WPPRIMARY REFERENCES: Introduction to the Humanities: A Holistic Approach, Books Atbp., 2009, - Jesus Meno Introduction to Art Appreciation, ! " # $ublishin%, 200&, ' Mariano Ariola KEY TOPICS FOR EACH TERM EXAM: $(#)IM: *+A/I+ A I/(+!/I+ /+ A(/, $AI/I1 " A(/I/, MI! MI/#(M: !)$/(#, A(!HI/#!/(#, $H+/+1(A$H $H+/+1(A$H #/#(M: $#(*+(MI1 A(/, A!#, *I)M TOPICS FOR PRELIM: I. Objectives of Humanities: a. Orien ientati tatio on to: to: i. visual arts (painting, architecture, sculpture) 1. Two-imensio Two-imensional nal arts a. !ainting, rawing, printma"ing, photograph# 2. Three-imensiona Three-imensionall arts a. $culpture, architecture, lanscape, communit# planning, inustrial esigns, crafts li"e % ceramics, an furniture ii. &uitor# arts: (music, literature) iii. !erforming arts' theatre arts (rama, ance) b. &nal#sis of the historical historical perio an cultural cultural framewor" framewor" in which which such art art was prouce prouce c. nrich nrich cultur cultural al heritag heritage e b# integrat integrating ing the the past an an the pre present sent II. II.
CHAP CHAPTE TER R I: I: THE THE MEAN MEANIN ING G AND AND IMPO IMPOR RTANCE ANCE OF ARTS ARTS a. Humanities: i. efers to the arts % the visual arts such as architecture, painting, sculpture, music, ance, theatre or rama, an literature. ii. These "ins "ins of learning learning are concerne concerne with human human thoughts, thoughts, feelings, an relations. relations. b. &rt i. Italian wor % *artis+ 1. eans craft!a"#i$% &i'', master# of form, inventiveness an the association that eists between form an ieas an between material an techniues. 2. The facult# facult# of what is evise. evise. ii. &r#an root % *ar+ 1. eans to join or put together iii. /ree" wors 1. *arti0ein+: to prepare 2. *ar"is"ein+: to put together i(. i(. &rt, li"e love, is concerne with the communication of certain ieas an feelings b# means of sensuous meium % color, soun, bron0e, marble, 1lm, an literature. (. &n artist uses his genius in transforming /o-mae things into man-mae things that satisf# his nees. 1. .g. conversion of woo into a religious image, plants into cloths (i. !urposes in engaging art activities: 1. To To epress epress one+s emotions emotions an an thoughts. 2. To To prouce prouce things of of beaut# (architectura (architecturall % /reat /reat !#rami of g#pt, g#pt, i2el Tower) ). $elf- actuali0ation of passion *. To To immortali0e immortali0e something something +. To To inform an persuae persuae ,. To To entertain entertain c.
THE NAT-RE% NAT-RE% MEANIN MEANING% G% IMPORT IMPORTANCE OF ART ART AND ART APPRECI APPRECIA ATION i. TH 3&T4 3&T4 O5 &T &T 1. &rt: means of epression 2. In ever# age or countr#, there is alwa#s art ). True True art is is not imitation imitation but creativit# creativit#.. *. &rt is the s"illful arrangement of composition of some common but signi1cant ualities of nature such as colors, souns, lines, movements, wors, stones, woo, etc., to epress human feelings, emotions, or thoughts in a perfect meaningful an enjo#able wa#. +.
* COMMO COMMON N ESSEN ESSENTIA TIALS LS OF OF ART: ART: a. &rt must be man-mae . &rt must be creative not imitative c. &rt must bene1t an satisf# man in practical life /. &rt is epresse through a certain meium or material b# which the artist communicates himself to his fellows.
