ARTS 1 (MODULE 2, SUB-MODULE 1) and these factors have been present in music of all styles

and in all periods of history, throughout the world.

L2.1: THE SEVEN ARTS

ART FORM: The SEVEN ARTS 5. DANCE

1. VISUAL ARTS – Pain ng & Sculpture * A rhythmic and expressive movement of the body in
PAINTING (2D): successive mo on usually accompanied by music. Dance
The process of applying pigment on a smooth as an art. It states a story, expresses certain emo ons
surface paper, cloth, wood, canvas, or plaster- to secure and gives emphasis on the movement of the body and
an interes ng arrangement of forms, lines and colors. med to music.
SCULPTURE (3D): * The ART of Dance is a performing art form. It transmits
* An ar s c form in which hard or plas c materials are culture, emo ons, tells stories and can be a tes mony of
worked into three-dimensional art objects. The designs a historical moment or a place of origin. Energy exults
may be embodied in freestanding objects, in reliefs on out of the performance of a succession of gesture.
surfaces, or in environments ranging from tableaux to
6. THEATRE
contexts that envelop the spectator.
* A collabora ve art form which combines words, voice,
* Carving or chiseling (as in wood or stone), by modeling
movement and visual elements to express meaning. The
(as in clay), or by cas ng (as in melted metal)
field of theatre encompasses not only live improvised
2. ARCHITECTURE and scripted work, but also drama c forms such as film,
* The art or science of building specifically: the art or television and other electronic media.
prac ce of designing and building structures and * Theatre, also spelled theater, in drama c arts, an art
especially habitable ones. concerned almost exclusively with live performances in
* The art and technique of designing and building, as which the ac on is precisely planned to create a coherent
dis nguished from the skills associated with and significant sense of drama.
construc on. It is both the process and the product of
sketching, conceiving, planning, designing, and 7. FILM/CINEMA
construc ng buildings or other structures. * Film, also called mo on picture or movie, series of s ll
photographs on film, projected in rapid succession onto
3. LITERATURE a screen by means of light. Because of the op cal
* Any collec on of wri en work, but it is also used more phenomenon known as persistence of vision, this gives
narrowly for wri ngs specifically considered to be an art the illusion of actual, smooth, and con nuous
form, especially prose fic on, drama, and poetry. In movement.
recent centuries, the defini on has expanded to include * Film is a remarkably effec ve medium in conveying
oral literature, much of which has been transcribed. drama and especially in the evoca on of emo on. The art
* It is a body of wri en works. The name has tradi onally of mo on pictures is exceedingly complex, requiring
been applied to those imagina ve works of poetry and contribu ons from nearly all the other arts as well as
prose dis nguished by the inten ons of their authors and countless technical skills (for example, in sound
the perceived aesthe c excellence of their execu on. recording, photography, and op cs). Emerging at the end
Literature may be classified according to a variety of of the 19th century, this new art form became one of the
systems, including language, na onal origin, historical most popular and influen al media of the 20th century
period, genre, and subject ma er. and beyond.

4. MUSIC
* Art concerned with combining vocal or instrumental
sounds for beauty of form or emo onal expression,
usually according to cultural standards of rhythm,
melody, and, in most Western music, harmony.
* Both the simple folk song and the complex electronic
composi on belong to the same ac vity, music. Both are
humanly engineered; both are conceptual and auditory,
L2.2: THE NATURE OF ART -His perception is not only of surface appearances but of
forces lie underneath –hidden realities which we do not
ART IS EVERYWHERE usually notice until they are “framed” for our attention
* Art is found everywhere. It is very much a part of our and consideration in works of art. It is the discovery of
lives. We cannot ignore its presence even if we try to. these realities that the artist express in his art.
We find art: -The artist’s discovery may stem from a close scrutiny of
-In the clothes and accessories, we wear, in the design of his environment, from contact with ideas advanced by
furniture and furnishings, in the style of the houses we other persons, etc.
build and the vehicles we use. -As in other systems of communication, the artist uses
-In the home and in the community, in religion, in trade, symbols which he organizes into some comprehensible
and in industry. equivalent of the experience that he is trying to convey.
-If the symbols are understood by the audience, then
All these things are part of man’s effort to lessen the communication has been established
drabness and tedium of everyday living and to -Sometimes it is not the artist’s main intention to
transform his environment into a more interesting place communicate; it is enough for him to express himself to
to live in. relieve himself of tension.
-While each work of art is evidently the expression of an
Art is not confined to our cities and towns alone; it also artist’s personal viewpoint, it is also an expression of a
exists among the ethnic groups. Many of whom, by general vision of the age in which it was created (art,
choice or necessity, live far away from urban centers man, society & history)
1. T’boli women have been stringing colorful bead
necklace and wearing them for generations. Art in any given period simultaneously reflects two
2. Mountain Province – Lepanto cloth = handlooms things:
weaving  the genius of its creator
3. Ifugao – sculptures / woodcarvings  the sensibility or the characteristic values and
4. Maranaw – exquisite metal works (kris), malong attitudes toward important aspects of life held
5. Music & dances of the Manobos, Bagobos, Tinguians, by the society in which the work of art was born
Mangyans & other ethnic groups
ART AS CREATION
WE FIND ART AT ALL TIMES
Prehistoric cave dwellers = art as integral part of their -Man has also been led by an innate craving for order to
communal lives. create objects that are delightful to perceive.

-“creation” = the act of combining or re-ordering already

Examples:
existing materials so that a new object is formed.
- Paintings of animals on the walls of caves (e.g. Angono
petroglyphs) -As a creative activity, art involves skills or expertness in
- Clay statuettes of fertility goddes and pieces of bone, handling materials and organizing them into new,
ivory and horn incised with images of animals. structurally pleasing, and significant units. This skill is
acquired thru long training & constant practice
Art is indeed as old as the human race itself. Art exists
in all forms of human society and in every genera on -Art is a planned activity. Unlike the spider when it
because it serves some fundamental human needs. weaves its web, the artist does not put his materials into
shape instinctively. Rather, he thinks out a design,
ART AS EXPRESSIONS & COMMUNICATION selects his materials, and arranges them according to his
design.
-Art has grown out of man’s need to express himself.
Expression in the art, however, is not limited to the -Sometimes, the art object may be a result of a
revela on of emo ons alone. cooperative activity, by a team of artists motivated by a
-The personal and social values of the ar st and his common goal, as in the production of a play or movie.
psychological insights into human reality are also -Each finish product is an expression of order –the
conveyed through the arts. Artist is usually gifted with a artist’s idea of order. It is taken as a self-contained
special sensitivity towards the world around him. object, reacted to, and evaluated by people who come in
contact with it.
ART AND EXPERIENCE
Three major kinds of experience:
1. as an experience which the ar st wants to
communicate
2. the act of expressing this experience that of crea ng
the art object or form –in itself a kind of experience
3. when the work is done, there is the ar st’s gra fying
experience of having accomplished something
significant.

