Module 2 - Art Appreciation (GE8) - Western Philippines University - 2024-2025 PDF

A Strong Partner for Sustainable Development Module in GE 8 ART APPRECIATION  Page 2 of 43 Module 2 “ART APPRECIATION” _1st_ Semester _2024-2025_ CHIN JAE S. PRAC Instructor I...

A Strong Partner for Sustainable Development Module in GE 8 ART APPRECIATION  Page 2 of 43 Module 2 “ART APPRECIATION” _1st_ Semester _2024-2025_ CHIN JAE S. PRAC Instructor I WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 3 of 43 TABLE OF CONTENTS Table of Contents Contents Page Number Title Page ………………………….. 2 Table of Contents ………………………….. 3 Instruction to the User ………………………….. 5 Chapter II Humanities and the Arts ………………………….. 4 Overview ………………………….. 5 Mission, Vision ………………………….. 6 Course orientation ………………………….. 6 Grading system ………………………….. 6 Learning Outcomes ………………………….. 7 Pre-test ………………………….. 7 Lesson 6. Artist and Artisan A. Learning Outcomes ………………………….. 9 B. Time allotment ………………………….. 9 C. Discussion ………………………….. 10 D. Activities/ Exercises ………………………….. 19 Lesson 7. Museum Visit (Palawan Heritage Centre) and Events/Exhibits/Managing Audience E. Learning Outcomes ………………………….. 22 F. Time allotment ………………………….. 22 G. Discussion ………………………….. 22 H. Activities/ Exercises ………………………….. 24 Lesson 8. Elements and Principles of Art I. Learning Outcomes ………………………….. 26 J. Time allotment ………………………….. 26 K. Discussion ………………………….. 26 L. Activities/ Exercises ………………………….. 37 WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 4 of 43 INSTRUCTION TO THE USER This module will provide you an educational experience while independently accomplishing the task at your own pace or time. It aims as well to ensure that learning is unhampered by health and other challenges. It covers the topic about. GE 8 art appreciation. Reminders in using this module: 1. Keep this material neat and intact. 2. Answer the pre- test first to measure what you know and what to be learned about the topic discussed in this module. 3. Accomplish the activities and exercises as aid and reinforcement for better understanding of the lessons. 4. Answer the post-test to evaluate your learning. 5. Do not take pictures in any parts of this module nor post it to social media platforms. 6. Value this module for your own learning by heartily and honestly answering and doing the exercises and activities. Time and effort were spent in the preparation in order that learning will still continue amidst this Covid-19 pandemic. 7. Observe health protocols: wear mask, sanitize and maintain physical distancing. Hi! I’m Blue Bee, your WPU Welcome to Western Philippines University! Shape your dreams with quality learning experience. STAY SAFE AND HEALTHY! WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 5 of 43 OVERVIEW This module for Humanities and Arts is a simplified discussion of the nature of art, its beauty, and its functions in the human world. It also deals with the creation, history, theories, and appreciation of beauty that can be seen everywhere, anywhere and anytime. This module will be a great help for the students to understand the nature of arts and its function in one society and to another. Understanding Arts is to understanding Humanities which will be a great help in bringing appreciation to mankind's creation. This module as well as elaborates on different theories and concepts of art that will awaken students’ curiosity about what arts really is. College students needs a good avenue of information to express their artistic side and experiences this module will be a great help for them to find what is the truth behind arts cultivation and experience some ideas that would bring them into a realistic view on arts. Furthermore, this module has different types of activities that will assist a student’s knowledge and experiences in appreciating arts elements and principles. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 6 of 43 Vision □ WPU: the leading knowledge center for sustainable development of West Philippines and beyond. Mission □ WPU commits to develop quality human resource and green technologies for a dynamic economy and sustainable development through relevant instruction, research and extension services. Course orientation, relevance of the course and grading system ❑ Art Appreciation is a three-unit course that develops your ability to appreciate, analyze, and critique works of art. ❑ This course will equip you a broad knowledge of the practical, historical, philosophical and social relevance of the arts in order for you to understand arts. ❑ This course aims to develop your genuine appreciation for Philippine arts by providing you opportunities to explore the diversity and richness and your rootedness in Filipino culture. Grading System LECTURE LABORATORY Weight for Lecture Subject / Laboratory 75.00% 25.00% Written Works 20.00% 40.00% Performance Task 40.00% 40.00% Major Examination 40.00% 20.00% Total 100.00% 100.00% WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 7 of 43 LEARNING OUTCOMES At the end of this module, students will be able to: Define Arts and Humanities Appreciate various genres of arts Clip picture/illustrations that depict every genre of arts. PRE-TEST Test – I IDENTIFICATION Directions: Identify the term as defined or describe. 1. This is one of the aspects of art that directly correlates with its composition and presumed finality of the artwork. 2. It is usually inferred from a sense or depth, whether it is real or simulated. 3. This element renders the art object tactile. 4. In this type of perspective, the viewer is cooking at a scene from above or below. As the same suggest, it makes use of the three vanishing points, each corresponding to each axis of the scene. 5. One of the elements that enhances the appeal of an artwork. 6. Refers to the unusual size relations of visual elements, deliberately exaggerating the immensity or minuteness of an object. 7. These lines communicate stability and firmness. 8. Lines, shapes, colors, and elements may appear in an artwork in a recurring manner. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 8 of 43 9. This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. 