,. Through Through the artist+s artist+s wor", we get a glimpse glimpse of the thoughts, thoughts, feelings feelings an beliefs beliefs of the people people in their time an the faces in their environment that in6uence their artwor". 0. W !a !a i"34"c/ i"34"c/ t5 c#a"6 c#a"6 54r 54r 7a 7a a"/ #a(i5r #a(i5r out of the aesthetic eperiences we erive from the arts. a. The# ma# transform transform us into highl#-cultu highl#-culture, re, igni1e, igni1e, an respectable respectable human human beings. . The arts ma# ma# beautif# beautif# our humanit# humanit#.. c. This eplains eplains wh# the the arts are are calle humanities. humanities. i. The# bring bring out the goo goo an the noble in us. ii. Through Through the arts, we we come to "now the changing changing image image of man man as he journe#s journe#s across time, searches for the realit#, an strive to achieve the ieals that create meaning for life. 8. ART ART APP APPRE RECI CIA ATION: TION: a. &bilit# to interpret or unerstan man-mae arts an enjo# them either through actual an wor"-eperience with art tools an materials or possession of these wor"s of art for one+s amiration an satisfaction. ii. TH $4789T $4789T O5 &T &T 1. The subject subject of art is the the founation founation of the creation creation of the wor" of of art or an#thing an#thing that is is represente represente in the artwor". 2. R$r R$r"t "tati ati5"a 5"a'' 5r 59 59cti cti( ( art art a. &rtwor"s that epict something easil# recogni0e b# most people
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!ainting, sculpture, graphic arts, literature, an theatre arts are generall# classi1e as representational. N5"r$r"tati5"a' 5r "5"59cti( art ;S-<=ECTI>E? a. &rtwor"s that have no resemblance to an# real subject . The# o not represent an#thing an the# are what the# are. c. The# rather appeal irectl# to the senses primaril# because of the satisf#ing organi0ation of their sensuous an epressive elements. .
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iii. TH 5439TIO3$ O5 &T 1. To 1n meaning in art, it must serve a 4ti'itaria" $4r$5 an be capable of serving the purpose for which it was esigne. 2. &rchitecture is functional because builings an structures are alwa#s built for some special purpose. ). usic an ance: a. 4se for ritual an worship . $ocial an fol" entertainment *. !ainting an sculpture a. To narrate events . !ersonal epression of nature an its beaut# +. MAIN F-NCTIONS OF ART: a. &$THTI9 5439TIO3 ;
alive 2. To be beautiful is to be something eternal 4.
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&I$TOT; 1. To be beautiful is to be something proportional (orer) 2. ;aw of nature > the worl has a s#stem % ever#thing is irecte towars an en (teleological) a. ver#thing has a purpose an a function
4TI;IT&I&3 5439TIO3 i. ?ith the creation of the various forms of art, man now lives in comfort an happiness. ii. Through art, man is provie with shelter, clothing, foo, light, meicine, beautiful surrounings, personal ornamentals, entertainment, language, transportation, an other necessities an conveniences of life. iii. &rt improves nature through lanscape garening, creation of superhighwa#s, an through propagation an conservation of natural resources. 94;T4&; 5439TIO3 i. Through the printe matter, art transmits an preserves s"ills an "nowlege from one generation to another. ii. It burens one+s cultural bac"groun an ma"es man more civili0e an his life more enuring an satisf#ing. $O9I&; 5439TIO3 i. Through civic an graphic arts, man learns to love an help each other. ii. International unerstaning an cooperation are fostere an nations become more uni1e, frienl#, cooperative, helpful, an s#mpathetic. 9O3OI9 5439TIO3 i. &rt can be a lucrative job. (it can pa# well' pro1table) ii. .g. $teven $pielberg+s movies. 8. @. owling+s novels !O;ITI9&; 5439TIO3 i. urals can inculcate virtues of self-iscipline, inustr#, unit#, an cooperation. HI$TOI9&; i. &rt forms can recor historical 1gures an events ii. .g. sculptures of !hilippine Heroes, tombs of rulers (!#ramis of g#pt A Taj ajal of Inia) ;I/IO4$ 5439TIO3 i. &rt evolve from religion ii. ?orship of gos in the form of ances an songs iii. .g. /ree" gos, mausoleum of ome (cemeter#) !H=$I9&; 5439TIO3 i. Houses an other builings are constructe to protect their occupants ii. ance as the best form of eercise
GENRES OF ART 1.