But there is still another kind of experience associated

with art. This refers to what an onlooker or listener
undergoes when he perceives the work of art.

-The perception may rekindle an experience which is

similar or related to that which the artist tried to express.

-It goes without saying that art must be seen or heard in

order to be enjoyed or appreciated.

A varying combina on of sensory, emo onal and

intellectual response is involved in experiencing art.
Sensory response, do not need deeper understanding
of what the ar st wants to express;
Emo onal response, triggered by the recogni on of a
familiar situa on presented as the subject of the work;
Intellectual response, s mulate the intellect more than
the emo ons, delight the mind primarily.

Our reaction to art is personal and individual. We tend

to respond to works of art according to our level of
expectation.

Appreciating a work of art does not just mean

responding emotionally to it. It implies an intellectual
involvement with what is to be appreciated.

To learn to appreciate any one of the arts, we must

understand what goes into its making: its elements or
components and how these are put together in a pattern
of relationships, coalescing and becoming the unity
which is the work of art itself.

ART AND NATURE

-Art is not nature. Natural things are not work of art.
-A work of art is man-made, and although it may closely
resemble nature, it can never duplicate nature.
-Art is non-repeatable and unchanging, while nature is
evanescent and always crea ng itself.
-Nature has been a constant source of models for art.
-We use art to improve on nature (e.g. garden or
landscaping, etc.)
L2.3: THE FUNCTION OF ART Physical Func ons of Art
-Forms and Func on. The func on of an object generally
Func on in Art
determines the basic form that it takes.
-Compared to other ac vi es of man, art is generally
-Architecture. The design of the building is determined
regarded as imprac cal, not meant to meet the
primarily by its opera onal func on.
requirements of day-to-day living.
-Community Planning. It involves the efficient
-Art has very li le func on; func on means “prac cal
organiza on of buildings, roads, and spaces so that they
usefulness”
meet the physical and aesthe c needs of the community.

Classifica on of Art in Rela on to Func on

Func on and Beauty
Func onal Art
-Many things remain the same in shape throughout the
-Architecture
years because their func onal requirements do not allow
-Weaving
for greater varia ons in their form. Time has proved that
-Furniture-making, etc.
their designs best enable them to accomplish their
purpose.
Non-func onal Art
-Pain ng -Best these designs may not be the most beau ful
-Sculpture ones. Visual appeal must also be given considera on.
-Literature -Functional works of art must not only perform their
-Music functions efficiently but also be aesthetically pleasing.
-Theater Arts
-They should likewise stimulate the eyes and spirits, and
awaken in the one who looks at them a sense of balance,
The Func ons of Art: From one point of view, we may
rhythm, and harmony.
consider art as having the general func on of
“sa sfying” -It is the presence of this quality of delighting the
-our individual needs for personal expression (personal beholder because of a harmonious arrangement of the
func on) formal elements that distinguishes a work of art from an
-our social needs for display, celebra on, and ordinary functional object.
communica on (social func on), and
-our physical needs for u litarian objects and structures
(physical func on).

The Personal Func on of Art

-Art serves as means of expression
-Therapeu c value of art
-Art helps to educate our senses and sharpen our
percep on of colors, forms, textures, designs, sounds,
rhythms and harmonies in our environment
-Works of art make us aware of other ways of thinking,
feeling, and imagining that have never occurred to us
before

Social Func ons of Art

Art performs a social func on when
-it seeks or tends to influence the collec ve behavior of a
people;
-It is created to be seen or used primarily in public
situa on;
-It expresses or describes social or collec ve aspects of
existence as opposes to individual and personal kinds of
experiences.
L2.4: THE SUBJECTS OF ART
Distor on is usually done to drama ze the shape of a
WHAT SUBJECT IS?
figure or to create an emo onal effect.
-The subject of art refers to any person, object, scene, or
event described or represented in a work of art.
Surrealism is regarded as realism plus distor on
-Some arts have subject, other do not. The arts that have
subject are called representa onal or objec ve arts;
The Ar st and His Choice of Subject
those do not have subjects are known as non-
representa onal or non-objec ve arts. -Prac cally everything under the sun is a raw material for
the ar st to draw his subject from.
SUBJECT TYPE -Most of the visual art are representa ons of what the
1. Representa onal / Objec ve: ar sts thought and felt about the world they lived in.
 Pain ng -Or they are representa ons of things the ar sts
 Sculpture imagined or dreamed about.
 The Graphic Arts
 Literature Whatever subject an ar st chooses:
 Theater Arts -his choice involves some personal statement;
2. Non-Representa onal /Non-Objec ve -it shows what he considers significant or aesthe cally
 Music sa sfying;
 Architecture -his choice of subject is affected by his medium;
 Func onal Arts -it also depends largely upon the me in which he lives
and on the patronage he gets.
The non-objec ve subjects or arts do not
represent descrip ons, stories, or references to The value of a work of art does not depend on the
iden fiable objects or symbols. artist’s choice of subject. It does not necessarily follow
that the more profound the subject, the greater the
Rather, they appeal directly to the sense primarily work of art. Rather, the worth of any representational
because of the sa sfying organiza on of their sensuous work of art depends upon the way the subject has been
and expressive elements. presented.
Many contemporary artists, painters in particular, have SOURCES OF SUBJECT
turned away from representational or non-objective art
 Nature
work. They have shifted their attention to the work of
 History
art as an object in itself, an exciting combinations of
 Greek & Roman Mythology
shapes and colors that fulfills an aesthetic need without
having to represent images or tell a story.  Judeo-Chris an tradi on
 Sacred oriental text
Ways of Representing Subject  Other works of art
-The manner of representing subject matter varies
according to the inventiveness and purpose of each KINDS OF SUBJECT
artist. He may employ realism, abstraction, or 1. Landscapes, seascapes & cityscapes
distortion. 2. S ll Life
 Realism = the realistic depiction or 3. Animals
representation of things in the way that they 4. Portraits
would normally appear in nature. 5. Figures (human body)
 Abstraction = the process of simplifying and/or
6. Everyday Life (Genre)
reorganizing objects and elements according to
7. History and Legends
the demands of artistic expression
 Distor on = the process by which the figures 8. Religion and Mythology
have been arranged that propor ons differ 9. Dreams and Fantasies
no ceably from natural measurements; could
also mean twis ng, stretching, or deforming the
natural shape of the object.
SUBJECT & CONTENT
-Recognizing the subject is not necessarily grasping the
content of a work of art;
-Subject and content are two different things: while
subject refers to the objects depicted by the ar st,
content refers to what the ar st expresses or
communicates on the whole in his work.
-One does not always see content, but it is
transmi ed by the way the subject and form interact in
a work.

Subject matter may acquire different levels of meaning,

such as: (1) factual meaning, (2) conventional
meaning, and (3) subjective meaning.

