Art Appreciation Course Description PDF

ART APPRECIATION Course Description: Art Appreciation is a three-unit course that develops student's ability to appreciate, analyze, and critique works of art. Through interdisciplinary and multimodal approaches, this course equips students with a broad knowledge of the practical, historical, phil...

ART APPRECIATION Course Description: Art Appreciation is a three-unit course that develops student's ability to appreciate, analyze, and critique works of art. Through interdisciplinary and multimodal approaches, this course equips students with a broad knowledge of the practical, historical, philosophical, and social relevance of the arts in order to hone students' ability to articulate their understanding of the arts. The course also develops students' competency in researching and curating art as well as conceptualizing, mounting, and evaluating art productions. The course aims to develop students' genuine appreciation for Philippine arts by providing them opportunities to explore the diversity and richness and their rootedness in Filipino culture. LESSON 4: Subject and Content Learning Outcomes By the end of this lesson you should-be able to: 1. Differentiate representational art and non-representational art 2. Discuss the difference between an artwork's subject and its content 3. Identify the subject. matter and content of specific examples of art and 4. enumerate the sources of the subjects of some of the most recognizable works of art in Philippine art history In the Philippines, which is predominantly a non-museum-going public, looking at art has always been a tricky business. This is true not only for novices, but also at times, confronts the long-time art aficionados. One of the major hurdles that spoils an individual's engagement with an artwork is the notion that in order to appreciate it, one must be able to extract a specific image, isolate the artist or maker's intention, and unearth a particular meaning. Failure to do so automatically implies a failure of comprehension and therefore, failure of the experience. 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. The primary stage of engaging with art is its perception. Looking at art is much like any instance of taking in information or stimulus that originates from the world around us. For most art forms, the beginning of engagement is through looking at the artwork. The eyes play a big role in mechanically making a vision possible. However, like anytool, 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 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. Even the disposition or mood of the viewer, his education, his background, and his exposure to varying contexts contribute to what information is taken in and how they are interpreted. To herd all of these into coherence and intelligibility, the relationships of visual details presented, the ideas and feelings that they cull, and other springs of information may be consulted. In most cases, there are clues that mediate between the artwork and the viewer allowing the viewer to more easily comprehend what he is seeing. These clues are the three basic components of a work of art: subject, form, and content, These components are largely inseparable from each other and usually related to each other In this chapter, subject and content will be discussed, while form will be better examined in Chapter 6. To differentiate them briefly, subject refers to the visual focus or the image that may be extracted from examining the artwork, while content is the meaning that is communicated by the artist or the artwork. Finally, the development and configuration of the artwork-how the elements and the medium or material are put together is the form. In simpler terms, the subject is seen as the "what"; the content is the "why"; and the form is the "how.” Let's Get Started Think-Pair-Share 1. Look at the painting below by artist David Bailly entitled "Selbstbildnis mit Vanitassymbolen" (Self-Portrait with Vanitas Symbols). List down everything that you see within the four corners of the work. List as many items as you can in 3 minutes. Use the space on the next page for your answer. 2. With your classmate, discuss and compare the items you listed. 3.Based on your answers, write an assumption about what the painting means in the space below Let's Get Down to Business In the field of the sciences, experimentation is the key to proving a hypothesis or a larger theory. Often, an experiment is done multiple times to further prove the reliability of an outcome. Therein, empirical or observable data in the form of visible or tactile qualities, events or occurrence, yielding an output or by-product must follow after a step or a series of processes. In the arts, there are also 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 figures. From these, the type of subject can then be inferred. Types of Subject One of the most iconic and recognizable paintings all over the world is the "Mona Lisa" done by Leonardo da Vinci. Some questions are often raised regarding this artwork, like "Who is Mona Lisa?" "Why was Leonardo da Vinci compelled to paint her?" But as scholars attempt to solve the true identity of the sitter, it is relevant to note that there is a consensus that the Mona Lisa-whoever she is-is based on a real person. Portraits such as the "Mona Lisa" are good examples of what is called representational at. These types of art have subjects that refer to objects or events Occurring in the real world, often, it is also termed figurative art, because as the name suggests, the figures depicted are easy to make out and decipher. Despite not knowing who Mona Lisa is, it is clear that the painting is of a woman that is realistically-proportioned; only the upper torso is shown; a beguiling and mysterious smile is flashed; and that the background is a landscape-probably a view from a window. Pushing it even further, one can even imagine a scene in which Leonardo da Vinci alternates between applying dabs of paint on the canvas and looking at the sitter in order to capture her features for the portrait. On the other hand, seeing a painting that has nothing in it but continuous drips of