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DI>ISIONS OF ART ST-DY 1. &$THTI9$ O &T &!!9I&TIO3 a. The science of beaut# % stuent learns to amire the artists, value highl# i2erent wor"s of art an appreciate the role of art in the societ#. 2. &T HI$TO= a. $tuent acuires "nowlege of the artists, their bac"grouns, their masterpieces, an their signi1cant contributions in various 1els of art. ). &T !O49TIO3 a. $tuent learns to use his creativit# an appl# his artistic "nowlege an s"ills in proucing his own wor"s of art. *. &T 9ITI9I$ a. $tuent learns to use his jugment in evaluating i2erent artwor"s base on criteria set. THE SCOPE OF ART 1. B /3&; I3$IO3$ O5 &T: a. 5I3 &T$ O I3!33T &T$ i. ae primaril# for aesthetic enjo#ment through the senses, especiall# visual an auitor#. ii. usic, painting, sculpture, architecture, literature, ancing an rama. . !&9TI9&; &T$ O 4TI;IT&I&3 &T$ i. Intene for practical use or utilit# % it is the evelopment of raw materials for utilitarian purposes. ii. Inustrial art, applie or househol art, civic art, commercial art, graphic art, agricultural art, business art, istributive art, an 1sher# art. 2.
B 9;&$$I5I9&TIO3$ O5 >IS-AL ARTS: a. /&!HI9 &T$ i. Those visual arts that have '"6t# a"/ 7i/t# ;2 /i!"i5"? 1. The# are escribe as 6at arts because the# are seen on 6at surfaces ii. Inclue painting, rawing, photograph#, graphic process (printing), commercial art (esigning of boo"s, avertisements, signs, posters an other ispla#s), mechanical processes, in which portra#als of forms an s#mbols are recore on a t75 /i!"i5"a' 4rfac. . !;&$TI9 &T$ i. Those visual arts that have '"6t#% 7i/t#% a"/ (5'4! ;) /i!"i5"? ii. Inclue all 1els of visual arts for which materials are organi0e into t#r /i!"i5"a' forms such as structural architecture, lanscape architecture, (garens, par"s, pla#grouns, golf course, beauti1cation), cit# ph#sical planning an interior arranging (esign of wallpaper, furniture), sculpture, crafts, inustrial esign, ress an costume esign, an theatre esign
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9;&$$I5I9&TIO3 O5 &T$ &99OI3/ TO B &8O I
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5I3 &T$ 1. 5ocuse towars creative activit# for the contemplation of the min, an the uplift of the spirit 2. .g. painting, sculpture, architecture &8O &T$ 1. 9haracteri0e b# actual an potential epressiveness such as music, poetr#, sculpture I3O &T$ 1. 9oncerne on practical uses an purposes 2. .g. interior ecoration an porcelain art
&99OI3/ TO I& &3 5O$ i. !;&$TI9 &T$ 1. evelope through space an perceive b# the sense of sight 2. .g. sculpture an ecorative materials ii. !HO3TI9 &T$ 1. irecte towars souns an wors as meia of epression. 2. .g. rama, music, literature iii. @I3TI9 &T$ 1. Involve the element of rh#thm 2. .g. ance i4. !4 &T$ 1. Ta"e onl# one meium of epression li"e soun in music an color in painting 4. IC &T$ 1. Ta"e more than one meium such as the opera which combines music, poetr# an rama (ii. TH OI/I3 O5 &T 1. &rt is viewe as a re6ection of creative an ingenuit# an inventiveness within a culture 2. &rt starte uring the primitive time when the superstition an beliefs (worship) in the spirits are still ver# common in ever# culture % it is s#mbolic. .
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&T $T=; 5ho6 an artist present his 6ork7 &3 FACTORS AFFECTING STYLE 1. /O/&!HI9&; 5&9TO$ a. The place where the artist sta#s in6uences his wor"s
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HI$TOI9&; 5&9TO$ a. .g. i0al+s 3ovels,
CHAPT ER II: ARTIST @S MEDIA a. I4 &3 T9H3IF4 i. TH &TI$T &3 HI$ I4 1. eium: a. enotes the means b# which an artist communicates his ieas . these are the materials which are use b# an artist to interpret his feelings or thoughts c. ?hen an artist chooses his meium, he believes that this can best epress the iea he wants to conve#. /. .g. woo can be carve in great etail accoring to the talent of the sculptor. ii. TH &TI$T &3 HI$ T9H3IF4 1. techniue: a. the manner in which the artist controls' manipulates his meium to achieve the esire e2ect . It is the abilit# with which he ful1lls the technical reuirements of his particular wor" of art.