The factual meaning is the literal statement or the

narrative content in the work which can be directly
apprehended because the objects presented are easily
recognized.

The conven onal meaning refers to the special meaning

that a certain object or color has for a par cular culture
or group of people.

The subjec ve meaning is any personal meaning

consciously or unconsciously conveyed by the ar st using
private symbolism which stems from his own associa on
of certain objects, ac ons, or colors with past
experiences.

No one can be expected to understand without effort

and study the meanings of many works of art, especially
those that deal with religion and mythology.

To fully grasp the content of works of art, one must

learn as much as he can about the culture of the people
that produced them and maintain an open mind.
THE LANGUAGE OF ART (Lesson 2.6) In judging a work of art, what ma ers is not so much
the technical virtuosity of the ar st as how well he has
MEDIUM AND TECHNIQUES OF ART
employed his means –medium and technique - to
The Ar st and His Medium
achieve his end
-When an ar st proceeds to give shape to his vision, his
first thoughts are on what medium to employ.
-No fixed rules governing the choice of materials and
processes to use; some mes the requirements of a
patron or the nature of the work leaves the ar st no
choice at all.
-O en mes, the ma er of selec ng the medium is le
en rely to the ar st himself.

An ar st’s choice of medium is usually Influenced by

such prac cal considera ons as:
1. the availability of material;
2. the use to which the art object be put;
3. the idea that he wants to communicate;
4. the nature and special characteris cs of the medium
itself.

The nature of the medium determines the way it can be

worked and turned into a work of art. (stone must be
chiseled, metal must be cast.) It also determines what
can be expressed through it.

It medium has its own range of characteris cs which

determine the physical appearance of the finished
product.

Each medium has inherent limita ons, as well as

poten als (for medium has its own way of behaving).

The Ar st and His Technique

-A good ar st makes his medium work for him to produce
effects he cannot possibly a ain by any other means.
-Technique is made up of an ar st’s knowledge of his
medium and his skill in making it achieve what he wants
it to.
-Ar sts differ from each other in technique even if they
work with the same medium. (a different technique at
another me for another purpose).
-Technique is adapted as the need arises.

It is in the use of technique that the ar st differs from the

cra sman (“crea vity” enters into the work of an ar st).

Ar st uses technique only as a means to an end.

Originality is what dis nguishes an art from a cra --

originality in expression, at least, for there is really no
such thing as a completely original work of art.
THE MEDIUMS OF THE VISUAL ARTS (LESSON 2.6.1) surface of the paper then shows through, giving a
delicate, luminous texture to the pain ng.
MEDIUM AND TECHNIQUE
Ex: “Barung-barong” “Sabungero” Watercolor by:
Art has to exist in some medium to be recognized as such.
Vicente Manansala.
“Soldiers” Cesar Legaspi
Medium in art refers to the material or means which the
ar st uses to objec fy his feeling or thought
5. OIL: In oil pain ng, pigment ground in linseed oil is
CLASSIFICATION OF ART IN RELATION TO MEDIUM applied to primed canvas. Since the paint is rather thick,
1. Visual Art/ Space Art: Art whose mediums can be seen it has to be thinned with oils, turpen ne, or any other
and which occupy space solvent before it is applied on canvas
a.) two-dimensional arts (2D) Ex: Oil on canvas by Juan Luna, Felix R. Hidalgo, Fernando
b.) three-dimensional arts (3D) Amorsolo, Luksung-Tinik by Vicente Manansala, The
2. Auditory Art/ Time Art: Arts whose medium can be Sketch by Victorio Edades
heard and which are expressed in me
Ex. Music & Literature 6. ACRYLIC: Synthe c paints using acrylic polymer
3. Combined Art: those whose mediums can be both emulsions as binder are the newest mediums and the
seen and heard, and which exist in both space and me ones that are widely used by today’s painters. They have
many advantages:
THE MEDIUMS OF PAINTING AND RELATED ARTS -They combine the transparency and quick drying
Pain ng and the Related Arts characteris cs of watercolor and the flexibility of oil;
Pain ng is the process of applying pigment on a smooth -They are completely insoluble when dry;
surface –paper, cloth, canvas, wood or plaster- to secure -They can be used in almost any surface.
an interes ng arrangement of forms, line and colors. -They can be applied thinly with a water-dipped brush or
laid on in thick impastos with a knife.
THE MEDIUMS OF VISUAL ARTS Ex: “Morning Dance (1982)” by Cesar Legaspi
1. ENCAUSTIC: The applica on of a mixture of beeswax, “Huling Hapunan” by Jose Blanco
resin and ground pigment to any porous surface, “Koi Series” by Raphael Pacheco
followed by the applica on of heat to set the colors and
bind them to the ground. When the surface cools, it is THE MEDIUMS OF PAINTING AND RELATED ARTS
polished with a cloth. This gives the wax a so luster that Pain ng Related Arts
heightens its translucent quali es. Mosaic art is related to pain ng only because it creates
Ex: Egyp an Encaus c Pain ngs pictures on flat surfaces.
-Mosaics are wall or floor decora ons made of small
[Link]: Tempera paints are earth or mineral cubes or irregularly cut pieces of colored stone or glass
pigments mixed with egg yolk and egg white. Since the called tesserae.
paint dries quickly, correc ons are difficult to -The tradi onal mosaic technique consisted in
make. Thus, the ar st using this medium must plan his embedding tesserae directly into a wall of damp mortar,
design well. following a well-planned design or cartoon.
Ex: The Birth of Venus, 1485-1486 -Mosaic art was an important feature of Byzan ne
churches. i.e. Empress Theodora and her a endants
3. FRESCO: Fresco pain ng is the applica on of earth found in San Vitale, Ravena, Italy.
pigments mixed with water on a plaster wall while the
plaster is damp. Color then sinks into the surface and Examples of Mosaic Art in the Philippines
becomes an integral part of the wall. The image becomes *The altar design of Sta. Cruz Church in Manila
permanently fixed and lasts as long as the wall exist. *The façade design of the FEU Chapel
Ex: Sis ne Chapel Fresco Pain ngs, The Crea on of Adam *The floor design of the Church of the Holy Sacrifice in
UP Diliman
4. WATERCOLOR: Watercolor is a tempered paint made Stained Glass: developed as a major art when it
of pure ground pigment bound with gum arabic. Painters appeared as an important part of the Gothic cathedral.
apply watercolor in thin, almost transparent films. The
It serves many purposes:
-admi ed much needed light that was missing from the Printmaking: A print is a graphic image that results from
Romanesque churches; a duplica ng process. The technique involves the
-a means of religious instruc ons, depic ng scenes from prepara on of the master image on a plate made of
the Bible and from the lives of the saints. wood, metal, or stone from which impression is taken.
-Stained glass derives its effects from the varia ons in the -The making of prints was originally resorted to in order
light that shines through it. to make many faithful copies of a drawing. Today,
-It is translucent glass colored by mixing metallic oxides printmaking is an independent art; it is as popular as
into molten glass or by fixing them onto the surface of pain ng and sculpture.
the clear glass. The glass is then cut into shapes
determined by the ar st’s design. These pieces are Four Major Processes in Printmaking:
finally assembled into the desired image and held 1. Relief Prin ng– involves cu ng away from a block of
together by strips of lead. wood or linoleum the por ons of the design that the
ar st does not want to show, leaving the design to stand
Examples: out on the block. The uncut, smooth surface is then
1. Ba le of La Naval in Sto. Domingo Church in Quezon covered with ink, which, under pressure, leaves an
City impression on paper or cardboard. Color prints are made
2. Works of Antonio Dumlao at FEU with a separate block for each color.
2. Intaglio Prin ng – exactly the opposite of the relief
TAPESTRY: The walls of palaces, castles and chapels in prin ng. The design is scratched, engraved or etched
Europe were decorated in the Middle Ages with hangings into a metal plate. The incised lines or depressed area is
called tapestries. filled with ink, which, under considerable pressure,
-These hangings added color to the drab interiors and leaves a sharp impression on damp paper. (burin - cu ng
also served to retain in the room whatever heat was tool)
generated from the fireplace. Varia ons of etching process:
-Tapestries are fabrics into which colored designs have - Aqua nt
been woven. In making tapestry, the weaver closely - Mezzo nt
follows a pa ern, the actual size of the finished tapestry, 3. Planographic Process– or surface prin ng is done from
which is placed under the warp threads on the loom. an almost smooth surface which has been treated
-A shu le is employed to weave each color thread used chemically or mechanically so that some areas will print
as we over the area where the color appears in the and others will not, e.g. lithographic.
pa ern. 4. Stencil Process - stencil prin ng is done by cu ng
designs out of special paper, cardboard, or metal sheet in
DRAWING: is the most fundamental of all skills needed in such a way that when ink is rubbed over it, the design is
the arts. All designed objects are first visualized in reproduced on the surface beneath.
drawings before they are actually made.
Photography: is literally drawing or wri ng with light.
Kinds of Drawing:
-It is a three-step process that involves the use of such
1. Study – made for the sake of learning how to draw
equipment and materials as a camera fi ed with a lens,
some forms or as a means of inves ga ng a par cular
shu er, and diaphragm; filters, film; a special kind of
detail of what may eventually become a larger
paper onto which the image is transferred; and other
composi on.
materials for developing the nega ve and producing the
2. Sketch – showing a general organiza on or design of a
print.
product being planned.
3. Cartoon – meant to be a basis for some other work like
Three-step Process of Photography
a tapestry or a relief print.
The first step –that of choosing a subject- requires the
4. Art Work – a finished work in itself
wise judgment and ar s c sense of the photographer.
The second step is mechanical one.
Drawing can be done with various mediums: i.e. pencil,
The third step is a chemical process.
ink, pen, pastel, charcoal, crayons, and silverpoint.
THE TECHNIQUES AND MEDIUMS OF SCULPTURE  Luminal sculpture (electronic devices)
(Lesson 2.6.2)
-A work of sculpture is a three-dimensional form
constructed to represent a natural of imaginary shape.
-It can be free-standing, carved in relief, or kine c.
-Free-standing sculpture, or sculpture in the round, is one
which can be seen from more than one posi on.
-The figures of relief sculpture project from a flat
background. When the forms as slightly raised, the
sculpture is called a bas relief. High relief sculptures are
those whose figures project to the extent of ½ of their
thickness or more.
-Mobiles, a kind of kine c sculpture are made of strips of
metal, glass, wood, or plas c, arranged with wires and
hung where they can move. Mobiles are usually
associated with Alexander Calder who first created them
in the 1930’s.