paint or splotches of colors either confounds the viewer or is readily trivialized as something that anyone with access to materials can easily make. The works of Jackson Pollock, who is known for his "action paintings," are often subjected, to these remarks. Using large-scale canvasses that were usually laid out on the floor or resting on a wall, Pollock tilted his paint can and allowed paint to drip, Assisting it with movement, he used other implements such as hardened brushes, knives, sticks, and trowels to add detail, texture, and dimension to his paintings. There were no clear figures that jot out from the canvas; there were only drips and splashes. This kind of work can be subsumed under the category of non-representational. As the opposite of the previously discussed type of subject, non-representational art is also often termed non-figurative art. Non-representational art does not make a reference to the real world, whether it is a person, place, thing, or even a particular event. It is stripped down to visual elements such as shapes, lines, and colors that are employed to translate a particular feeling, emotion, and even concept. It is in this light that representational works are often favored because they are easier to recognize. Viewers find a greater degree of comfort when what they see registers as something familiar, They then continue to process this understanding, sometimes even becoming confident enough to share their insights to others. It can be argued then that an artist is faced with a strong persuasion of creating works that veers toward representational art. However, it is not simply an issue of assumed preference; rather, it cuts across matters relating to prevailing themes, norms, and practices of specific historical moments. Non-representational Art and Abstract Art One source of confusion is the notion that non-representational art is the same as abstract art. This is essential to discuss because it introduces the fact that representational art and non-representational art is not a clear-cut divide; rather, they exist in a spectrum. An abstract work of Pablo Picasso is a great example to illustrate this. Although he is more known for his paintings, he also dabbled into other works including sculptures. Cut metal that is hinged on a metal base, there is a palpable distortion of the image whatever it is-seems to be melting. Evenwithout reading the title from the caption, mere seconds of looking at the combination of lines, shapes, and colors of the sculpture will point to a head of a woman. Even with the abstraction of the image, this work is arguably representational. As a guide, an artwork, depending on the degree of distortion or abstraction, may be judged as leaning more toward one over the other. Abstract art is in itself a departure from reality, but the extent of that departure determines whether it has reached the end of the spectrum, which is non representationality-a complete severance from the world. A proponent of non-representational art was Russian artist Vasily Kandinsky. Although his chosen art form was paintings, he likened non-representational art to music, an art form that he was also very keen to. He asserted that with sounds, musicians are able to evoke imagery in their listeners or audiences. Object-free, he alludes to the sounds and spiritual experiences that music makes possible in his paintings. It is therefore not surprising that a lot of his paintings are inspired by music and are titled as impression, improvisation, and composition. Sources and Kinds of Subject When hit with a wall or a block, the writer is often advised to look back and take from what he knows. From there, a well and wealth of materials may be drawn. But for artists, where do they source the subjects of their paintings? What do they paint? For non-representational art, a higher level of perceptiveness and insight might be required to fully grasp the feeling, emotion, or concept behind the work. It is perhaps easier to infer where the subject matter comes from if the artwork is an example of representational art. From the figure(s) depicted in the artwork, there is already a suggestion as to its inspiration. However, in discussing the sources and kinds of subject in artworks, it is important to note that these two are often inextricably related. Often, even a singular source of inspiration can yield multiple translations. A good starting point is, of course, the nature. There is nothing more rudimentary than human interaction with the physical world around the artist. Early childhood often revolves around getting to know not just the body and what it can do, but also in getting accustomed to a multitude of sensory prompts around the artist especially those situated in his environment.Artists throughout history have explored diverse ways of representing nature: from plants to animals; thequalities of bodies of water and the terrain of landmasses, and even the perceivable cycles and changing of seasons,Often, these depictions are seen as expressions of the sacred or the profane, sired by reality or supplemented by the artist's imagination. One artist who was attuned with nature was Vincent van Gogh. He saw art and nature as inseparable, often finding solace and happiness in painting in it (working in the middle of unspoiled fields) and painting from it (landscapes). In a letter to his brother Theo, he wrote "..f I felt no love for nature and my work, then would be unhappy." (Van Gogh Museum, 1882) Other artists with a considerable number of landscapes and seascapes are Claude Monet, Camille Pissarro, Paul Cezanne, and JMW Turner. In the Philippines, National Artists for Painting Fernando Amorsolo and Fabian de la Rosa gained prominence from their painted rural scenes such as women in the fields gathering harvest Breaking nature into smaller parts is Jan van Kessel the Elder who did numerous still lives and small-scale, highly detailed studies, and scientific illustrations of flowers, insects, shells, fruits, garlands, and bouquets. jan van Kassel the Cider Pubio domain via Wdmedia Comnons Figure 2fl. Jan van Kessel, "A Cockchafer, Beetle, Woodlice and Other insects, with a Sprig of Auricula" (early 