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!&$T; a. This is a stic" of rie paste mae of pigment roun with chal" an compoune with gum water. . Its colors are luminous c. It is iGcult to preserve the 1nishe prouct in its original freshness % when the chal" rubs, the picture loses some of its brilliance.
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39&4$TI9 a. One of the earl# meia use b# the g#ptians for the painte portrait on mumm# cases. . This is one b# painting with wa colors 1e with heat. c. !ainting with wa prouces luster an raiance in the subject ma"ing them appear at their best in portraits.
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OI; a. . c.
pensive an the heaviest of painting meia !igments are mie with linsee oil an applie to the canvas It is 6eible: artist ma# use a brush, palette "nife, or even his bare hans when appl#ing paint in the canvas
/. The painting ries slowl# it can be change an wor"e over a long perio of time. . !ainting one in oil is gloss# an lasts long. 0.
&9=;I9 a. Is use popularl# b# contemporar# painters because of the transparenc# an uic"-r#ing characteristics of watercolor an the 6eibilit# of oil combine. . This s#nthetic paint is mie with acr#lic emulsion as biner for coating the surface of the artwor". c. &cr#lic paints o not ten to brea" easil#, unli"e oil paints which turn #ellowish or ar"er over a perio of time.
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O$&I9 a. This is a picture or ecoration mae of small pieces of inlai colore stones or glass calle Dtesserae,E which most often are cut into suares glue on a surface with plaster or cement.
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$T&I3 /;&$$ a. 9ommon in /othic catherals an churches. . This is mae b# combining man# small pieces of colore glass which are hel together b# bans of lea (patchwor") c. In large winows, the lea is reinforce b# heav# iron bars that ma"e heav# blac" lines in the picture.
1B. T&!$T= a. This is a fabric consisting of a warp upon which colore threas are woven b# han to prouce a esign, often pictorials, wall hangings an furniture covering. 11. &?I3/ a. Is usuall# one on paper using pencil, pen an in", or charcoal . It is the most funamental of all s"ills necessar# in arts c. 9onsiere as a ver# goo training for artists because it ma"es one concentrate on the use of line. /. $haing can also be use to ma"e rawing more life-li"e an realistic. i. 5or linewor", har pencil lea is applie ii. On a granular surface, soft pencils are use because the# invite e2ects of mass an a teture of gra#. . Inia in", which comes in liui form, is the favorite meium of comic strip illustrators an cartoonists. f. 9hinese in", comes in soli stic"s that are issolve in water before the# are use. 12. 7I$T a.
& brown pigment etracte from the soot of woo, an often use in pen an wash rawings.
1). 9&=O3$ a. &re pigments boun b# wa an compresse into painte stic"s use for rawing especiall# among chilren in the elementar# graes 1*. 9H&9O&; a. These are carbonaceous materials obtaine b# heating woo or other organic substances in the absence of o#gen. . It is use in representing broa masses of light an shaow. c. $oft charcoal prouces the ar"est value /. ar" charcoal prouces the lightest tone 1+. $I;<!OI3T a. The artist has a techniue of rawing with silver st#lus on speciall# prepare paper to prouce a thin gra#ish line . !opular uring the renaissance perio 1,. !I3T&@I3/ a. &n#thing printe on the surface that is a irect result from uplicating process . /raphic image is one in blac" in" on white paper an becomes the artist+s plate. c. One of the avantages of printma"ing is the process of ma"ing man# copies of the original rawing. /. major t#pes of prints: i. ?oocut 1. The remaining surface of the woo is being cut awa# ii. ngraving 1. This is the art of forming esigns b# cutting, corrosion b# acis 2. The lines of the esign are cut into a metal plate with in" an transferre from the plate to the paper. ). The lines of an engraving are cut b# han with an instrument calle burin, a steel tool with an obliue point an roune hanle for carving stone an engraving metal. *. tching a. & copper or 0inc plate is covere with a DgrounE a smooth coating of wa mie with pitch an amber. . The artist scratches the picture into the groun an puts the plate in aci, which DeatsE the picture into the plate c. The groun is scrape o2 an the plate is then use to print the picture iii. elief 1. Involves cutting awa# from a bloc" of woo or linoleum the parts of the esign that the artist wants to be seen, leaving the portion of the thir imension 2. 9olor prints are mae b# preparing a separate bloc" for each color to be use. i4. Intaglio
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!rinting process in which the esign or the tet is engrave into the surface of the place an the in" is transferre to paper from the goover. The esign is engrave or etche into a metal plate. The incise line is then 1lle with in" an uner consierable pressure, leaves a sharp impression on paper surface. process Involves cutting of the esign on special paper carboar or metal sheet in such a wa# that when in" is rubbe over it, the esign is reprouce on the surface. The printing is one through a sil"screen which is mae of a 1ne sil" or n#lon stretche tightl# over a wooen frame.