METHODS OF SCULPTURE: The tradi onal methods

employed in making sculpture are carving, modeling and
cas ng. A modern method is fabrica on.
* Carving is subtrac ve process, that is, it involves
removing unwanted por ons of the raw material to
reveal the form that the ar st has visualized.
* Modeling is an addi ve process. It means building the
form, using highly plas c material such as clay or wax.
* Unlike carving, the addi ve process permits the ar st
to rework his material and introduce details as he sees fit.
* An armature is frequently used as a skeleton for the
form.
* Cas ng can faithfully reproduce in bronze or other
metals the spontaneity achieved in the modeling
process. It is a complex process that begins with the
produc on of a nega ve mold.
* Fabrica on is developed in the 20th century. This
method came about because of the rising cost of
tradi onal materials and the difficulty of ge ng them. It
employs any method of joining: nailing, stapling,
soldering, and welding.

THE MEDIUM OF SCULPTURE: There are many kinds of

materials that a sculptor can work with:
 Wood (so wood, hardwood)
 Stone (marble, granite and basalt, jade)
 Ivory
 Metals
 Plaster
 Clay
 Glass, Plas cs, etc.
ARCHITECTURE AND THE RELATED ARTS (Lesson 2.6.3) LANDSCAPING
The Mediums of Architecture  The ar ficial arrangement of outdoor areas to
-Architecture is the art of designing and construc ng a achieve a purely aesthe c effect is known as
building which serve a definite func on, ranging from landscaping.
providing the simplest shelter to mee ng the  The landscape ar st make use of the terrain as
technological demands of our modern ci es. his basic medium along with the sand, rocks,
-A wide variety of construc on materials are readily water, and growing plants found on it.
available to the architect these days, and from among
them he invariably chooses those which are durable and
strong, and which have a poten al for beauty besides.
-The usefulness and beauty of a building are directly
related to the choice and handling of the materials
employed in the construc on.
-The nature of the materials chosen inevitably
determines the construc on principle to be employed.

CONSTRUCTION PRINCIPLES
1. Post-and-Lintel, the oldest of the construc on
systems, which makes use of two ver cal supports
(posts) spanned by a horizontal beam (lintel).
2. The arch, which consists of separate pieces of wedge-
shape blocks called voussoirs, arranged in a semicircle.
The keystone locks the pieces together into a single
curved structure.
3. The truss, which is a system of triangular forms
assembled into a rigid framework and func oning like a
beam or lintel. It is employed in bridges, assembly plants,
theaters, gymnasiums, and halls where wide space must
be spanned with very few interior supports.
4. Skeleton construc on, which employs reinforced
concrete and steel. Concrete construc on makes use of
concrete poured, while s ll in its semi-fluid state, into a
hollow frame. Steel rods are embedded in the concrete
to make the structure strong enough to support great
weight.
5. The can lever, which makes use of a beam or slab
extending horizontally into space beyond its suppor ng
posts, yet strong enough to supports walls and
floors. Can lever relies on the material’s resistance to
breaking and on the safe anchoring of its supported end.