1650s). Oil on copper. Museum of Art and Archaeology, University of Oxford Collection. Greek and Roman mythology were also ripe with references: from episodes that transport the viewer to heroic encounters of Achilles and Aeneas; warnings about man's folly like the vanity of Icarus; the wit and cunning of Odysseus; the beauty of Aphrodite and the athleticism of Myron. From narrations in literature, artists, on the other hand, gave faces to Greek and Roman deties or the gods and goddesses whose fates are seemingly as tragic as those of men. Some of the art forms they took on were wall paintings or frescos and sculptural works such as busts, statuaries, and cerami and pottery, among others. Another integral aspect of human life is the distinct relationship with a higher controlling power. If the belief system of Greeks and Romans was polytheism with a multitude of gods and goddesses, the Judeo-Christian tradition stems from a belief in a lone creator of the universe or what is called monotheism. This tradition had an immense influence in Western civilization especially in art. Guided by a host of styles and techniques, various media and art forms were also experimented with: paintings, frescos, church architecture (over-all plan of the space, stained glass windows, tabernacles, and altars), sarcophagus, icons and other carvings, vestments, tapestry, illuminated manuscripts, and other sacred scriptures, among others. Commissioned by Pope Julius II, the intricate fresco that lines the Sistine Chapel was created by Michelangelo. The immense detail and vast surface he had to cover had him working on it from 1508 to 1512. Figure 31. Michelangelo, "Sistine Chapel" (1508-1512) Michelangelo CC EY SA 3.0 (https/creativecommons.org/licenses/by-sa/3.00 via Wikimedia Commons Unlike in Islam for example, practicing Jews and Christians were allowed to depict their God and other important biblical figures: laying visual foundations in inculcating the faith. But perhaps the influence of this tradition is most intriguingly manifested in the architectural marvels that are spread out all over the world. The formative years of church architecture can be traced in the fourth and fifth century but different styles. and plans were developed since then. Prevailing ideas and philosophies became resources that were used by architects to reimagine what the church should look like. For instance, Gothic churches were characterized by three things: soaring heights (ceilings), volume (flying buttresses and ribbed vaults), and light (bright stained glass windows, airy and pleasant interiors). Gothic style architecture is often attributed as the brainchild of Abbot Suger. There is a definitive sense that pointed to the feeling of awe on the part of the believer and the perceived majesty and power of God-all of which happened during the time when religion was at the heart of everyday life. This echoes her belief that "art was central to religious experience.” Proceeding from a kind of a hybrid between literature and sacred text is India's miniature paintings. In Central India, the kind of art that was produced was deeply rooted in Vedic texts such as Upanishads, Puranas, and other important texts like the Sanskrit epics Mahabharata and Ramayana. Indian artists had a wide array materials to work with in showcasing not just their artistry and skill. The significance of these paintings rests on its ability to foster devotion and the observance of a code of ethics through the visualizations of heroic narratives. These paintings were small but were highly pictorial, stylized, and employed a good contrast of colors. Some artists also included verse from the epics as part of the cartouche which added interest and meaning to the paintings. Historically significant events particularly in the affairs of humanity are abundant references for art production. From early breakthroughs such as the discovery of fire and the overthrow of geocentric theory in favor of a sun-centered universe, succeeding advancements brought about by discovery, innovation, and man's incessant search for glory plotted a dynamic course of history, Figure 34, Francisco de Goya, "El Tres de Mayo" (1814) Oil on canvas. Museo del Prado Collection. An example is Goya's El Tres de Mayo which captures the death of Madrilenes, the local insurgents during the Peninsular War. Former allies in the overrun of Portugal and France turned against Spain. Napoleonic forces invaded Madrid without much difficulty and the painting captures the dramatic demise of its people under a firing squad. History, as a resource for artists in search of subjects, brings into consideration events that are familiar and sometimes even common or shared in world context: the establishment of nations and states (discovery, conquests, and colonization), and the resulting ideologies that they breed (democracy, liberty, freedom, and rights). These works serve as documentary and commemorative artworks that illustrate subjects such as important leaders and figures: events as they were recorded to have happened; and representations of ideologies or values. 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. During the Spanish colonial period in the Philippines, art was predominantly representational. During the first. century of their dominance, art came as an aid for communication a means of propagating religion to locals who spoke a different language. The visual arts, from paintings to early sculptures such as santos and other votive figures and icons, were created to assist Catholic ministry. Existing art and craft traditions persisted, with some augmented and infused with foreign influences that were not limited to the Spanish culture through contact. The momentum that secular (or non-religious) art later gained in the nineteenth century can also be attributed to this contact, with the opening of the Suez Canal and the growth of export economy in agriculture. The consequence of these developments was the rise of the middle class. With their new-found economic and social mobility, patrons of the art were no longer limited to the clergy, but brought about a demand coming from these wealthy illustrado families. Of interest