$4789T$ I3 !&I3TI3/: 1. !OT&IT4 a. !ictures of men an women collectivel# . arl# use of capturing a moment before the camera came 2. &3I&;$ &3 !;&3T$ a. Hunting an foo gathering in the ancient times ). $TI;; ;I5 a. & painting of inanimate object place on a setting *. 9O43T= ;I5 a. $cenes happening ail# in their communit# . .g. 5ernano &morsolo+s D5armer,E D7arrio 5iestaE +. ;&3$9&! a. &n# lan forms ,. $&$9&! a. ?ater forms 0. 9IT=$9&! a.
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M-SIC 1. usic is the art of combining souns of var#ing pitch to prouce a coherent composition that is meloious, harmonious, intelligible, an epressive of ieas an emotions. >OICE CLASSIFICATION 1.
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DIFFERENT M-SICAL INSTR-MENTS 1. J main t#pes: a. Instruments which are bowe' pluc"e i. $trings 1.
Harmon# a. The simultaneous souning of B or more tones . ?hen J or more tones are soune simultaneousl#, there eists i. 9oncor: if the combination or chor seems to prouce an impression of agreeableness or resolution to the listener ii. iscor or issonance: if there is no combination . Teture a. It is the number of tones epecte to be apprehene simultaneousl# . It is either monophonic (souning of a single meloic line without an accompaniment) c. !ol#phonic (simultaneous souning of two or more meloic lines of relativel# eual interest) /. Homophonic (souning of one main melo# supporte b# a suborinate one, as in the performance of a fol" singer with guitar accompaniment) 1B. 5orm a. It is the overall organi0ation of the composition . &ll the musical elements are put together to come up with the cohesive whole calle form. 8.
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.g. 8ose !alma+s l#rics of the !hilippine 3ational &nthem entitle D;upang HinirangE were arrange into a march b# 8ulian 5elipe i. &ll the notes an all the other components of the song constitute its form
METHODS OF ART PROD-CTION AND PRESENTATION OF S-<=ECTS 1. &;I$ a. In painting, this is the attempt to portra# the subject as it is . To be objective as possible means t5 /cri a acc4rat' a"/ #5"t' as possible what is observe through the senses. c. If an apple is the subject, it is shown as is with either re or green color. /. The J renaissance greats, ichelangelo, 7uonarroti, ;eonaro a
&7$T&9TIO3 a. This is use when the artist becomes so intereste in one phase of a scene or a situation that he oes not show the subject at all as an objective realit#, but onl# his iea, or his feelings about it. . &bstract means Dto move awa# or to separateE % rawing awa# from realism i. &bstract art moves awa# from showing things as the# reall# are. ii. The painter or artist paints the picture not as it reall# loo"e. iii. The picture is not just realistic. i4. .g. 9onstantin 7rancusi+s D7ir in $paceE c. &bstract subjects can also be presente in man# wa#s li"e: i. istortion: 1. subject is in misshapen conition, or the regular shape is twiste out 2. e.g. apple is shown as a suare ii. longation: 1. efers to that which is lengthene, protraction or etension. 2. .g. l /reco+s DThe esurrection of 9hristE iii. angling: 1. $howing subjects which are cut, lacerate, mutilate, or hac"e with repeate blows. i4. 9ubism: 1. $tresses abstract form through the use of a cone, c#liner, or sphere at the epense of other pictorial elements. 2. The cubists want to show forms in their 65!trica' #a$. ). .g. !aul 9e0anne, /eorge 7raue, !ablo !icasso *. Tam &ustria+s D5isherman+s 5amil#E,
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$=7O;I$ a. Is a visible sign of something invisible such as an iea or a ualit#. i. The artist shows his subject as it appears in real life, but he intens to let it represent something. . It can be simpl# an emblem or sign li"e: K to represent percent. c. .g. 8uan ;una+ D$polariumE i. &s a oman Term, D$polariumE, referre to the spoils of war, spoils of t#rants an the "ing. /. /uillermo Tolentino+s DOblationE % s#mbol of acaemic freeom
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&&I$ (shoc"ing realism % eposition of the evils in societ#) a. The aaists reacte to what the# believe were outworn traitions in art, an the evils the# saw in societ#. . The# trie to shoc" an provo"e the public with outrageous pieces of writing, poetr# recitals, an art ehibitions. i. evolutioni0ing outworn traitions c. uch aaic art was pla#ful an highl# eperimental. /. The name DaaE (5rench: Dhobb# horseE) was eliberatel# chosen because it was nonsensical. . .g. arcel uchamp
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54T4I$ a. ?or"s that capture the spee an force of moern inustrial societ#.
