Art Appreciation PDF - Modules 1-4

ART APPRECIATION Module 1 Lecture 1.1: Art as a Human Discipline Basic Question in the Humanities Who am I? Basis of Method in Humanities...

ART APPRECIATION Module 1 Lecture 1.1: Art as a Human Discipline Basic Question in the Humanities Who am I? Basis of Method in Humanities 1. Socrates (469-399 BC) “Know thyself” 2. Augustine (354-430 AD) Wisdom – “Withdraw into yourself truth dwells in the inner man.” Two General Fields of Discipline Paradigm for Learning in the Sciences Thales of Miletus (62—549 BC) A scientist tends to know everything about the world that he forgets to know anything about himself. The scientist learns about things Confucius (555-479 BC) in the world. “The Great Sage Wise Man” Paradigm for Leaning in the Humanities The humanist learns about the self.  Ancient 800 BC Cosmocentric View Protagoras: Man is the measure of all things. Geocentrism: Man is at the center of the universe. Medieval 300 AD Theocentric View Scholasticsm: Man is created in the image of God. Man is at the What is the basic answer to this center of creation. question? Renaissance 1400 “Who am I?” Anthropocentric View “I am a human being.” Humanism: Nothing is more Lecture 1.2: The Humanities in Western wonderful than man. Civilization Modern 1600 Panofsky, “Art as a Humanistic Scientific-technocentric View Discipline” Man is a part of nature. Humanities Postmodern 1960 Latin: Humanitas English: Humanity Eclectic View Divinitas Man is a piece of everything. Gods in the state of perfection in heaven Ancient Image of Cosmocentric Man: Humanitas People in the state of culture in civilized society Barbaritas Savages in the state of nature for survival The Place of Humanities in the History of Western Civilization Ptolemy (100-170 AD) Alamagest Geocentric Theory Earth (Man) is the center of the universe. Medieval Image of Theocentric Man Man is created by God Michelangelo, The Creation of Man (Sistine Chapel Painting, 1512) Heliocentric Theory Removed man from the center of the universe and suggested the view man was special in the universe. Escorial Beatus, Illuminated Manuscript, 10th Century RENAISSANCE IMAGE OF MAN: ANTROPOCENTRIC MAN Measure of all things Copernicus, On the Revolution of Celestial Bodies, 1542 Modern Image of Scientific Technocentric Man Man is a part of nature The Evolution of Man Leonardo da Vinci, Vitruvian Man, 1490 The scientist is detached observer of the The image of man is the image of God. objectified man. Man is the measure of God.  Lecture 1.3: Introduction and Functions of Art Four Basic Relationships Every work of art has four basic relationships: 1. subject matter Rembrandt, The Anatomy Lesson of Dr. 2. artist Turf, 1642 3. audience Man is dehumanized during the 4. form. industrial age. These four relationships of a work of art are the bases for the four principal approaches to art criticism and appreciation. These four approaches are: 1. mimetic (based on the subject matter) 2. expressive (based on the artist) 3. pragmatic (based on the audience) 4. aesthetic or formal (based on the form) succeed in conveying Legaspi, Gadgets, 1947 the meaning of the work? Installation Art The Subject Matter Art is an imitation, depiction, or representation of some aspect of nature or life. That which is imitated, depicted, or represented in art is its subject matter. According to subject matter, art may be classified into two types: Medio Cruz, Poleteismo, from Kulo Exhibit 2011 1. Representational or Objective Art portrays or depicts something Postmodern Image of Eclectic Man other than its own form. Man is a piece of everything. 2. Non-representational or Non- objective Art represents nothing except its own form The Creator theatrical performances truly give entertainment and joy to its audience. Art is a means of expression, a medium for communicating an Imaginative and Creative Function idea, an emotion or some other The arts challenge the creative mind human experience, an impression and spirit of man. It is truly an avenue to of life, a vision of beauty. showcase potentials in creating things In this approach, the artist himself which exhibit core attributes such as becomes the major element universality, timelessness, and generating both the artistic peculiarity. product and the norms by which the work is to be judged. Communicative and Expressive Function The Audience The artist can express his inner thoughts and feelings as reflected in the One aspect of art, which is of masterpiece. As it was said, any work of importance to the audience, is its art illumines the human mind and heart. value, function or significance. Therapeutic Function Aside from its essential value (aesthetic), art may have secondary The arts can truly relieve and release values: religious, philosophical, tension and stress. Such can be a tool moral, historical, political, social, for emotional healing and also to gain scientific, commercial, deliverance from emotional pangs. sentimental, practical, etc Personal and Social Function The Form People benefit from the arts. Art is a composition, a whole The personal function refers to consisting of various parts or the utilization of arts by elements; the selection, individuals. organization, and integration of The Social function is more these elements according to general as seen in various certain formal principles and structures like houses, schools, employing certain techniques churches, government halls, and constitute that which we call the all other social establishments form of art. and structures. Functions of Art Qualities of Art Appreciative Function There are various aspects to consider in It is with no doubt that the arts give critiquing and judging any work of art. amusement and joy to most people. Musical and dance concerts as well as Art… Appreciative Has aesthetic sense and value. It is with no doubt that the arts Is Universal give amusement and joy to most Is Timeless people. Is Unique Impacts the mind and soul Has human intervention Has creative intention Art should… be appreciated Challenge the creative mind and spirit of man Convey and express Art, Man, and Society Traditionally, we have believed that art imitates life. The painter translates what he or she sees by producing a scene on a canvas. The sculptor does the same with bronze or stone. A photographer or film maker