be musical material that still is
identifiable when the sounds produced mimic sounds such as those used in
meditation. Some, meditation music use the sounds of nature like flowing river,
birds chirping or leaves dancing in the air. In the course of listening to those
types of music, the subjects tends to be more abstract and that feelings or ideas
are more emphasized (Ocvirk et al., 2013).

As a viewer, you should not only go as far as identifying the subject of the
art but also, you need to examine how the artist represented the subject as well as
evaluating the rigor or expression made to the subject.

Sources and Kinds of Subjects

Just like you and everybody else, artists are also humans who go through
the struggle of knowing what to create as an art. Planning what type of subject
they would choose to recreate or represent is an immensely critical process of the
creative pursuit. Identifying subjects may sound as simple as choosing from a list
of possible subjects but this process entails complex and critical value judgments
for artists to transcend the expression or message they wish to share. In some
cases, they may require deep connections with these subjects to inspire and
motivate them. For starters, there may be a list of sources to choose from. You
may read through the following.

a) Nature

The nature and the environment

have been one of the sources of artistic
inspirations. You can derive inspiration
from the shapes and forms that the
environment can offer such as the trees,
land, desert, animals, etc. (Ragans, 2005).

Figure 1. Abercio V. Rotor. PhD.

“Two faces of Modern Art”

b) People and World Events

People is one of the most

common subjects of arts. This can be found
in individual and family portraits. Some
artists employ abstraction where human
figures or faces are unclear or distorted.
Using people as subjects can also convey
emotions much clearer than other subjects
(Ragans, 2005).

World events have been subjects of

art as well. You see these when you read the
newspapers, and flip through the editorial
Figure 2. Miguel Escobar, “Look Back at the
page. Editorial cartooning is an art that Philippine Free Press’ Marcos-Era Editorial
may express satirical versions of world Cartoons.”
events. (See Figure 2) (Ragans, 2005).

c) Myths and Legends

Myths and legends have
been one of the sources of art
among artists. They used myths

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Figure 3. SUNY One Onta. The

Parthenon: Religion, Art, and Politics
 and legends as way of visualizing the story found within them. Most common arts
related to myths and legends are popularized during the Greek Civilization
(Ragans, 2005).

d) Spiritual and Religious Beliefs

Like myths and legends, art has been an outlet for religious and faith to
come to life. For some, this is part of their culture such as in Buddhist and
Islamic nations. (See Figure 4 in Self-Learning Activity 2).

e) Ideas Commissioned by Employers

There are artists hired by employers. Like graphic designers, they create
corporate logos, brochures, restaurant menu designs and other print materials.
Interior designers and architects design homes and buildings according to the
demands of their clients (Ragans,2005).

Self-Learning Activity 1: Symbolic Drawing About the Self

You are to draw a symbol that represents yourself and the wholeness of your experiences.
Draw them on a sheet of bond paper and use colors to signify the relevance of the symbol.

Self-Learning Activity 2: Art Research

1. Research about Buddhism Culture and the artworks they have made. One example is
the following picture.
2. Look for other artworks regarding this subject matter and answer the following
questions:

2.1 How important is art in the Buddhist Culture?

2.2 What are important historical events that paved the
way to art in
Buddhist Culture?
2.3 Cite one common Characteristics/theme of Buddhist
culture and
explain why this has become the
commonality?
Figure 4. China Broadcast Company.
Influence of Buddhism in Ancient
Chinese Art. (January 10, 2017).

2. FORM/COMPOSITION
As a component of art, form is the overall organization of the artwork. It is an
outcome of the artist’s effort to use the elements of art and arrange them according to aesthetic
principles. In a more specific sense, evaluating the form of an art is similar to analyzing the
processes employed during creation. Through this, you may tend to unravel the contexts from
which the artist is coming from such as with the choices he made in terms of the material to use
or the manner by which they will be implemented (Ocvirk et al., 2013). The first aspect of form
are the elements of art and principles of design. (Elements of Art and Principles of Design will
be discussed further in Chapter 5). However, the second aspect of form is its “actual and
objective form.” This refers to the outcome and actual output of the creative process which are
2-dimensional or 3-dimensional. Modern types of form are those that are now produced by
technology or technological media (Ocvirk et al., 2013).