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. Their paintings glori1e the mechanical energ# of moern life. c. $ubjects inclue automobiles, motorc#cles, an railroa trains % subjects that epress the eplosive vitalit# of a moern cit#.
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$4&;I$ (super realism) a. 5oune b# &nre 7reton . 4ses art as weapon against the evil an restrictions that surrealists see in societ#. i. 4nli"e aaism, it tries to reveal a new an higher realit# than that of ail# life. c. This movement was in6uence b# the 5reuian ps#cholog# which emphasi0es the activities of the subconscious state of the min. /. $ubjects of this "in attempt to show what is insie man+s min as well as the appearance of his outsie worl. i. The surrealists claim to create forms an images not primaril# b# reason, but b# unthin"ing impulse an blin feeling or even b# accient. ii. 4sing these methos, the surrealists eclare that a magical worl % more beautiful than the real one % can be create in art an literature. iii. uch of the beaut# sought b# surrealism is violent an cruel. i4. The surrealists tr# to shoc" the viewer or reaer an show what the# consier the eeper an truer part of human nature. . .g. 7enjamin eno0a
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C!$$IO3I$ (emotional realism) a. 7elieve in the necessit# of a spiritual rebirth for man in an age that was fast becoming in6uence b# materialism i. The emotional epressions in epressionistic paintings coul be escribe as involving pathos, morbiit#, violence or chaos, an trage#. ii. It sometimes portra#s efeat . !roponents: i. &melia ;apeLa-7onifacio % D$epang ;ocaE ii. !aul umol+s % D!aglilitis ni ang $erapioE iii. euel &guila+s % Dapait sa 7aoE
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I!$$IO3I$ a. !resenting the real-life subject with emphasis on the impression left in the artist+s min, particularl# the e2ect of light on the object use as subject. . .g. an apple on a table is presente not as entirel# re, but with white areas showing the spots where the light ra#s fall upon. c. !ainters: 9laue onet, ouar anet, gar egas, &ugust enoir, 9amille !issarro,
CHAPTER ): ELEMENTS OF >IS-AL AND PERFORMING ARTS a. ;3T$ O5
9roo"e or jagge lines a. presses energ#, violence, con6ict, an tr466'.
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epeating ;ines a. These are succession of vertical (llllll), hori0ontal (>>>>>>), iagonal ('''''' or MMMMM) or curve (99999) lines. . These are use to show rh#thm.
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9ontrasting lines
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a. These are combination of vertical an hori0ontal lines (;;;;;;) or a combination of iagonal lines (CCCCC) or NNNN or in opposite irections. .
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oi1e lines a. These are combination of straight an curve lines PQRS or a combination of 'i" 5f (ari"6 #a$ (QONR)
COLOR: 1. e1nition a. It has the !5t at#tic a$$a'. It is a $r5$rt 5f 'i6#t . ?hen light goes out, color goes with it. . The light of the sun contains all the colors of the spectrum: violet, inigo, blue, green, #ellow, orange, an re. i. ?hen a beam of light passes through a prism, the i2erent ra#s of color are separate so that we are able to see an ientif# them. ii. ?hen light stri"es a surface, some of the color ra#s are absorbe while others are re6ecte c. ?hite, gra#, an blac" have no color ualit#. 2.
