SUBJECT

AND
CONTENT
Intended Learning Outcomes:
At the end of the lesson, the students must have:

• differentiated representational art and non-representational art;

• discussed the difference between artwork’s subject and its

content;

• identified the subject matter and content of specific examples of

art; and

• enumerated the sources of the subjects of some of the most

recognizable works of art in Philippine art history.
 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
experience.

This, however, relegates art engagement and therefore

appreciation to the very few who had training and
instruction in producing and in reading art.

THIS SHOULD NOT BE THE CASE.

 PERCEPTION
• The primary stage of engaging with art.

• 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 where subjectivity is
essential in navigating through the artwork.
 SUBJECTIVITY
It 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 as
standouts.
 In viewing art, there
are clues that mediate
between the
artwork and the viewer,
allowing the viewer to
more easily comprehend
what he is seeing.
 Three Basic
Components of a
Work of Art

• Subject
• Content
• Form
 The visual focus or
the image that may
SUBJECT be extracted from
examining the
artwork; the
“what”
 The meaning that
CONTENT is communicated by
the artist or the
artwork; the
“why”
 The development and
configuration of the
art work – how the
FORM elements and the
medium or material
are put together;
the “how”
 Think-Pair-Share
• Look at the painting by artist David Bailly
entitled Selbstbildnis mit Vanitassymbolen
(Self-Portrait with Vanitas Symbols).

• List down eveything that you see within the

four corners of the work. List as many items as
you can in 3 minutes.
Think-Pair-Share
 Think-Pair-Share

• With your seatmate, discuss and compare the

items you listed.

• Based on your answers, write an assumption

about what the painting means.
• In the sciences, experimentation is the key
to proving a hypothesis or a larger theory.

• In the arts, there are observable qualities

that the artwork holds that will point to its
subject, and sometimes even to its content.
 In order to flesh out what the subject of the
artwork is, it is important to first look at the
constituent figures that are perceivable on the
surface of the canvas or the sculpture and the
manner in which the artist chose to depict
those figure. From these, the type of subject
can then be inferred.
Types
of
Subject
 Representational Art
These types of art have
subjects that refer to
objects or events
occurring in the real
world. Also termed
figurative art because the
figures depicted are easy
to make out and decipher.
“Mona Lisa” by Leonardo da Vinci
Non - Representational Art

Art forms that do 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.
Also termed non-figurative art.
Non - Representational Art

“Number 1A” by Jackson Pollock (known for his “action paintings”)

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.
Representational Art Non-Representational Art

Abstract Art
“Head of a Woman” by Pablo Picasso – cut metal that is hinged on a metal base
As a guide, an artwork, depending on the degree
of distortion or abstraction, may be adjudged 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-representational–
a complete severance from the world.
 Vasily Kandinsky
– a Russian artist and the
proponent of non-
representational art and
used it with music. Thus,
most of his works are
inspired by music and are
titled as impression,
improvisation, and
composition.
 Sources and
Kinds of subjects
• For non-representational art, a higher, level
of perceptiveness and insight might be
required to fully grasped the feeling,
emotion, or concept behind the work.

• For representational art, it is easier to infer

the subject matter because from the figures
depicted in the artwork, there is already a
suggestion as to its implication.
Sources of subjects
 Nature

“Die Ebene von Auvers” (Wheat Fields Near Auvers) by Vincent van Gogh
 “Landscape near Monte Carlo” “The Hay Harvest”
by Claude Monet by Camille Pissaro

“Still Life with Skull” “Chichester Canal”

by Paul Cezanne by J.M.W Turner
 “Pasay Beach” by Fabian Dela Rosa

“Planting Rice” by Fernando Amorsolo

Greek and Roman Mythology
Judeo Christian Tradition
Sacred Oriental Texts
History
In the history of art, it is important
to remember that the source and
kind of subjects were not merely a
product of the artist’s inclination
and choice.
 A closer examination of the various art
movements and artworks created within those
movements will indicate that notions of
freedom and independence, which are
presumed to be enjoyed by artists, were not
without limits or restrictions.
For instance, a particular kind of subject and
the way it is visually translated may be traced
in relation to the art patrons (those who
commission the artworks), the favored artistic
style and canons, and more importantly, the
norms and trends prevailing in the artist’s
milieu.
Content in Art
The meaning or
message that is
expressed or
communicated
by the artwork.
Erwin Panofsky

One of the foremost

scholars that
expounded on
content analysis or
how meaning is
arrived at in his
seminal work
Meaning in the
Visual Arts (1983).
LEVELS OF MEANING

Factual Meaning
Conventional Meaning
Subjective Meaning
 Factual Meaning
The most rudimentary level of
meaning for it may be extracted
from the identifiable or
recognizable forms in the artwork
and understanding how these
elements relate to one another.
 Conventional Meaning

Pertains to the acknowledged

interpretation of the artwork
using motifs, signs, and symbols
and other cyphers as bases of its
meaning.
 Conventional Meaning

These conventions are established

through time, strengthened by
recurrent use and wide
acceptance by its viewers or
audience and scholars who study
them.
 Subjective Meaning

When subjectivities are

consulted, a variety of meanings
may arise when a particular
work of art is read.
 Subjective Meaning
These meanings stem from the
viewer’s or audience’s circumstances
that come into play when engaging
with art (what we know, what we
learned, what we experienced; what
values we stand for).
 Subjective Meaning

Meaning may not be

singular, rather, multiple
and varied.
 “Creation of Adam” by Michelangelo from the ceiling of the Sistine Chapel

From a factual perspective, Michelangelo depicted a scene from

the Creation Story, in particular, the creation of man.
 The specific poses of God and Adam
(convex and concave postures, respectively) allude to
the correspondence of the body and the commonly held belief
that man was created in the image and likeness of God.
An interesting overlap between the conventional and subjective
meanings is the proposal from gynecologist Frank Lynn
Meshberger.
Written in his essay is the theory that an image and a message
were hidden in plain sight: how the silhouette of God, the
shroud and the drapery that trail behind, all seemingly align
with the shape of the human brain.
 Furthermore, he added that the work can also be aptly called
“The Endowment of Adam” for it bought to light that as God’s
creation, the most important qualities imparted to man was
intellect.
 Like most Renaissance artists, Michelangelo unlocked the
secrets and precision of human anatomy assisting in dissections
during his time. For Meshberger, it was with his medical
background and perhaps exposure to art and history that allow
him to catch the symbol, hidden in Michelangelo’s work.
 Conclusion
• In gaining basics of deciphering the subject
and content of art, it is hoped that an
individual’s sensitivity and perceptiveness
to art will be developed.
• One may begin by looking at perceivable
features of the artwork.
 Conclusion

• Taking note of what was apparent will

provide clues as to what the intended
meaning of the artist might be.
 Conclusion

• Knowing more about the context of its

creation – from the artist’s inspiration,
reference or source, will prove useful in
understanding the meaning of the artwork.
 Conclusion

• However, one must forget that each viewer

is armed with his or her experience,
background and education. These will assist
in fleshing out different levels of meaning
that maybe derived from the artwork.
 Conclusion

• These might not be as evident as say, the

figures depicted on the surface; however,
these alternative readings contribute to the
significance of the artwork.
 Conclusion
• The majority of the public are consumers
and not producers of art, and so ensuring
the readiness of the public to not only
successfully engage with the art, but
meaningfully do so, is the primary function
of art appreciation and education.
This ends Lesson
4!