Two-dimensional art
This type of art begins the work on a flat surface called a plane. For painters, the blank
canvass is a plane. For students who are asked to draw, the sheet of bond paper is the plane.
While the art is 2-dimensional in form, it does not mean that it could not project a 3-
dimensional effect. In this case, there is a need to distinguish form and conveyance. The art form
is the actual appearance of the art. 2-dimensional forms, mostly drawings and paintings, are on

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a flat surface. The conveyance, on the other hand, is the manner the art, its elements and
subjects project an image or impression. Some arts only show a still image of one subject but
some other 2-dimensional arts like paintings may show some sense of distance such as the
mountain and land separated by a river. Artists may manipulate design principles to produce
images that convey not just height and width but also depth or at least the illusion of such.
(Ocvirk et al.,2013).(How to do this can be learned in Chapter 5).

Characteristics of two-dimensional art

A. It has mathematical dimension of width and height (but no depth).
B. They can be decorative spaces or plastic spaces- It is not the laymen’s definition of
decorative and plastic space. It refers to a spatial condition when elements of the art
cling to the picture plane. Plastic spaces, on the other hand, create impressions that the
elements of art can weave its way around you.
C. Plane/picture Frame-this is the defined boundary of the picture plane. This can be
interpreted as a limitation of two-dimensional artists where they are only bound to work
within the frame. They come in the form of shapes like squares, rectangles, triangles, or
circles (Ocvirk et al., 2013).

Two-dimensional Media

A. Drawings- drawing is a process of moving an instrument

over a smooth surface to leave a mark, mostly in the form
of a line. For this type of two-dimensional art, line is the
most important element. It may also be considered as the
first step in producing other type of artworks. Before
creating other forms of art or a tree-dimensional media,
sketches or drawings are one of the bases or foundations
of design. In fashion design, drawing and sketching the
silhouette of the dress is part of the design process. In
architecture or interior designs, drawings are blue-print
materials that are usually shown to the clients for
approval. Drawings can be done by pencils, crayons,
markers, pens or chalks. Drawings can have some
dynamic depth through shading techniques such as
Figure 5. “Madonna and
hatching, blending and stippling, etc (Ragans,2013).
Child”

B. Paintings- painting is an art process or media where the

artist applies colors to surfaces using paint brush, painting knives or rollers. Some artists
even use their hands or fingers to create shapes over the canvas. Paints can either be oil-
based or water-based. Oil-based paints use linseed oil as binder and turpentine as its
solvent. Some artists prefer the use of oil-based paints because they dry slowly allowing
artists to blend the colors on the canvass. Water-based paints are water-soluble media.
Common examples of them are the watercolors. It dries more quickly than oil-based
paints. Paints have been developed recently that are now water-soluble such as tempera
or acrylic paints (Ragans,2005).

Three-dimensional Art
The distinguishing factor of three-dimensional art is its
actual and real depth. Through depth, the art produced through
three-dimensional approaches can be viewed across different
angles which make the art to have more physical impact. To
appreciate this artwork fully, it is essential that you are in the
actual presence of the work. Sometimes called plastic arts (not
plastic spaces), convey message not only aesthetic (Fine Arts) but
also utilitarian (Applied Art). Architects, ceramists and metal
smiths express their art not only as a function of showing and
extracting feelings but also for actual use (Ocvirk et al., 2013).
Thirdly, this type of art can also be appreciated along the tactile
sense. It can be touched in its surfaces, in their cavities and
protuberances, such as in the case of sculptures. You can also

Figure 6. Sculpture
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 weigh them as they have mass. It also has volume where you can feel them along the
object’s borders (Ocvirk et al., 2013).
Three-dimensional Media

A. Sculpture- a type of three-dimensional art where most of the media used are clay, glass,
plastics, wood, stone or metals. Sculpting allows you and the artist to create the intended
shapes through these media. The first type is called free-standing sculpture that can be
viewed all around it. The second type is the relief sculpture that is projected into a space
from a flat surface. Usually attached to the surface, there is less likelihood to see a view
of the art from the actual back. They are usually made through the following methods
(Ragans,2005).
B. Assembling- it is the process of constructing a sculpture using different materials. It
can be a combination of wood, plastic, metal and others (Ragans,2005).
C. Modeling- it is an additive process where the artist gradually adds more of the material
to build the form (Ragans,2005).
D. Carving-it is a subtractive process where the sculpture removed, cuts, chips, or drills
parts of the sold mass to create the form (Ragans,2005).
E. Casting- it comes in the manipulative process where materials like soft pliable materials
are made into shapes using manual hand force or machine manufactured force
(Ragans,2005).
F. Crafts- These are three-dimensional crafts that have utilitarian intentions. Usually
crafts made with functions are baskets (mentioned in Chapter 10), plates, cups, vases,
jars, kitchen utensils and even jewelry (Ragans,2005).