10. This principle refers to the distribution of the visual elements in view of their placement in relation to each other. Test-II Enumeration Direction: Enumerate the different elements of visual and Auditory art. Elements of visual arts Elements of Auditory arts 1. 7. 2. 8. 3. 9. 4. 10. 5. 11. 6. 12. Test II-Essay type. Direction: Answer the question below. 10pts 1. What is/are the function of state sponsorship in the field of arts and culture through the National Artists Award and the Gawad sa Manlilikha ng Bayan (GAMABA)? Ans.. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 9 of 43 LESSON 6: Artists and Artisans In the advent of technology, it is remarkable what has now been made possible. This notion is contested by what are arguably the most resilient qualities of man, which is his creativity and imagination. Let’s Get Down to Business In Peter Drucker's seminal book Post-Capitalist Society (1993), he stated that “the real controlling resource and the absolutely decisive factor of production is neither capital not land nor labor. It is knowledge. Instead of capitalists and proletarians, the classes of the post capitalist society are the knowledge workers and the service workers.” The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Age WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 10 of 43 Artists even created places and spaces where communities may gather. There are numerous monuments and memorials that are plotted over the world such as the infamous Vietnam Veterans Memorial in Washington DC. There are others like the cave paintings that have an aura of mystery like the Pyramids of Giza, or have alluded comprehension like the Stonehenge. The Artisan and the Guilds Cologne Cathedral in Germany The cologne Cathedral between ca. 1890 and ca. 1900, Koln, Germany Museums are packed with numerous artifacts and interesting objects from all over the world that have survived centuries for us all to see. Magnificent structures that are often appreciated not only for their historical significance but more so for their aesthetic characteristics that render them unique, become tourist destinations for those who wish to explore and see the remarkable facade, interior, and even the minutest of details up close. Consider the Gothic cathedrals and other megastructures that were built all over Europe during the Middle Ages. Craftsmen and builders in the past did not have sophisticated terminologies and principles that architects and engineers abide by today. Yet, they fulfilled overlapping roles such as the draftsman, architect, engineer, and even as the builder. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 11 of 43 Detail of the stained-glass windows of Cologne Cathedral, Koln, Germany (2015) These guilds were prevalent during the Middle Ages particularly during the thirteenth to fifteenth century, where towns had formalized groups of artisans or craftsmen who took on a particular specialization or trade: shoemakers, textile and glass workers, carpenters, carvers, masons, armorers, and weapon-makers, among others. Guilds were a type of social fellowship, an association structured with rules, customs, rights, and responsibilities. A master artisan or craftsman 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. In the context of the cathedral construction site, the master mason oversaw the work by numerous men of varying artistic proclivities and skills, from the smiths (metal work), carpenters, carriers, and glaziers (stained glass artists). among others. The Church of the Most Holy Trinity in Loay, Bohol, locally referred to as Santisima Trinidad Parish WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 12 of 43 Project Kisame is a collective endeavor amongst enthusiasts and advocates who aimed to promote this art form through documentation, engagement, and appreciation of surviving ceiling paintings in more than 60 churches in the Philippines. Technology and heritage conservation occupied a substantial part of this project. One example of a Spanish architecture that has been documented is the Church of the Most Holy Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered trompe l'oeil style depicting biblical scenes. In 2003, it became a National Historical Landmark. It was therefore unfortunate that this church was one of those heavily damaged during the devastating earthquake that rattled Bohol in 2013. The Artist and His Studio Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the artist in the arts started during the Middle Ages up to the Renaissance period. Most pivotal developments included the transformation of the craftsman to an artist or an independent artist; the widespread patronization of secular art (alongside the continuous production of works with religious subjects); and the assertion of cognition, the will, and individuality. James Abbott McNeill Whistler, “Artist’s Studio” (from Sketchbook), 1854-55. Black ink on off-white wove paper. Giff of Margaret C. Buell, Helen L. King and Sybill A. Walk (1970). Metropolitan Museum of Art. Today, artist studios have been a place of interest for the public. It is interesting where creativity manifests itself, especially since an artist’s studio is an extension of the artist himself. There were those whose work stations were segmented into two, the studiolo and the bottega; the latter is where the work usually happened. Apprentices studied under masters, assisting with menial task or the preparation of the painting surfaces. In the seventh century, these demarcations became lose, eventually merging together. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 13 of 43 Other Players in the World of Art In the last century, some of the roles that have been existent 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. Prominent Roles in the Art World with Their Mandatory Relationships An example of a multi-level platform, where different players in what we call an art world can engage, interact, and flex their art muscles, is the international art fair like the Art Basel in Hong Kong. Art Basel in Hong Kong (2015) It is important to note that with the complexity of the art world, players are no longer limited to those who undertook formal instruction in either (or both) production and/or study of art. Take for instance administrative or managerial roles, both of which can exist in either institutional or non-institutional scenarios. These roles may be broken down to working boards (board of trustees); directors and assistant directors; managing curators; and other WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 14 of 43 posts whose interest is the management and operations of museums, galleries and other art spaces. For independent artists, those outside the wing of a gallery as a "stable artist," sometimes require the assistance of an artist manager in order to manage their career and sometimes to help them in promoting themselves to the art world as well. A curator, on the other hand, is one of the most elusive of roles to pin down. Institutional curators are typically affiliated with museums and galleries, while independent or freelance curators have the leeway to move around various projects, platforms, and art spaces in a multiplicity of terms. If curators are the hardest to define, it is buyers and collectors who are probably the easiest to qualify. Often, they are construed as one and the same, but separately taken, buyers are those who initially assess and survey the artwork that collectors are interested in. In addition, art dealers 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 houses. As the art world is seen as a socio-economic network, it is important to note the major difference between museums and galleries. 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. Production Process The process of creating an artwork does not necessarily follow a linear progression. One of the things that one must accept is the fact that the arts have an anarchic dimension to it, allowing it to fully harness its creative potential. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 15 of 43 The process is essentially tripartite: (1) preproduction, (2) production, and (3) postproduction. The artist always begins with an idea that he wants to express or communicate with his audience. It may not necessarily be fully formulated, and so some form of exposure, research, and other approaches may be explored to get the idea long before actually making the artwork. This process is of course the preproduction stage. Gathering and sourcing the materials needed for the creation of the artwork is either subsumed under preproduction or the production stage. Either way, materials form one of the most crucial aspects that inform the direction, quality, and the final output itself. The last stage is the most drawn-out, the postproduction. Once an artwork is finished, it will then be decided on how it will be circulated not only in the art world, but the many publics. There are many aspects that go into postproduction. These may include allowing the artwork to set, tweaking the artwork, preparing the artwork for transport and display, and even the promotion and inclusion of the artwork in publications or discussions. Medium and Technique Medium is one of the aspects of art that directly correlates with its composition and presumed finality of the artwork. 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 may be ephemeral or something transient, such as a track (recording of sound), a film, or a performance. A chosen medium must not be expected to yield the same results. Giving two different artists the same exact material and the general qualifier of “painting”, the end product will still vary minimally or in an exponential scale. This is where technique comes in, as it is the reason why art history is described by a seemingly limitless example of works of art. Engagement with Art In Anna Cline's The Evolving Role of the Exhibition and Its Impact on Art and Culture (2012), she wrote that “exhibitions act as the catalyst of art and ideas to the public: they represent a way of displaying and contextualizing art that makes it relevant and accessible to contemporary audiences. The art exhibition, by its nature, holds a mirror up to 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.” In Paula Marincola's What Makes a Great Exhibition? (2006), it reads that “exhibitions are strategically located at the nexus where artists, their work, the arts institution, and many different publics intersect.” One of the most common platforms to engage with the art is through exhibitions either at museums or galleries. Nowadays, there are other exhibition spaces that have opened up for artists to showcase their works. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 16 of 43 Exhibitions may be long-term or permanent hangs, or it may be temporary or periodically changing. An artist may have a solo exhibition or may be included in a two- person showing or even a group exhibition. Aside from exhibitions, other opportunities for art engagement transpire in the classroom (instruction); studio visits; lectures, workshops, and other events that augment the exhibitions (programs); auction sales; art fairs, biennials, and triennials; and other larger showings of not only artworks but also where art personalities can flex their influence and authority. Publications are also a good way to introduce the artwork and opens it up for appreciation, critique, and analysis. Awards and Citations In history, support for the arts and culture is not limited to the allocation of funding or patroonship. One of the most common measures in which artists and other creative producers are given incentives and honor for their work is through state-initiated and given awards and citations. The two major awards given to artists 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. Emblem of the Order of National Artist of the Philippines WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 17 of 43 The medal given to the recipients of the distinction gawad sa manlilikha ng bayan (GAMABA). Photo Courtesy of NCCA At present, there are 66 awardees of this prestigious honor across different art forms. Some of the honors and privileges that a national artist awardee receives are the following: (1) the rank and title, as proclaimed by the President of the Philippines; (2) a medallion or insignia and a citation that will be read during the conferment; (3) cash awards and a host of benefits (monthly life pension, medical, and hospitalization benefits, life insurance coverage); (4) a state funeral and burial at the Libingan ng Mga Bayani (Heroes' Cemetery); and (5) a place of honor or designated area during national state functions, along with recognition or acknowledgment at cultural events. The most recent conferment was in 2016. Conferment of the 2009 and 2014 Order of National Artists Award The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in 1992 under the Republic Act 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. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 18 of 43 Ginaw Bilog Sumaon Sulaiman Masino Intaray The medal given to the recipients of the distinction Gawad sa Manlilikha ng Bayan (GAMABA) This artists’ practice may fall under the following categories: folk, architecture, maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic expressions of traditional culture. Some of the incentives accorded to the awardee are the following: (1) a specially designed gold medallion; (2) an initial grant of P100,000 and a $10.000 monthly stipend for life (this was later increased to P14,000); (3) benefits such as a maximum Cumulative amount of $750,000 medical and hospitalization benefits; and (4) funeral assistance or tribute fit for a National Living Treasure. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 19 of 43 Let's Work on This Direction: Read and answer the following questions. 10Pts each 1. What do you think is the role of the artist in the twenty-first century? 2. How relevant are the awards of National Artist and GAMABA, to the art world, to the Filipino society as a whole? 3. Analyze and critique state-sponsored recognition for artist and cultural workers. What do you think are some of the considerations that must be addressed with regard to these? WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 20 of 43 Let’s make it happen Direction: Identify and select one artists. He or she may be Filipino or foreign; and maybe identified with any art form: architecture, sculpture, painting, music, literature, film, dance, performance/theater, and living traditions, among others. (30pts) a. Research on him or her and select five aspects of his or her life (events, ideas, works, awards/citations) that you think have a substantial contribution not only to the local or foreign art scene, but also to human history. b. Use PETCHA KUCHA format for this activity. PETCHA KUTCHA This presentation format was devised by Astrid Klien and Mark Dytham of Lkein Dytham architecture, where you show 20 images to make presentation. The images advance automatically (20 seconds are allowed for each image) and you talk along to the images. This ensures a brief presentation that packs a punch. Direction: Identify and define the different individuals and groups in the world of art. Give at least five (5) players of it. 2pts each 1. 2. 3. 4. 5. Assessment Test I-Fulfill me. Direction: Supply the following answer in the chart. 15pts WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 21 of 43 Test II- Identification Direction: Identify the photos as provided below. 2pts each. 1. 4. 2. 5. 3. 6. Test III-Essay type. Direction: Answer the following questions. 10pts each. 1. What is/are the function of state sponsorship in the field of arts and culture through the National Artists Award and the Gawad sa Manlilikha ng Bayan (GAMABA)? Ans.. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 22 of 43 2. How can Awards and citations contributes to the life of artist? What are the advantages of it? Ans.. LESSON 7: Museum Visit (Palawan Heritage Centre) and Events/Exhibits/Managing audience Museum Museum, institution dedicated to preserving and interpreting the primary tangible evidence of humankind and the environment. In its preserving of this primary evidence, the museum differs markedly from the library, with which it has often been compared, for the items house in a museum are mainly unique and constitute the raw material of study and research. In many cases they are removed in time, place, and circumstance from their original context, and they communicate WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 23 of 43 directly to the viewer in a way not possible through other media. Museums have been founded for a variety of purposes: to serve as recreational facilities, scholarly venues, or educational resources; to contribute to the quality of life of the areas where they are situated; to attract tourism to a region; to promote civic pride or nationalistic endeavor; or even to transmit overtly ideological concepts. Give such a variety of purposes, museums reveal remarkable diversity in form, content, and even function. Yet, despite such diversity, they are bound by a common goal; the preservation and interpretation of some material aspect of society’s cultural consciousness. As institutions preserve and interpret the material evidence of humankind, human activity, and the natural world, museums have a long and varied history, springing from what may be an innate human desire to collect and interpret and having discernible origins in large collections built up by individuals and group before the modern era. From MOUSEION to MUSEUM The word museum has classical origins. In its Greek form, mouseion, it meant “seat of the Muses” and designated a philosophical institution or a place of contemplation. Use of the Latin derivation, museum, appears to have been restricted in Roman times mainly to places of philosophical discussion. Thus, the great Museum at Alexandria, founded by Ptolema I Soter early in the 3rd century BCE, with its college of scholars and its famous library, was more a prototype university than an institution to preserve and interpret material aspects of one’s heritage. The word museum was revived in 15th-century Europe to describe the collection of Lorenzo de’ Medici in Florence, but the term conveyed the concept of comprehensiveness rather than denoting a building. By the 17th century, museum was being used in Europe to describe collections of Copenhagen was so called, and in England visitors to John Trades cant’s collection in Lambeth (now a London borough) called the array there a museum; the catalog of this collection, published in 1656, was titled Museum Tradescantianum. In 675 the collection, having become the property of Elias Ash mole, was transferred to the University of Oxford. Use of the word museum during the 19th and most of the 20th century denoted a building housing cultural material to which the public had access. Later as museums continued to respond to the societies that created them, the emphasis on the building itself became less dominant. Although virtual museums provide interesting opportunities for and bring certain benefits to existing museums, they remain dependent upon the collection, preservation, and interpretation of material things by the museum. Museums are buildings in which we see many things of artistic, cultural, historical, traditional and objects of scientific interest. It is a great source of knowledge. It not only gives us knowledge but also makes us familiar with our history, culture, civilization, religion, art, architecture of our country. In the museum, there are many things which are kept for the public. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 24 of 43 Through all these things we can come to know how people of ancient times lived, what they used and what things they made. Therefore, museums are also called storehouse of history. Types of Museums Museums can have divided into following categories: Fine Arts: they contain all types of paintings, drawings, sculpture, architecture etc. Historical Museums: These museums illustrate historical events or period, personalities etc. they have weapons, statues, artifacts made of stones and other material. Science and technology: it contains all things which are representative of the evolution of history, science, and technology such as fossils of dinosaurs. Museum-house: it is located in the birthplace of a famous person such as Sabarmati Ashram, Dr. Bhim Rao Ambedkars’ home, Tipu sultan Palace etc. Archaeological museum: it contains all the objects related to history. General Museum: They contain more than one subject and therefore these museums are called multidisciplinary museums. Your choice Direction: Follow the given instruction below (30pts) a. Choose one (1) among the types of museums. b. Why did you choose that particular museum? c. Collect some of the pictures that can be found in your chosen museum.. Pictures here! WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 25 of 43 Direction: Make a short video clip containing art collection inside your home. Time allotment (2-3 minutes). 50pts Assessment Test-I. Modified TRUE or FALSE. Direction: Answer the following statement. Write YES if the statement is true, NO if it is false. Underline the possible wrong answer and replace it with correct answer. 2 pts each. 1. Museum differs markedly from the library. 2. The word museum has classical origins. In its Spanish form, mouseion, it meant “seat of the Muses”. 3. General Museum contain more than one subject and therefore these museums are called interdisciplinary museums. 4. Museums are buildings in which we see many things of artistic, cultural, historical, traditional and objects of scientific interest. 5. The word museum was revived in 18th-century. 6. In 675 the collection, having become the property of Elias Ash mole, was transferred to the University of Oxford. 7. Historical museums illustrate historical events or period, personalities etc. they have weapons, statues, artifacts made of stones and other material. 8. They contain all types of paintings, drawings, sculpture, architecture etc. these museums called general museum. 9. Historical museums contain more than one subject and therefore these museums are called multidisciplinary museums. 10. Museums can have divided into five categories. Test-II Essay type. Direction: Answer the questions base in your own perception. Answer must contain 3-5 sentences in one paragraph. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 26 of 43 Q1. Why museum have divided into categories? Answer:. Q2. What are the possible consequences if there are no museums existed? Answer:. LESSON 8: Elements and Principles of Art WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 27 of 43 ELEMENTS OF ART: VISUAL Taking off from the scientific reference, elements of art are akin to the atoms that are defined as the unis or “building blocks” of matter. Together, in a variety of combinations and formations, they have the ability to create molecules such as water, or more complex sucrose. These formulations are almost the same with elements of art when they are joined together, in a variety of ways. 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. Some art forms also necessitate some of the elements as they are inherent in the very nature of them. For example, sculptures automatically have the following elements with or without the decision of the artist to include them: shape, form, and space. Without these elements, there is no sculpture to begin with. Elements are the necessary preconditions for the creation of art. To enumerate, 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. It 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. Although line is “simple,” it has variations in view of its orientation/direction, shape, and thickness. These variations import not only the visual elements into the artwork, but suggest meaning or message being conveyed by the artist. A quality that is ascribed to lines is its ability to direct the eyes to follow movement or provide hints as to work’s focal point. a. Horizontal and vertical Line- refers to the orientation of the line. This is normally associated with rest or calm. Landscapes often contain these elements as works like these often connote a visual sense of being these parallel to the ground. It also alludes to position of the reclined body at rest. Vertical lines, on the other hand, connote elevation or height, which is usually taken to mean exaltation or aspiration for action. Together, these lines communicate stability and firmness. b. Diagonal and crooked lines- diagonal lines convey movement and instability, although the progression can be seen. Crooked for jagged lines, on the other hand, are reminiscent of violence, conflict, or struggle. c. Curved lines- these are lining that bend or coil. They allude to softness, grace, flexibility, or even sensuality. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 28 of 43 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 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 positions. As such, its translation and use are often man-made. These shapes such as squares, triangles, cubes, circles, spheres, and cones, among others. b. Organic- organic shapes are those readily occurring in nature, often irregular and asymmetrical. The design of the vase in figure 55 is foliage, a sample from a series that made use of morning glories. 4. Space- related to shape and form is space. It is usually inferred from a sense or depth, whether it is real or simulated. Real space is three-dimensional like what has been previously mentioned, sculptures are a perfect example of artworks that bear this element. In the middle of the AT&T Plaza at the Millennium park in the Loop Community area in Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a bean, hence its other referent, the public sculpture was unveiled in 2004. The dent in the middle offers a gap in which people can pass through and gaze at the sculpture in a different perspective. However, not all works are sculptures. In two- dimensional artworks they maybe implied. a. Positive and negative space- usually identified with the white space is the negative space. The positive space, on the other hand, is the space 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- color is perhaps one of the elements that enhances the appeal of an artwork. Its affect has range, allowing the viewer to make responses based on memory, emotion, and distinct, 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. An upshot of this color theory is the creation of color wheel. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 29 of 43 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, and violet Tertiary colors-six in total, thee hues are achieved when primary and secondary colors are mixed b. Value- this refers to the brightness or darkness of color. Often, this is used by artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in 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. However, we can identify the color even when a rang is presented to us. Expectations are also established based on the notion that yellow is within the light value; whereas, violet is in the dark. Each primary color has a range of values based on the addition the diminishing quantity and quality of light. Tint- this is a lighter color that the normal value (e.g., pink for red) Shade- this is a darker color than the normal value (e.g., maroon for red) c. Intensity- this is the color’s brightness or dullness. It is identified as the strength of color, whether it is vivid or muted. To achieve a specific intensity of a color, one may add either gray or its complementary color. Bright or warm colors-positive energy Dull or cool colors- sedate/soothing, seriousness or calm To better understand intensity of color, color harmonies are to be considered. In interior design, we often hear designers refer to color schemes- a guide for selecting not only wall paint but also furniture and décor. However, color harmonies are also integral considerations not only for pictorial arts but also for the other art forms. Monochromatic harmonies- use the variations of a hue. An example is Claud Monet’s “House of Parliament.” Complementary Harmonies- involve two colors opposite each other in the color wheel. Since they are at contrary positions, the reaction is most intense. (Cima da Conegliano (Giovanni Battista Cima) WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 30 of 43 Analogous harmonies-make use of two colors beside each other in the color wheel. (Edgar Degas “Before the Race”) All in all, color presents a multitude of possibilities the affects how work of art are taken in by the viewer. Just taking a look at fiery and passionate reds of the clouds and the sky in Edvard Munch’s “The Scream,” would bring oneself to ask: (Edvard Munch, “The Scream” 6. Texture- like space, texture can be either real or implied. This element in an artwork is experienced through the sense to touch (and sight). This element renders the art object tactile. (Frans Pourbus the Younger, Margherita Gonzaga, Princess of Mantua.” Oil on canvas WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 31 of 43 Often, texture is commonly associated with textiles. a. Textures in the two-dimensional plane- texture can be implied using one technique or a combination of other elements of art. By creating this visual quality in the artwork, one can imagine how the surface will feel if it was to be touched. b. Surface texture- refers to the texture of the three-dimensional art object. PLANES AND PERSPECTIVE Some art forms work with actual spaces, such as sculptors, architects, and stage designers. However, with pictorial art that is two-dimensional, notions of depth and hence perspective requires the implementation of principles and techniques in creating an illusion that will fool the eye to three-dimensionality when in reality there is none. Picture plane is the actual surface of the painting or drawing, where no illusion of a third dimension exists. Its use was based on the following observations: 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. (New Railway Viaduct, Interior, Negative May 1893) A point of view may also be construed as normal (view standing up), low (view from a lower angle), or high (view Looking down on a scene) depending on the position the viewer takes. There are three types of perspective, grounded on the number of vanishing points used by the artist: WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 32 of 43 a. One-point perspective- often used in depicting roads, tracks, hallways, or rows of trees; this 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. c. Three-point perspective- in this type of perspective, the viewer is cooking at a scene from above or below. As the same suggest, it makes use of the three vanishing points, each corresponding to each axis of the scene. ELEMENTS OF ART: AUDITORY If there is an important quality that music has, it is having the capacity to transcend barriers, even that of differences in language of conventions in sound. Different demographics, groups, and individuals may have specific preferences as to the genre of music. However, in order to establish this preference, listeners often take to its elements for its evaluation. Some of the common elements of music are the following: rhythm, melody, harmony, timbre, and texture. 