was the increase in demand for commissioned portraits (of an individual or an entire family), finding it necessary to document themselves in light of their elevated status. Wearing the most intricate and elaborate of garbs, significant adornments such as jewelry and embroidered implements, among others,completed the intended narrative. This artistic trend cemented the distinction of artists such as Simon Flores, Justiniano Ascuncion, and Antonio Malantic who became the foremost portraitists of the time. Here, it is evident how during the Spanish colonial period, the subjects of artworks, even the manner in which they are translated, were mostly dictated by the patrons who commission them for religious and secular art. Content in Art As outlined in the beginning, in discussing works of art, the subject may simply be referred to as the "what- what is readily seen and relates to the artwork, its inspiration, and the many kinds of translation. But apart from what is made explicit, to recognize and grasp the message of the artwork, the viewer may sometimes need to go beyond what is visible. Why was the artwork created in the first place? When this question is asked, we are after the meaning or message that is expressed or communicated by the artwork. One of the foremost scholars that expounded on content analysis or how meaning is arrived at is art historian Erwin Panofsky in his seminal work Meaning in the Visual Arts (1f183). His methodology will be later identified as Iconology through the interpretation of iconography. To take on the challenge of understanding the content of art, it must be reiterated that there are various levels of meaning. Perhaps the most common is what we call factual meaning. This pertains to the most rudimentary level of meaning for it may be extracted from the identifiable or recognizable forms in the artwork and understanding how these elements relate to one another. Conventional meaning, on the other hand, pertains to the acknowledged interpretation of the artwork using motifs, signs, symbols and other cyphers as bases of its meaning. These conventions are established through time, strengthened by recurrent use and wide acceptance by ts Viewers or audience and scholars who study them. Finally, when subjectivities are consulted, a variety of meaning may arise when a particular work of art is read. These meanings stem from the viewer's or audience's circumstances that come into play when engaging with art When looking at a particular painting for example, perception and meaning are always informed (and even colored) by a manifold of contexts: what we know, what we learned; what we experienced; and the values we stand for. It is therefore expected that meaning may not be singular, rather, a painting may communicate multiple meanings to its many viewers. This is what we call subjective meaning of art. By S üna (Oum w cCBY 30 (htpareanvecommansorg licensesby301 vaWikimediaoANGNS Figure 35. Mchelangeic. "Creation af Adam"" from the ceiling of the Sistine Chapel. Michelangelo's "Creation of Adam" can be read using various levels of meaning previously discussed. There, Adam is figured with an aged God, both of them with an am stretched and their respective index fingers appearing to be fixed at an impending contact. Apart from God who is wearing a tunic, everyone else is in the nude. God is afloat, surrounded by drapery and figures presumed to be angels and cherubs. Adam on the other hand is earth-bound, sitting and reclined, positioned diagonally parallel to that of God. From a factual perspective, Michelangelo depicted a scene from the Creation Story, in particular, the creation of man. Apart from being a key element of Michelangelo's fresco at the ceiling of the Sistine Chapel, the subject matter suggests that this is an example of biblical art. This work is indeed iconic, and this is asserted by the conventional meanings attached to t Here, 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. During this time, the ideals of humanism were underscored and the arts and sciences were furthered. It is therefore understandable that the classical canons of the form of the body (ideally proportioned and muscular) are portrayed, especially by Michelangelo who was first and foremost a sculptor. Here, the view is that the greatness of old civilizations such as that of the Greeks and the Romans may not only be replicated, but even surpassed. Some art scholars noted how Michelangelo exhibited just that-an elevated artistry that the dynamism and energy of the figures in the frescoes in the Sistine chapel are unlike the works of predecessors. An interesting overlap between the conventional and subjective meanings is the proposal from gynecologist Frank Lynn Meshberger, whose published essay appeared in the October 1fifio issue of the Journal of American Medical Association. Written was his 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. According to Meshberger, the work can also be aptly called "The Endowment of Adam" for it brought 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. Let's Wrap It Up There is sense of panic when one is confounded with the question, "What am I seeing?" or rather, "What am I supposed to see?" Perhaps, addressing this stigmals the first step in inviting more Filipinos to engage with art and have a more enduring appreciation for it, In gaining the basics of deciphering the subject and content of art, it is hoped that an individual's sensitivity and perceptiveness to art will be developed. As was discussed in the chapter, one may begin by looking at perceivable features of the artwork. Taking note of what is apparent will provide clues as to what the intended. meaning of the artist might be. 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. 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. 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 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. Throughout this book, it is hoped that the specialized language of art will unfold for the learning pleasure of the students, enabling the ease and encouraging the predilection of engaging with art through its description, analysis, interpretation, and even critique.