INTERIOR DESIGN
-Interior design is concerned with the selec on of space
and furnishings to transform an empty shell of a building
into a livable area.
-A well-designed interior should cap the architect’s work
of providing his client with a comfortable place to live and
work in.
THE MEDIUM OF MUSIC (Lesson 2.6.4) THE MEDIUMS OF OTHER ARTS
-The material of music is sound.  Literature- Language
-Musical sound –tones– are produced by man-made  Dance- Body movements
instruments and by human voice. We thus have two  Theatrical Produc ons – several mediums
medium in music: instrumental medium and vocal
medium.
-Most musical instruments have three things in common:
a part which vibrates, a part which amplifies the sound,
and a system for producing and regula ng fixed pitches.

Musical Instruments
Musical instruments are generally group according to
their vibrators and their resonators. Each group is o en
referred to as a “family” or “choir.”
1. The stringed instruments;
2. The wind instruments (woodwinds & brasses)
3. The percussion choir;
4. The keyboard instruments

Instrumental Groups: Musical instruments are played

either singly or in group of various sizes:
Orchestra – a big gathering of instrumentalists having the
string sec on as its nucleus.
Band – smaller in size, compost mostly of wind and
percussion instruments with only a few strings or none at
all.
Some smaller groups are those which play chamber
music, such as: woodwind quintet, the string quartet,
piano quartet and string trio.
Musical ensemble in the Philippines:
 Rondalla
 Pangkat Kawayan

The Human Voice (Vocal Medium)

-Man is equipped with a most wonderful musical
instrument – the human voice. It is categorized as male
voice and female voice.
-Like man-made instruments, human voices are classified
according to their range and tone quality.

 Soprano – the high-pitched female voice

 Alto – the low-pitched female voice
 Tenor – the high-pitched male voice
 Bass – the low-pitched male voice.

Two intermediate classifica ons:

Mezzo-soprano (female voice)
Baritone (male voice)
THE ELEMENTS OF ART (LESSON 2.7.1) Shape in Architecture
1. LINE -A house, a church or an office building has a shape of its
-Line is man’s own inven on; it does not exist in nature. own, defined by walls and roof. The individual parts that
-Lines have many quali es which the ar st exploits (short composed a building have their own shapes which add
or long, heavy or light, wavy or jagged, straight or up to the shape of the whole. (This we note as we look at
curved). the building from the outside.)
-The ar st uses lines to imitate or to represent objects -The form or shape of the buildings and other structures
and figures on a flat surface. depends upon the materials and type of construc on
used.
2. SHAPE
-Our world is composed of a variety of shapes, some of 3. TEXTURE
which, because of constant use, have gained permanent -Texture usually refer to the feel or tac le quality of the
meaning; surface of the object.
-Shapes can be used to simplify ideas; -A piece of sculpture, a building and a pain ng may have
Classified according to their sources, shapes may be texture which we can describe in much the same way.
natural, abstract, non-objec ve, or geometric -For the sculptor and the architect, texture results chiefly
from the physical proper es of the materials they use.
Natural shapes are those we see in nature, such as -The sculptor consciously produces texture even when he
shapes of men, animals, or trees. They may be seems to neglect it.
interpreted realis cally or they may be distorted.
Abstract shapes are formed a er the ar sts has drawn 4. COLOR
out the essence of the original object and made it the -Color is not a permanent property of things we see
subject of his work (e.g. Brancusi’s Bird in Space). around us. It is derived from light, whether natural, like
Non-objec ve (biomorphic) shapes seldom have sunlight, or ar ficial, like fluorescent light.
reference to recognizable objects, but most o en they -Color is a series of wave lengths which strike our
show a similarity to some organic forms (e.g. HR re na. Every ray of light coming from the sun is
Ocampo’s abstrac ons). composed of different waves which vibrate in different
speeds. The ray of light will break up and be seen on a
Some buildings look like geometric solids –pyramids, sheet of white paper as bands of different colors.
cylindrical towers, and box-like office buildings. They
Physical Proper es of Color
have geometric shapes.
* Hue. It is the quality which gives a color its name. The
colors of the spectrum are therefore called hues.
Shape in Pain ng
* Value. Adding neutrals to any hue results in changing
-In pain ng and other two dimensional art forms, shape
the quan ty of light it reflects. The lightness or darkness
is an area on a flat surface enclosed by a line.
of a color is called value.
-It stands out from the surface because of a difference in
 neutrals
color, value, or texture, or a combina on of these.
 primaries or primary colors
 secondary colors
Shape in Sculpture
 intermediate color
-Since sculpture is three-dimensional, shapes are
* Intensity or Saturation. Intensity is the strength of the
iden fied either as mass or as volume.
color’s hue. It refers to the quality of a color. Hues
-Mass is ma er that has weight and solidity; it can be
become less intense (dull) when pigments are mixed with
li ed, pushed, or viewed in the round. them. When gray is added, the result will be a variation
-Volume is mass that is structured or has a definite shape. in intensity without any change in value.
-The fundamental unit in sculpture is the single volume. * The Color Diagram
(e.g. Rajah Soliman Monument in Malate Park)
Uses of Color Caravaggio, Hidalgo, and other ar sts who use
* Color may give spa al quality to the pictorial field. chiaroscuro extensively)
Color may be used to give pictorial field a three-
dimensional quality, or create interest through the FUNCTIONS OF VALUE OR TONE
counterbalance of backward and forward movements. _Value or tone may be used to create the illusion of form,
to break up the picture surface into pa erns of dark into
* Color may create a mood and symbolize ideas and pa erns of dark and light, to create the illusion of light
express personal emo ons. space, and movement, and to express emo on.
_Light, bright colors make us feel happy and gay. Cool, _Tonal grada ons are o en used to express surface
somber ones can depress us. changes resul ng in the crea on of forms. The
_The different hues on the color spectrum have different Renaissance painters represented their pictorial images
emo onal impacts. as free-standing solid forms so that they seem to have the
_Hues are o en used to symbolize ideas or
weight and volume within the picture space.
abstract quali es such as virtue, loyalty, evil and
_The images are like sculptural pieces in a yard or
cowardice.
_Values and intensity of colors create mood. Contras ng a building. (i.e. Virgin of the Rocks Values break up the
light and dark together produce a sensa on of vitality picture surface into pa erns of light and dark. Children
and directness; hues closely related and at low intensi es express their concepts of people, places and things by
produce calm and repose. drawing their composite figures without any regard for
light effects. They are concerned only with a selec on of
* Color has the ability to arouse sensa ons of pleasure appearances, not so much with spa al depth.
because of a well-ordered system of tonality. _Therefore, their works appear as two-dimensional
_In art, color provokes physical sensa ons, such as pa erns characterized by a certain “flatness.” (i.e. works
exhilara on or euphoria. (i.e Fall by Bridget Riley) of Ma sse, Cezanne, Picasso, and Braque)
_Color is not exclusive to pain ng. In architecture, color
plays a secondary role. The materials used in a building Value is also used to express emo on. A pain ng where
have their own integral color which the architect takes there is a preponderance of dark areas cannot but show
into account when the designs a building. an atmosphere of gloom, mystery, or drama . . . while
_In sculpture, color is linked to the material chosen by the another one that has predominantly lighted areas
sculptor. Some mes, color is used in sculpture as a produces the opposite effect. (i.e. De Chirico’s Nostalgia
purely decora ve element. of the Infinite)