Figure 7. Assemblage Sculpture Figure 8. Chines Carving of Jade

Stones

Figure 9. Wax Casting Shapes into a metal

Mold.

G. Architecture
Shelters, buildings, monuments and religious shrines (found in Chapter 11) are
some of the few by-products of architecture. It is the process of planning,
creating/building, monitoring and retrofitting infrastructures to give humans and other
life forms safe spaces (Ragans, 2005).

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Self-Learning Activity 3: Neighborhood Tour
Take a tour in your neighborhood and look for infrastructures that need improvement. Get a
picture of that infrastructure and list the things that you believe will require changes or
improvements. From the list of improvements, choose (1) and draw the face of the building
where you intend to place the improvement. You may only draw. No need to add colors.

Technological Media
Technological advances have paved the way for arts and the process of making one to be
more accessible for consumers. It also allowed people to tap more into their artistic side to
create their own version of art forms. They are Photography, Film, Video and Computer Art
(Ragans, 2005).

Photography
This is a technique of “capturing optical images on light-sensitive camera.” Done
through the camera, photographic media have improved not only as a method to capture
moment but now done as a method to convey art. The first camera ever recorded in the history
was called the daguerreotype in the 19th century. It uses a copper plate to create mirror like
images. In the 1850’s, a wet plate replaced the old copper place to create photographs. It used a
glass coat with the aid of chemicals to record the image. This was then transferred to a paper or
cardboard. In contemporary photography, wet plates were replaced with films or negatives
where a camera captures reverse image of the object when hit by the flash of light. Today, there
are digital methods to capture photographs such as Digital single lens reflex (DSLR) camera and
even smartphones that capture comparably good images (Ragans, 2005).

Figure 10. Kevin Carter and his Pulitzer Prize-Awarded Photograph. The photographer committed suicide in
July 1994 after taking the picture in March 1993

Films and Videos

Films are a series of negatives that intend to show motions of pictures. Film making was
a by-product of people’s interests towards still pictures by transforming them into continuously
seamless movements. With each frame of a film is a still image that rapidly moves along the
camera to create successions of images, hence, movements. While still pictures can be captured
now using DSLR’s and smartphones, these recent gadgets can now also perform the functions to
produce films or videos (Ragans, 2005).

But films may be considered obsolete as digital video recordings are now available.
Equipped with audio and visual coding systems, video recording and editing are now more
possible. In the past, videos did not have sounds and some had to be dubbed separately. With
the appropriate computer software and systems, more and more videos are being made today.
Special video types can even be uploaded on the World Wide Web (www). On the internet, the
YouTube has become an online social platform that share videos and can be accessed by its web
visitors. Originally, YouTube was a video streaming and sharing platform for online gamers.

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Today, YouTube is now uploaded with billions of videos ranging from themes of music, content-
creation, lifestyle, education and business, etc. (Zannata, 2017).

Self-Learning Activity 4: Photo Taking and Editing

You will have to take pictures of the following, (1) Food, (2) Portrait, (3) Natural Scenery
(4) Moving Shot using your smart phones. Edit the pictures with filters in the available picture
editing apps in your smart phones.
Describe how your smartphone process images across filters. What were the changes that you
observed by comparing the view seen from your eyes, from the original photo and
processed/filtered photo?

Computer Arts
Graphic designers rely on computers and its applications to create art. Hardwares of
computers are the physical tools that assist in the creation art such as keyboard, monitor, CPU,
printer and mouse. Other tools include stylus and graphics tablets, scanners and web cameras.
Computers now also have a plethora of software applications to create art such as Adobe
Photoshop, Affinity Designer, Clip Studio Paint Pro, Art Weaver and Art Rage, etc. (Ragans,
2005).

1. Content
Artworks also contain emotional or intellectual messages. They are called contents.
These are statements, moods, interpretations developed by an artist through the
artwork. Among the three components, this must be the most difficult to recognize.
Without the ability of the viewer to communicate with the artist, it would be difficult for
the former to decipher the thought and emotional processes of the artist. The rhetoric
and narratives of an artist are not always literal in application. They must breed
reinforcement of the deeper collective unconscious for the art to be more relatable.
Occasionally, artists may not always be aware of the choices they make in the use of
elements and principles of design (Ocvirk et al., 2013).