THREE DIMENSIONS OF COLOR a. H4 i. It is the dimension o= color that %i4es color its name. ii. O3O9HO&TI9: when an object has onl# one hue iii. !O;=9HO&TI9: when an object has B or more hues. i4. 9olors are classi1e into primar#, seconar#, an intermeiate. 1. ?hen we sa# that 6ower is #ellow, we are naming its hue. 2. Pri!ar #4: '4% r/% a"/ ''57. ;
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Sc5"/ar #4: a. Gr"% 5ra"6% a"/ (i5't ;GO>? t# ar $r5/4c/ c5!i"i"6 t75 $ri!ar c5'5r. . Orange > re #ellow c. /reen > #ellow blue i. It is the color for vegetation an s#mboli0es life an freshness. /. blue re i. It represents shaows an m#steries, eath an espair.
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I"tr!/iat #4: a. These are prouce b# combining one primar# color an one seconar# color. . e- violet (<) c. e- orange (O) /. =ellow-green (=/) . 7lue-green (7/) f. 7lue-violet (7<)
9lassi1cation of color accoring to the color wheel: 1. &jacent a. The ajacent colors are those colors situate net to each other in the color wheel. . .g. re an re-orange, #ellow an #ellow-green, blue an blueviolet 2. 9omplementar# a. Those colors situate opposite each other in the color wheel. . .g. re an green, blue an orange, #ellow an violet 9lassi1cation of color base on their e2ect on the visual sense: 1. ?arm hues: re, orange, an #ellow a. The# are associate with objects li"e the sun, 1re, an other sources of heat. 2. 9ool hues: green, blue-green, blue, an blue-violet a. The# suggest istance. The# are calm, sober, an restful. 9lassi1cation of color accoring to value: 1. ;ight a. Those colors with values lower than the normal value. . .g. pin" or fuchsia is a tint of re' a0ure (s"# blue) is a tint of blue 2. ar" a. 9olors with values higher than the normal value . .g. maroon is a shae of re' nav# blue is a shae of blue ainbow or !rismatic 9olors 1. Those colors that form a rainbow or a prism 2. These are re, orange, #ellow, green, blue, inigo, an violet (O=/7I<)
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i>.
.
c.
).
<&;4 i. $ometimes calle chiaroscuro, refers to the lightness or ar"ness of a color ii. It is a ualit# which epens on the amount of light an ar" in color I3T3$IT= i. It is the Jr imension of color. ii. It refers to the brightness or ar"ness of color. iii. It gives color strength
9O;O H&O3I$ a. ;&T 9O;O H&O3I$ i. O3O9HO&TI9 1. ae up of several tones of one hue: orange, tan, brown, an other tones from the orange famil#. ii. &8&93T O 3I/H7OI3/ H&O3= 1. B or J neighboring hues are use together 2. .g. tones of green, #ellow, an orange ). The# have something in common because there is #ellow in green an in orange .
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3eutral colors 1. ?hite, gra#, blac" 2. ?hite is the absence of all colors' blac" is the presence of all colors' gra# is prouce b# combining blac" an white
9O3T&$T 9O;O H&O3I$ i. 9olors which lie irectl# opposite each other 1. .g. re an green, orange an blue, violet an #ellow 2. The# contrast with each other strongl# therefore, the# are more iGcult to use harmoniousl# than the relate color combinations.
!$=9HO;O/= O5 9O;O$ % creates a right moo among the observers a. 7lac": associate with blac" an gloom' eath' evil . ?hite: purit# an innocence c. 7lue: heaven' s"#' sea' masculinit# /. e: bloo i. $igni1es anger an provo"es fear ii. Impels people to action: courage A fortitue . Orange: helps people to be assertive' foo f. =ellow: ivinit#' eceit' egraation 6. 7rown: earth #. /ra#: ol age' eca#' gloom i. !in": love an feminit# 9. /reen: color of nature, promotes the feeling of well-being' life' nature i. It implies happ# an restful association an natural abunance &. ;&3/4&/ O5 O$$: i. e: I love #ou ii. !in": than" =ou iii. ?hite: #ou are heavenl# i4. 9oral (orange): spea"s of esire' enthusiasm 4. =ellow: jo# an freeom
iii. TCT4 1. Teture is a color element that eals more irectl# with the " 5f t54c#. 2. It has to o with the characteristics of surfaces which can r546#% 5r !55t#% " 5r c5ar% #i" 5r /4''% $'ai" 5r irr64'ar. ). Teture is best appreciate when an object is felt with the hans. i(.