Chiaroscuro refers to the technique which concentrates

5. VALUE (TONE)
on the effects of blending light and shade on objects to
_Value is a tonal rela onships between light and dark
create an illusion of space and atmosphere
areas in a pain ng. It is also referred to as Tone.
_Value is an element that must be considered in rela on Tenebrism is the style of pain ng which exaggerates the
to other elements such as line, color, texture and, shape. effects of chiaroscuro. The painters make use of a larger
_These elements show some value contrast. amount of dark areas beside smaller areas of light for
_Shadows and highlights create the illusion of roughness emphasis.
or smoothness; value is also used in the crea on of
texture 6. SPACE & MOVEMENT
_Value is may also result from a blending of some _Space exists as an “illusion” in the graphic arts, but in
elements. In drawing a vase assumes a shape through the sculpture and architecture it is actually present
use of line. In order to produce areas of value, we draw a
series of short lines in one part of it, and because of these Types of Space in Pain ng:
lines we give the vase a three-dimensional appearance. 1. Decora ve Space - depthless space, it exists across the
_Some mes, however, value may be treated plane rather than in it.
independently. In pain ngs, pa erns resul ng from tonal 2. Plas c Space - the term applied to the third dimension
shapes appear as lights and shadows which camouflage which is a ma er of “illusion” in the case of pain ng.
the outlined colored forms. (i.e. works of Rembrandt,
ELEMENTS OF AUDITORY ARTS (Lesson 2.7.2) Both direc ons –descending and ascending- can be
found in all melodies.
Rhythm- Music is composed of tones and silences of
4. Register
varying dura ons, moving through me. This
_This characteris c of melody refers to the loca on
movement through me is rhythm.
of most of the noted of a melody, whether they are
_It is the most basic element of music, the only one which
mostly high, medium or low-pitched.
can exist independently with the other elements.
_Register considers the pitch of most of the notes. Are
_It refers to the distribu on of notes in me – that is, the
they mostly high? low? or in-between, not too high or too
arrangement of long and short notes, and their
low?
accentua on.
HARMONY: It is the simultaneous sounding of tones.
Melody is pitch added to rhythm. The terms tune, air,
_Melody is the horizontal aspect of music; harmony, its
theme, mo f and melodic line all mean the same thing as
ver cal aspect.
melody.
_Harmonic intervals are named according to the number
_It consists of a series of tones of varying pitches
of scale degrees (or notes) spanned by the two tones
sounded in succession.
which are sounded together.
_The appeal of melody is emo onal. Part of the
emo onal and expressive quality of a melody can be due
TONE COLOR as applied to a piece of music rather than
to the kind of scale which is used.
to a single sound or tone, voice or instrument is the result
of tempo, dynamics, and mbre of the medium or
Four other characteris cs or proper es:
mediums.
1. Dimension
_Dynamics refers to the changes from loud to so in a
_Objects which exist in space may be measured
musical composi on.
in terms of length, width, and depth or volume. Can a
_Tempo refers to the speed at which music may move.
melody be measured in these terms? Not exactly,
although such terms a wide and long are used in an
TEXTURE: in music is analogous to a piece of cloth which
analogous manner. Like a sentence, a melody may be
consists of warp and woof threads woven together.
long, short, or moderate.
_Music has ver cal and horizontal aspects: the melodic
Dimension. The second dimension of a melody is
and harmonic elements which, when interwoven into
range. Melody moves spa ally up and down because of
one another, form a combina on of sound that is
the changes in pitch.
referred to as musical texture.
Range refers to the distance between the highest and
_This musical texture then refers to the characteris c
lowest notes in the melody and may be described as
disposi on and rela onship between melody and
narrow, moderate, or wide.
harmony.
2. Progression
_When a melody moves within a narrow range, we
There are three dis nct types of texture
hear it as movement within a small space. If it moves
_Monophonic texture results when only one melody is
throughout a wide range. We hear it as moving within a
sung or played with no accompaniment whatsoever.
large or wide space. The par cular quality of spa al
_Homophonic texture is a result when a single melody is
movement of a melody is its progression. It refers to the
played with a subordinate harmonic accompaniment.
distance between one tone and the next as the melody
_Polyphonic music results when two or more melodies
moves forward.
ae played together.
3. Direc on
_This characteris c of melody refers to the spa al
FORM: Like all other ar sts, a composer assembles his
movement of tone, to the changes in pitch.
materials on tha basis of an overall plan or design which
_Progression considers the distance between individual,
is called musical structure or musical form.
successive tones, direc on considers the general upward
_This plan or design shares the same general principles
or downward trend of the series of notes that compose
of composi on which most other ar sts make use of,
the melody.
such as unity, variety, repe on, and balance.
ORGANIZATION OF WORK (Lesson 2.8) _The elements of the visual arts derive their seman c or
Artwork Analysis: The analy c study of how the various meaning-conveying poten al from two large sources: 1)
elements and material features of the artwork produce human psycho-physical experience (psychological and
meaning should lead to a more stable and consensual physical/sensory) which are commonly shared; and 2)
field of meaning leading to a be er understanding of an the socio-cultural conven ons of a par cular society and
artwork by an ordinary audience or viewer. period.