1. Rhythm Often associated to the terms beat, meter, and tempo, rhythm is the element of music that situates it in time. It is the pulse of the music. Beat is the basic unit of music while tempo refers to its speed (beats/second). Beats can be organized into a recognizable recurrent patter, which is called the meter. Classical terms are 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 elements of music that refers to the loudness or quietness of music is dynamics. Classical terms are used to refer to the different levels pertaining to this: Pianissimo [pp]- very quiet Piano [p]-quiet Mezzo-piano [mp] moderately quiet Mezzo-forte [mf]-moderately loud WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 33 of 43 Forte [f]-loud Fortissimo [ff]-very loud When composers indicate an increase, or decrease in loudness, they use the terms crescendo for the former; and decrescendo or diminuendo for the latter. 3. Melody 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, refers to a 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 Timbre is often likened to the color of music. It is quality that distinguishes a voice or an instrument from another. Dependent on the technique, the timbre may give a certain tone or characteristics to music, much like ow a painter evokes different effects of impressions onto to canvas. 6. Texture The number of melodies, the type of layers, and their relatedness in a composition is the texture of music. It may be: Monophonic- single melodic line Polyphonic- two or more melodic lines Homophonic- main melody accompanied by chords PRINCIPLES OF ART These principles will provide explicit ways in which these elements are used, how they interact, and how they inform he overall composition of the artwork to assist the artist in conveying his intention. It is the principles of art that influence the effect achieved by the elements, and the linkages of other principles. 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. (Isamu Noguchi. “Cube.”) WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 34 of 43 These are three forms of balance: a. Symmetrical- the elements used on one side are reflected to the other. This offers the most stable visual sense to any artwork. (UP Diliman Oblation statue) b. Asymmetrical- the elements are not the same (or the same weight) on each side, putting the heaviness on one side. c. 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 question. (Claes Oldenberg and Coosje Van Bruggen, “Plaintor”) WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 35 of 43 Proportion, on the other hand, is the size of the components, or of objects in relation to one another when taken as a composition or a unit. This can also refer to values such as amounts or number of elements or objects in the composition. (Leornardo da Vinci, “Vitruvian Man” 1490) Proportion: a. Natural- relates to the realistic size of the visual elements in the artwork, especially for figurative artworks. When it is the accuracy in relation to the real world that the artist is after, this is now referred to as the principle of scale. b. Exaggerated- refers to the unusual size relations of visual elements, deliberately exaggerating the immensity or minuteness of an object. c. Idealized- most common to those that follow canons of perfection, the size- relations of elements or objects. Which achieve the most ideal size-relation. 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. Contrast is the disparity between the elements that figure into the composition. One object may be stronger compared to other objects (hence, emphasis). This can be done in many ways using the elements of art. For instance, space, specifically the use of negative and positive space, is an example of contrast. 5-6. Unity and Variety Unless intended to be otherwise, compositions are intended to imbue a sense of accord or completeness from the artwork. This is unity. (Vasudhara Mandala”) WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 36 of 43 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 test. 7. Harmony Like what is hinted above, unity and variety is related to the principles of harmony, in which the which the elements or object 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 are emphasized. These focal points can be lines, edges, shape, and color within the work of art, among others. 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 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. With repetition, there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness. COMBINED OR HYBRID ART 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 kids of articulation in which two or more art forms and styles are combined. Some examples of combined arts include dance, theater, installation art, film, video art, documentary, photography, puppetry, design, and other form of production. In combined arts, improvisation is often tapped in addition to practical and logical considerations in creating an artwork. 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. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 37 of 43 Let’s do it Direction: Draw an example of hybrid art and dissect what art forms are combined therein. Add an extra sheet for this activity. 100 Pts. Rubrics for Drawing Students expectation Possible Self- Instructor points evaluation Drawing looks similar to 30 what was observed and taught Drawing includes many 30 details (measurements, shapes, colors, sizes, etc.) Drawing is accurately 20 labelled drawing is legible and large 20 enough to see all details 100 Total points: Assessment Test-I Identification Direction: Identify the following statements. Write your correct answer in the space provided before the number 1. Refers to a point moving at an identifiable path- it has length and direction. 2. These shapes find origin in mathematical proposition. 3. These are lining that bend or coil. 4. It is organic shapes are those readily occurring in nature, often irregular and asymmetrical. 5. Refers to the texture of the three-dimensional art object. 6. This type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line. 7. It is the actual surface of the painting or drawing, where no illusion of a third dimension exists. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 38 of 43 8. It is a central point in the composition, around which elements and objects are distributed. 9. It arises when pitches are combined to form chords. When several notes are simultaneously played, refers to a chord. 10. This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate rhythm as depicted in the artwork. 11. These elements are not the same (or the same weight) on each side, putting the heaviness on one side. 12. It is usually inferred from a sense or depth, whether it is real or simulated. 13. This element renders the art object tactile. 14. In this type of perspective, the viewer is cooking at a scene from above or below. As the same suggest, it makes use of the three vanishing points, each corresponding to each axis of the scene. 15. One of the elements that enhances the appeal of an artwork. 16. Refers to the unusual size relations of visual elements, deliberately exaggerating the immensity or minuteness of an object. 17. These lines communicate stability and firmness. 18. Lines, shapes, colors, and elements may appear in an artwork in a recurring manner. 19. This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. 20. This principle refers to the distribution of the visual elements in view of their placement in relation to each other. Test-II Enumeration Direction: Enumerate the different elements of visual and Auditory art. Elements of Visual Arts Elements of Auditory Arts 1. 7. 2. 8. 3. 9. 4. 10. 5. 11. 6. 12. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 39 of 43 Test III- Essay Direction: Answer the following questions. 5pts each 1. What are the elements of art?. 2. In two-dimensional artworks such as paintings, cite the elements and principles of art that when utilized in the composition of the artwork, will help simulate or suggest the three-dimensional space.. 3. What is the relevance of combined arts and hybrid art in the twenty-first century?. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 40 of 43 References: Becker, H.S (1982). Art Worlds. London, England: University of California Press. Electronic. Accessed November 1, 2017. Retrieved from https://monoskop.org/images/1/17/Becker-_Howard_S_Art_Worlds.pdf. Cline, A (2012). “The evolving Role of the Exhibition and its impact on Art Culture.” Senior Theses, Trinity College, Hartford, CT Trinity College Digital Repository. Accessed November 1, 2017. Retrieved from http://digitalrepository. Trincoll.edu/theses/267. Drucker, P. (1993). Post-Capitalist Society. New York: HarperBusiness. GMA News Online. (n.d.) “Frescoes from the Rubble of Bohol’s Quake-Hit Churches.” Accessed December 8, 2017. Retrieved from http://www.gmanetwork. com/news/story/331262/lifestyle/frescoes-from-the-rubble-of-bohol-s-quake-hit- churches/. Henri, R. (1023). The Art Spirit. New York: Basic Books. “Institutional Theory of Art the Artworld.” (n.d.) Accessed November 1, 2017. Retrieved from https://faculty.georgetown.edu/irvinem/visualarts/Institutional- theory-artworld.html. Marincola, P. (2006). What Makes a Great Exhibition? London: Reaktion Books. “National Artist of the Philippines.” (n.d). “National Living Treasures Guidelines.” Accessed November 1, 2017. Retrieved from http://ncca.gov.ph/about-culture-and- arts/culture-profile/gamaba/national-living-treasures-guidelines/. National Commission for Culture and the Arts. (n.d). “The Spanish Colonial Tradition in Philippine Visual Arts.” Accessed October 26,2017. Retrieved from http://ncca.gov.ph/subcommission-on-the-arts-sca/visual-arts/the-spanidh- colonial-tradition-in-philippine-visual-arts/. Philippine Primer. (n.d.). “Who’s Who: National Artist of the Phillipines.” Accessed November 1, 2017. Retrieved from http://primer.com.ph/tips- guides/206/07/27/whos-who-national-artist-of-the-philippines/. Prak, Maarten. (n.d). An Artisan “Revolution” in Late Medieval and Early Modern Europe? Accessed October 23, 2017. Retrieved from http://dutchworld.columbia.edu/files/2013/08/ArtisanRevolution_2013-1-1.pdf. BBC-GCSE Bitesize. (n.d.). “Speed or Tempo.” Accessed November 2, 2017. Retrieved from http://www.bbc.co.uk/schools/gcsebitesize/music/elements_of_music/rhythm_me tre1.shtml. Getlein, M. (2005). Gilbert’s Living with Art. 7th Ed. New York: McGraw-Hill. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 41 of 43 Piirma, P. (Ed.). (2014). Rhizope: Art & Science-Hybrid Art and Interdisciplinary Research. Tallinn, Estonia: Estonia Academy of Arts. Accessed November 13, 2017. Retrieved from http://www.kelomees.net/texts/RHIZOPE_catalogue.pdf. Tamplin, R. (Ed.). (1991). The Arts: A history of Expression in the 20th Century. England: Harrap Ltd. Tate. (n.d.) “Art Term: Perspective.” Accessed November 14, 2017. Retrieved from http://www.tate.org.uk/art-terms/p/perspective. The Artist: Art and Culture Magazine. (2016). “10 Principles of Art.” Accessed November 13,2017. Retrieved from https://theartist.me/infographics/10-principles- of-art/. The J. Paul Getty Museum. (n.d.). “Understanding Formal Analysis.” Accessed November 2, 2017. Retrieved from http://wwwgetty.edu/education/teachers/building_lessons/formal_analysis.html. WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 42 of 43 Disclaimer: This module is prepared for instructional purposes only based in our course syllabus. The teacher who prepared this does not claim ownership of this module but patterned the ideas from different authors. Privacy noticed For this module, we collect your names, year and section, contact number, Facebook account and messenger account when you register for purpose of coordination. All personal information collected will be stored in a secure location and only authorized staff will have access to them. Congratulations on completing this module! Student’s Information Name: Program: Year and Section: Contact No.: E-mail address: Facebook Account: Messenger Account: WPU-QSF-ACAD-82A Rev. 00 (09.15.20)  Page 43 of 43 Vision The leading university for holistic human development in West Philippines and beyond. Mission WPU commits to undertake quality instruction, research and extension programs towards a progressive Western Philippines. Core Values (3CT) Culture of Excellence Commitment Creativity Teamwork WPU-QSF-ACAD-82A Rev. 00 (09.15.20)