However, a system can be devised to discover at least some of the relevant contents
of art. You may research about the artist’s life, time period and culture to have fuller
viewpoints and interpretation of the work: For some, the use of a technique, color mixture
and line movement can indicate an artist’s culture and background. For example, the Starry
Starry Night of Vincent Van Gogh can be best understood through his letter to his brother
Theo. That is why artist provide what they call a”credit line” in their piece of work to assist
viewers in understanding the relevant details of the artist and the work at hand. A credit line
consists of (1) Name of the Artist, (2) Title of the Work, (3) Year/s the work was made (4)
Medium, (5) Size Dimensions and (6) Location of work. In some cases, instead of labeling
year, artist provide the “c” to abbreviate the word “circa” which means about or around .
(Ragans, 2005).
An alternative technique is studying iconography. It is the process of understanding
the meanings of the elements of the art and the symbolisms the object convey. Symbolic
representation usually occurs when a representation takes on a meaning that is not
necessarily or naturally related to what it literally depicts. In Psychology, art and its content
have been instrumental to the assessment and therapeutic process. Psychologists use artistic
materials in assessment procedures called projective technique. Examples of projective
techniques in assessment are the House-Tree-Person (HTP) Test, Rorschach Inkblot Test
and Thematic Apperception Test. In HTP, the client will be asked to share what they
perceive from the set of cards with inkblots or images, respectively. The same verbal
responses will be analyzed as personality and mental health assessments (Cohen & Swerdlik
2018).

Self-Learning Activity 5: Contextual Reflection

You are to watch a Thai series entitled “Grey Rainbow”. It is a 4-episode series that can
be found in YouTube. While watching, try to look for the symbolisms for the story. The
synopsis is as follows:
Grey Rainbow tells the story of Porsche and Nuer. Nuer is the son of the owner of an
elephant camp while Porsche is a law student. In the university, they were dormitory

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 roommates and close friends. After they graduate, begin a struggle of understanding
who they are and who they want to be.
Provide a reflection paper by answering the question:
1. What are the symbolisms of the following?
a) Character named Ice (Episode 1 & 4)
b) Porsche’s Gift Watch (Episode 1 & 3)
c) Nuer Lost in the Boxing Match (Episode 2)
d) Paper Planes; and (Episode 3)
e) Porsche’s driving the Motorcycle (Episode 4)

Self-Learning Activity 6
Compare and contrast the interpretation and meaning of the two versions of Last Supper by Da
Vinci and Tintoretto using the Credit Line Approach.

Figure11. Tintoretto’s The Last Supper. Britannica

Online. “The Last Supper”.

Figure12. Leonardo Da Vinci. VanGo Yourself. “The

Last Supper”.

The Criticism of Art and Judgment of Aesthetics

Finally, this Module shall end with a more systematic approach in evaluating,
appreciating, and criticizing art. Being a critic, or the very least an audience, of art, means that
you need criteria or a set of standards to assess the artwork more effectively and
comprehensively. Consequently, the process of knowing these criteria will enhance the vicarious
aesthetic experience with art. This will make the experience more like a personal immersion
with the artist and narratives underlying the work (Ragans, 2005).

Aesthetics is form of philosophy that intends to study the value and nature of art while art
criticism is the systematic approach of evaluating and assessing artworks. It is generally
composed of some steps that will be implanted as a viewer or critic of art. Rosalind Ragans
recommended the following steps to be performed when doing criticism and judgment. The
following table describes these steps.

Table1. Steps in Evaluating Art

Descriptive Steps Questions you need to answer

Step 1. Description- You need to make a list
of the that are visible in the elements work.
This may include the subject, the elements
of art that were applied in the work.
What do you see in the artwork?
What are these images?
When was the work created?
For whom is this work made? A specific
person or group of persons/audience?
Usually, these items that you can find from
the credit line. Learning about the artist

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Step2. Analysis-you may need to observe and
identify the different applications of
principles of design. You may also need to
understand why these principles were
applied in the first place and may require
certain comparisons with other work or
artists.
Step3. Interpretation- In this step, digging
into the content is the hallmark of this
process. You may need to examine the
message, rhetoric, or narrative of the
artwork.
Step4. Judgment- as a critic you may need to
examine the artistic merit of the work. Merit
is when the artist has successfully
accomplished the foundational and
subjective components of art.
Ragans (2005)
history may also be necessary.
How is the work organized?
What principles of design were applied in the
artwork?
What are the artist’s individual style and
techniques?
What are the distinct features of the artwork
that are characteristics of the artist?
What is the rigor of implementation that the
artist chooses to portray?
How did the artist express certain emotions
and ideas in the artwork?
What is the message of the art?
Why is this message relevant or important?
What is the mood being conveyed in the art?
How did the artist’s background influence the
creation of the art i.e. subject, elements and
principles and content?
What are the artist’s influences that paved the
way to the development of his art?
What makes the artwork successful?
How is the work significant to the message it
seeks to convey?
Does it serve an aesthetic and utilitarian
purpose?
Is the artwork effective in communicating its
meanings?