Basic Documentary Informa on of an Artwork

2. Iconic Plane
1. Title of the Work
_The elements of the visual arts derive their seman c or
2. Name of the Ar st
meaning-conveying poten al from two large sources:
3. Medium & Technique
1) human psycho-physical experience (psychological and
4. Measurement or Dimension
physical/sensory) which are commonly shared; and 2)
5. Date of the Work
the socio-cultural conven ons of a par cular society and
6. Provenance
period.
_The iconic plane or the image itself has to do with the
Four Planes of Analysis
par cular features, aspects and quali es of the image
1. Semio c Plane:
which are the signifiers.
_Semio cs is the study of “signs” – here the work of art
_The image is regarded as an “iconic sign” which means
is the iconic or pictorial sign.
that it is a unique sign with a unique, par cular and highly
_A sign consists of a “signifier” or its material/physical
nuanced meaning, as different from a conven onal sign
aspect and its “signified” or non-material aspect as
such as a traffic or street sign which a single literal
concept and value.
meaning.
_Related to these is the “referent” or object as it exists in
_The iconic plane includes the choice of the subject
the real world.
which may bear social and poli cal implica ons.
_The basic semio c plane covers the elements and the
_In iconic plane, one proceeds to consider the
general technical and physical aspects of the work with
presenta on of the image and its rela onship to the
their seman c (meaning-conveying poten al) which
viewer.
includes:
_Also part of the iconic plane is the posi oning of the
The visual elements and how they are used: line, value, figure or figures, whether frontal, in profile, three-
color, texture, shape, composi on in space, movement. fourths, etc. and the significa ons that arise from these
Each element has a meaning-conveying poten al which different presenta ons.
realized, confirmed and verified in rela on to their
elements which form the text of the work. 3. Contextual Plane
The choice of medium and technique. In contemporary _In the contextual plane, one proceeds from the basic
art, medium enters more and more into the meaning of semio c and iconic planes and the knowledge and
the work. The ar st of today exercises free choice in this insights one gained from these into the social and
respect, a choice determined less by its availability as by historical context of the work of art. Resitua ng the work
its seman c poten al. Likewise, there are techniques in its context will bring out the full meaning of the work
which valorized the values of spontaneity and the play of in terms of its human and social implica ons. The viewer
chance and accident, while there are those which draws out the dialogic rela onship of art and society.
emphasize order and control. _ The meaning of a work is a complex that involves
The format of the work. The very format of the work concepts, values, emo ons, a tudes, atmosphere,
par cipates in its meaning. Again, in contemporary art, sensory experiences that arise from the three
format is no longer purely conven onal but becomes planes. The experience of a work cannot be reduced or
laden with meaning. paraphrased to a statement, such as a moral lesson or
Other physical proper es and marks of the message, but is a total experience involving the facul es
work. Nota ons, traces, textural features, marks, of the whole person –not just the eyes or his senses, but
whether random or inten onal, are part of the his mind and emo on as well.
significa ons of the work.
_The work of art has its horizon of meaning which is
narrower or larger depending on the degree of visual
literacy, cultural breadth, art exposure and training, and
intellectual and emo onal maturity of the viewer.
_Art involves cogni on or learning; it is an important way
of learning about people, life, and society.
_A broad knowledge of history and the economic,
poli cal and cultural condi ons, past and present, of a
society is called upon in the contextual plane.
_The different symbolic systems which are culture-bound
also come into play.
_The contextual plane likewise situates the work in the
personal and social circumstances of its produc on.
_The work is firmly situated in a par cular society and
me, “in its social and historical coordinates” (Wolff
1988). The work is viewed or studied in rela on to its
epoch, to the prevailing world views, ideologies, issues,
concerns, trends, and events of the day.
_A single work of art is o en more completely
understood when it is viewed in the context of the ar st’s
en re body of work.

4. Axiological (Evalua ve) Plane

_The axiological plane has to do with analyzing the values
of the work. A er the understanding of the work is the
difficult task of evalua ng it. O en, it is facile to say that
evalua on involves the two aspects of form and
content. But this division is theore cally conserva ve
because the two are conceptually separated.
_The first considera on in evalua on would be to what
degree the material basis of the work conveys meaning
or par cular intellectual/emo onal contents.
_The evalua on of the material basis of the work (form)
reckons with standards of excellence in the use of the
medium and its related techniques.
_The usual considera on of form also touches upon the
principles of organiza on which are tradi onally
iden fied as rhythm, harmony, balance and propor on.
_The evalua on of a work necessarily includes the
analysis and examina on of its axiological content
cons tuted by values which become fully ar culated on
the contextual plane although these had already been
shaping on the basic semio c and iconic planes.
PRINCIPLES OF ART/ DESIGN stone’, is a movement in art and architecture developed
in Europe from the early seventeenth to mid-eighteenth
Principles of Design refers to the visual strategies used by
century. Baroque emphasizes drama c, exaggerated
ar sts, in conjunc on with the visual elements of arts -
mo on and clear, easily interpreted, detail, which is a far
for expressive purposes.
cry from Surrealism, to produce drama, tension,
1. Balance exuberance, and grandeur.
a. Symmetrical
BAUHAUS: The school of art and design was founded in
b. Asymmetrical
Germany by Walter Gropius in 1919 and shut down by
c. Radial Semmetry
the Nazis in 1933. The faculty brought together ar sts,
2. Scale & Propor on
architects, and designers, and developed an
3-4. Emphasis and Contrast
experimental pedagogy that focused on materials and
5-6. Unity & Variety
func ons rather than tradi onal art school
7. Harmony
methodologies. In its successive incarna ons in Weimar,
8. Movement
Dessau, and Berlin, it became the site of influen al
9. Rhythm
conversa ons about the role of modern art and design in
10-11. Repe on and Pa ern
society.