does it even more directly. A writer describes life in his or her books. This simple concept is known as mimesis. Module 2 Lecture 2.1: Function of Art Imaginative & Creative 1. Appreciative The arts challenge the creative 2. Imaginative and Creative mind and spirit of man. 3. Communicative and Expressive It is truly an avenue to showcase 4. Therapeutic potentials in creating things which 5. Personal and Function exhibit core attributes such as universality, timelessness, and peculiarity Communicative & Expressive The artist can express his inner thoughts and feelings as reflected in the masterpiece. As it was said, any work of art illumines the human mind and heart  Personal and Social Function People benefit from the arts. The personal function refers to the utilization of arts by individuals. Social function is more general as seen in various structures like houses, schools, churches,government halls, and all other social establishments and structures. Therapeutic The arts can truly relieve and release tension and stress. Such can be a tool for emotional healing and also to gain deliverance from emotional pangs.  Create =latin “To make” or “to bring forth” Bringing something new. Requires thinking outside the box. What sets apart one artwork from another. Create =latin “To make” or “to bring forth” Active/doing something Finding new ways to discover things. Exploring new possibilities. Indicator 1 When we have not seen anything like it. Question: Have we not seen anything like it? Indicator 2 When it is out of the ordinary. Question: Is it out of the ordinary? Indicator 3 When it is not just a copy or imitation of someone’s work. Question: Is it not a copy or imitation of someone’s work? Why ask and provide indicators? “Creativity should be backed with careful research on related art to avoid such conflicts. Imagination Module 3 The act or power of forming a Lecture 3.1: Art – Creativity, Imagination, mental image of something does and Expression not present to the senses or never before wholly perceived in Creativity reality. (Meriam-Webster)  Imagination is not constrained by Dance - Series of movement that follows the walls of the norm but goes the rhythm of the music that is why people rely on accompaniment. curiosity and imagination for Literary Art - Artist who practice literary advancement. arts use words-not paint, musical Imagination produces art. But art instruments, or chisels-to express also inspires imagination. themselves and communicate emotions Books, novel, telephone, to the readers. Magellan’s voyage Theater - Uses live performers to Expression present accounts or imaginary events Expressio =latin “to press out” An before a live audience. emotion will remain unknown to a Applied Art - Incorporating elements of man until he expresses it. style and design to every items within An emotion will remain unknown the aim of increasing their aesthetical to a man until he expresses it. value. (ex. interior, fashion design, Visual arts, performance, literary graphic design, etc.) art, architecture, film, theater, performance art, dance, applied Module 4 art Lecture 4.1: Art and Beauty Visual Art - Those that appeal to the Aesthetics sense of sight and are mainly visual in nature. Philosophy – Theory about the ultimate reality of things Painting and Sculpture Of Beauty – Nature of Beauty: Why are Film - The art of putting together beautiful things beautiful? successions of still images in order to create an illusion of movement. And Art – Essence of Art: What makes something a work of art? Performance Art - Live art and the artist’s medium is mainly the human body which he or she uses to perform, but also employs other kind of art i.e. visual art, props or sound. Poetry Performance - Art form where the artist expresses his emotions not by using paint, charcoal, or camera but expresses them through words. Architecture - Art of many beautiful buildings. Categories of Value Logical – True and False Ethical – Good and Bad Aesthetic – Beautiful and Ugly Amorsolo, Sunset (Romantic Realism) Aesthetics Values Beautiful – Delights (Wow! Walastik! Hanep!) Ugly – Glooms (Yak! Eww! Sus!) Kandinsky, Color Composition Venus of Willendorf, 35,000 BC Categories of Ganda Ganda As an affective phenomenon Horror Vacui As an olfactory sense Fear of Empty Space phenomenon As behavioral, ethical phenomenon As a physical phenomenon As a capability phenomenon Horror Vacui, Oil on Canvas, Painting by Alfonso Ossorio  16th World Habitat Day Children’s Horror Vacui in Children’s Art Painting Contest Painting by Carl Lenn Nasayao  Francisco, Katipunan Francisco, Pista sa Angono Francisco, Muslim Betrothal Francisco, Bayahanihan  Giant Lantern Festival, Pampanga Colorful Art of The Parol Lanterns made of capiz shells with twinkling light design Vinta, Badjao Art Pinagbenga Festival, Baguio City Horror Vacui Horror vacui refers to the inclination to fill every bit of space on a webpage or app with content. In user experience (UX) design, it can harm the overall user experience. Pages can be crammed with text, images, advertisements and other elements, with little or no negative space—and often results in overly drown their designs with complex, cluttered compositions. elements. Overloaded, busy designs Horror Vacui (a Latin-derived distract, confuse, confound, and term) means “fear of emptiness”. even upset users. At first glance, we may identify with that fear as being perfectly “Less is more” would grow to become natural. an anthem or catchphrase in modern design. Minimalism in the marketplace denotes classiness and style, as seen in high- quality magazines with low image density, as opposed to the high-image density flyers we receive as junk mail. Our eyes tend to tell us that the value of a lone item in an image is greater than a hundred clustered ones. Horror vacui is the fear of emptiness. An age-old concept, evidence of this fear is visible throughout history, in busy, element- saturated work of past masters of the brush and canvas. The compulsion to populate a design with as many elements as it could hold appeared in interior design, too. Rich, labor-intensive detail once dominated design surfaces. Finally, one critic identified the problem in regard to Victorian interior design. Horror vacui became a term used to chide interior designers who had taken it upon themselves to