Aesthetic Theory

Steps three and four of art criticism may require not only your ability to describe but
also, to think critically. Hence, aesthetics may be nuanced from some theories and concepts. The
following are the some of the foundational theories that can be used to evaluate the success of
artwork (Artwork,2005).

Table2. Critical Analysis using other Theories

Theories for Critical Description of Theory

Analysis
Imitationalism This theory is focused on critiquing the artwork based
(Literal) on the extent of realistic representation. As a critic,
you must judge the qualities and the details of the
work that seeks to mimic reality. So as a critic, you
must be guided by the question, “How well the artist
represent the real-form of the subject?” Ragans
(2005).

Formalism This theory is focused on a evaluating the artwork’s

(Conventional) rigor on design and the application of principles. You
may be guided with the question “How did the artist
organize the artwork into a cohesive representation?”
Emotionalism This theory refers to the expressive qualities of the
(Subjective) artwork. You may have to determine what feelings,
moods and emotions were aroused or stimulated by
the art. There may be subconscious materials that can
be extracted out by the forms and realistic
representations that need to be verbalized. You may be
guided by the question, “what were the conscious and
unconscious intentions of the artist in the creation of
his art?” Ragans (2005).
Utilitarianism Sometimes products of art may not only be aesthetic.
(Utility and Function) It may have utilitarian purpose as well. This theory is
not essentially an aesthetic theory, but this may assist
in interpreting artworks with functional aspects. So,
when confronted with functional arts, determining its
success is also the ability of the art to perform its
function (Dell’ Asta, 2017).

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 Terry Barret (1994) also has a list of considerations when interpreting and
judging art.

Barrett’s Principles of Interpretation

1. Artworks have “aboutness” and demand interpretations.

2. Interpretations are persuasive arguments.

3. Some interpretations are better than others.

4. Good interpretations of art tell more about the artwork than they tell about the
critic.

5. Feelings are guides to interpretations.

6. There can be different, competing and contradictory interpretations of the same

artwork.

7. Interpretations are often based on a world view.

8. Interpretations are not so much absolutely right, but more or less reasonable,
convincing, enlightening and informative.

9. Interpretations can be judged by coherence, correspondence and inclusiveness.

10. An artwork is not necessarily about what the artist wanted it to be about.

11. A critic ought not to be the spokesperson for the artist.

12. Interpretations ought to present the work in its best rather than its weakest light.

13. The objects of interpretation are artwork, not artists.

14. All art is in part about the world in which it emerged.

15. All art is in part about other art.

16. No single interpretation is exhaustive of the meaning of an artwork.

17. The meaning of an artwork may be different from its significance to the viewer.
Interpretation is ultimately a communal endeavor and the community is
ultimately self-corrective.

18. Good interpretations invite us to see for ourselves and to continue on our own
(Berry,1994).
Self-learning Activity 7: Art Criticism
Make an art criticism of an editorial cartoon clipping found in newspapers. Make sure that
you follow the steps laid out by Rosalind Ragans.

Self-Learning Activity #1

Weig Categor Excellen Above Avera Below Poor T

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 instructi concepts,some of but art is
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Self-Learning Activity #2 to #7

Weig Categorie Above Meets Approach Below To

hted s Expectati Expectatio ing Expectatio tal
Scor ons ns Expectati ns
es (9-10 pts) (6-8 pts) ons (1-2 pts)
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think and y. process but learning.

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 learn on may have
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2 Analysis There is There is There may There is a
depth in adequate be aspects clear lack of
the analysis level of that lack describing
and insight depth and depth and the content.
formulatio insight; had insight;
n was a sense of expression
rooted on rootedness seems not
genuine and original.
experience. experience.
1 Making The The insights Articulatio The insights
Connectio insights are are mostly n of logic do not
ns derived not derived from and indicate
only from self and connection articulations
self, but made some s are of
connectedn connections somehow connection
ess of to existing apparent of learning.
present and knowledge. but needs
previous to be
knowledge reinforced
is apparent. further.

Activity Description Date Submitted Points

Symbolic Drawing About the
1
Self
2 Art Research

3 Neighborhood Tour
4 Photo Taking and Editing
5 Contextual Reflection
6 Self-Learning Activity

GE 5 (Art Appreciation) A. Vargas 12 | P a g e