ART MOVEMENTS & STYLES (Lesson 2.9) CLASSICISM: The principles embodied in the styles,
ABSTRACT EXPRESSIONISM: The designa on ‘Abstract theories, or philosophies of the different types of art
Expressionism’ encompasses a wide variety of American from ancient Greece and Rome, concentra ng on
20th-century art movements in abstract art. Also known tradi onal forms with a focus on elegance and symmetry.
as The New York School, this movement includes large
CONCEPTUAL ART: Conceptual art, some mes simply
painted canvases, sculptures and other media as well.
called conceptualism, was one of several 20th-century
The term ‘ac on pain ng’ is associated with Abstract
art movements that arose during the 1960s, emphasizing
Expressionism, describing a highly dynamic and
ideas and theore cal prac ces rather than the crea on
spontaneous applica on of vigorous brushstrokes and
of visual forms. The term was coined in 1967 by the ar st
the effects of dripping and spilling paint onto the canvas.
Sol LeWi , who gave the new genre its name in his essay
ART DECO: Emerging in France before the First World “Paragraphs on Conceptual Art,” in which he wrote, “The
War, Art Deco exploded in 1925 on the occasion of the idea itself, even if not made visual, is as much a work of
Exposi on des Arts Décora fs (Exhibi on of Decora ve art as any finished product.”
Arts). Blurring the line between different mediums and
CONSTRUCTIVISM: Developed by the Russian avant-
fields, from architecture and furniture to clothing and
garde around 1915, construc vism is a branch of abstract
jewelry, Art Deco merged modern aesthe c with skillful
art, rejec ng the idea of “art for art’s sake” in favour of
cra smanship, advanced technology, and elegant
art as a prac ce directed towards social purposes. The
materials.
movement’s work was mostly geometric and accurately
ART NOVEAU: A decora ve style that flourished between composed, some mes through mathema cs and
1890 and 1910 throughout Europe and the U.S. Art measuring tools.
Nouveau, also called Jugends l (Germany) and
CUBISM: An ar s c movement began in 1907 by ar sts
Sezessions l (Austria), is characterized by sinuous,
Pablo Picasso and Georges Braque who developed a
asymmetrical lines based on organic forms. Although it
visual language whose geometric planes challenged the
influenced pain ng and sculpture, its chief
conven ons of representa on in different types of art, by
manifesta ons were in architecture and the decora ve
reinven ng tradi onal subjects such as nudes,
and graphic arts, aiming to create a new style, free of the
landscapes, and s ll lifes as increasingly fragmented
imita ve historicism that dominated much of 19th-
composi ons.
century art movements and design.
DADA/DADAISM: An ar s c and literary movement in
BAROQUE: The term Baroque, derived from the
art formed during the First World War as a nega ve
Portuguese ‘barocco’ meaning ‘irregular pearl or
response to the tradi onal social values and conven onal
ar s c prac ces of the different types of art at the me. experience in a par cular environment, o en invi ng
Dada ar sts represented a protest movement with an ac ve engagement or immersion by the spectator.
an -establishment manifesto, sought to expose accepted
NEO-IMPRESSIONISM: A term applied to an avant-garde
and o en repressive conven ons of order and logic by
art movement that flourished principally in France from
shocking people into self-awareness.
1886 to 1906. Led by the example of Georges Seurat and
DIGITAL ART: Digital Art broadly covers a variety of Paul Signac, Neo-Impressionists renounced the
crea ve prac ces that employ different electronic spontaneity of Impressionism in favour of a measured
technologies and result in a final product that is also and systema c pain ng technique known as poin llism,
digital. From computer graphics to virtual reality, from grounded in science and the study of op cs.
ar ficial Intelligence to NFT technology, the Digital Art
NEO-CLASSICISM: Almost the opposite of pop art in
spectrum is wide, innova ve, and under the spotlight of
terms of inspira on, this style is one that arose in the
the contemporary art market.
second half of the eighteenth century in Europe, drawing
EXPRESSIONISM: Expressionism is an interna onal inspira on from the classical art and culture of Ancient
ar s c movement in art, architecture, literature, and Greece and Ancient Rome, which is not uncommon for
performance that flourished between 1905 and 1920, art movements. Jacques Louis David was the principal
especially in Germany and Austria, that sought to express exponent of neoclassical art in France.
the meaning of emo onal experience rather than
POINTILLISM: In poin llism, The ar st uses small dots or
physical reality. Conven ons of the expressionist style
strokes of paint to make up the pictures. From far away,
include distor on, exaggera on, fantasy, and vivid,
these dots blend together to form the picture and give
jarring, violent, or dynamic applica on of color in order
the impression of different colors as they bland together.
to express the ar st’s inner feelings or ideas.
Exponents of poin llism were Paul Seurat and Paul
FAUVISM: Coined by the cri c Louis Vauxcelles, Fauvism Signac.
(French for “wild beasts”) is one of the early 20th-century
POP ART: Pop Art emerged in the 1950s and was
art movements. Fauvism is associated especially with
composed of Bri sh and American ar sts who draw
Henri Ma sse and André Derain, whose works are
inspira on from ‘popular’ imagery and products from
characterized by strong, vibrant colour and bold
commercial culture as opposed to ‘eli st’ fine art. Pop art
brushstrokes over realis c or representa onal quali es.
reached its peak of ac vity in the 1960s, emphasizing the
FUTURISM: Fairly unique among different types of art banal or kitschy elements of everyday life in such forms
movements, it is an Italian development in abstract art as mechanically reproduced silkscreens, large-scale
and literature, founded in 1909 by Filippo Tommaso facsimiles, and so pop art sculptures. Andy Warhol was
Marine , aiming to capture the dynamism, speed and the principal exponent.
energy of the modern mechanical world.
POST-IMPRESSIONISM: Coined in 1910, the term ‘Post-
IMPRESSIONISM: Impressionism is a 19th-century art Impressionism’ describes the reac on against the
movement, associated especially with French ar sts such Impressionists’ naturalis c depic on of light and colour.
as Claude Monet, Pierre Auguste Renoir, Camille Pissarro Ar sts like Paul Cézanne, Paul Gauguin, and Vincent van
and Alfred Sisley, who a empted to accurately and Gogh developed personal styles unified by their interest
objec vely record visual ‘impressions’ by using small, in expressing their emo onal and psychological
thin, visible brushstrokes that coalesce to form a single responses to the world through bold colours and o en
scene and emphasize movement and the changing symbolic images.
quali es of light.
PRIMITIVISM: Primi ve Art looks like art that is done by
INSTALLATION ART: Installa on art is a movement a child. Usually, the picture is painted very simply, and the
developed at the same me as pop art in the late 1950s, subjects are “flat”, or two-dimensional. The well-known
which is characterized by large-scale, mixed-media primi vist ar sts were Paul Klee and Henri Ma sse.
construc ons, o en designed for a specific place or for a
REALISM: In the arts, Realism is the a empt to represent
temporary period of me. O en, installa on art involves
subject ma er truthfully, without ar ficiality and
the crea on of an enveloping aesthe c or sensory
avoiding ar s c conven ons, implausible, exo c, and
supernatural elements. Realism rejects imagina ve
idealiza on in favor of a close observa on of outward
appearances. The principal proponents of realism were
Gustave Courbet, Jean Francois Millet, and Honore
Daumier.

ROCOCO: Rococo is a movement in art, par cularly in

architecture and decora ve art, that originated in France
in the early 1700s. Rococo art characteris cs consist of
elaborate ornamenta on and a light, sensuous style,
including scrollwork, foliage, and animal forms. Jean
Antoine Wa eau was considered the Father of Rococo.
Jean Honore Fragonard was the most prolific of the
Rococo-era painters.

ROMANTISM: The very first modern movement (and

style) in art that rejected tradi onal forms of art,
literature and social organiza on as outmoded in the
wake of enlightenment and industrializa on. It is a
modern-day non-religious form of humanism focus on
human interests. It originated in the late 18th century,
emphasizing inspira on, subjec vity and the primacy of
the individual. Proponents were Theodore Gericault,
Eugene Delacroix, Francisco de Goya and John Constable.

SURREALISM: Founded by the poet André Breton in Paris

in 1924, Surrealism was an ar s c and literary movement
that was ac ve through World War II. The main goal of
Surrealism pain ng and Surrealism artworks was to
liberate thought, language, and human experience from
the oppressive boundaries of ra onalism by championing
the irra onal, the poe c and the revolu onary.
Exponents of surrealism were Salvador Dali, Henri
Rousseau, Max Ernst and Rene Magri e

SUPREMATISM: Found to be a rela vely unknown

member of the different types of abstract art
movements, outside of the art world that is. A term
coined by Russian ar st Kazimir Malevich in 1915 to
describe an abstract style of pain ng that conforms to his
belief that art expressed in the simplest geometric forms
and dynamic composi ons was superior to earlier forms
of representa onal art, leading to the “supremacy of
pure feeling or percep on in the pictorial art.