(.
(i.
(ii.
$H&! 1. 2. ).
9ontributes to the 1nal form of the artwor". 9ircles an pol#gons (triangles, rectangles, suares) are put together to ma"e up the whole object. .g. 9hristmas lantern
!$!9TI< 1. It eals with the ct 5f /ita"c 4$5" t# a$$ara"c 5f 59ct , b# means of which the e#e juges spatial relationships. 2. It enables us to perceive istance an to see the position of objects in space. ). 9lassi1cations: a. ;inear perspective i. It is the representation of an appearance of istance b# means of converging lines. 1. The trac"s of a railroa appear to the viewer as seeming to rise an meet in the istance. 2. !ainters usuall# show the e2ect of space an istance b# using converging lines an iminishing si0e. ii. !arallel lines below e#e level seem to rise to a vanishing point in the hori0on, while those above e#e level seeme to escen to the vanishing point. 1. 3ear objects are seen in full intensit# of color. 2. Objects appear smaller as the# recee in to the istance. ). !eople or objects, at the bac"groun of a painting seem to be shorter than those in front. . &erial perspective i. It is the representation of relative istances of objects b# graiations of tone an color. ii. Objects become fainter in the istance ue to the e2ect to the atmosphere. $!&9 1. &rea or surface occupie b# the artwor". 5O 1. 2. ).
It escribes the shape or structure of an object. 5orm irects the movements of the e#es. $ince form consists of si0e an volume, it signi1es visual weight.
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*. +. ,.
Dform follows functionE % this means that the inner content of purpose or function governs the outer appearance. .g. sculpture 9;&$$I5I9&TIO3 O5 5O$: a. /4;& 5O$ i. &re those whose parts are relate to one another in a consistent orerl# manner ii. The# are generall# stable an s#mmetrical iii. .g. platonic solis: circle triangle suare . I/4;& 5O$ i. These are those whose parts are issimilar an unrelate to one another. ii. The# are as#mmetrical an #namic. iii. These are regular forms from which irregular elements have been subtracte c.
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f.
(iii.
93T&;IU 5O$ i. It consists of a number of seconar# forms clustere to prouce a ominant, central, an parent form. ii. These forms share the self-centering properties of the point an circle. iii. These forms are ieal as freestaning structures, isolate within their contet, ominating a point in space, or occup#ing the center of a e1ne 1el. ;I3& 5O$ i. The# are arrange seuentiall# in a row or a series of forms along a line. &I&; 5O$ i. The# are compositions of linear form that eten outwar from central form in a raial manner. /I 5O$ i. These are moular forms whose relationships are regulate b# J-imensional gris. ii. & gri is a B or more intersecting sets of regularl# space parallel lines. iii. The suare gri generates a spatial networ" of reference points an lines an within this moular framewor" an# number of form an spaces can be visuall# organi0e.
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CHAPTER *: >IS-AL STR-CT-RE OF WORKS OF ART a. $I/3: i. !roper arrangement of the i2erent art elements in orer to prouce something beautiful. ii. It ma"es objects i2er from one perception to another
>I.
CHAPTER +: DE>ELOPMENT OF THE >IS-AL ARTS a. !-HI$TOI9&; !&I3TI3/ (VW, WWW 79 % XWWW 79) i. !aintings were focuse on animal spear an other ruimentar# materials ii. The# were rawn on caves, stones an on earth-1lle groun. iii. The rawings or illustrations are primaril# focuse on hunting an st#listic treatment.
b.
/@ &T % the subject matters of painting in /reece were on #oung wie males, rape female, woune soliers, an scenes from ever#a# life. i. 5ormative or !re-/ree" perio: motif was sea an nature ii. 5irst /ree" !erio: largel# g#ptian in6uence iii. /olen &ge (VYW-VWW 79) i(. Hellenistic !erio (V th centur# % Zst 79) 1. Heightene iniviualism, tragic moo, an contorte faces (lacaustic painting)
c.
O&3 &T: the art serve the cult of ancestors an e1e emperors. i. truscan !erio (BWWW- ZWWW 79) 1. $ubject matters of painting were on ancestor worship catacombs an sarcophage ii.
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oman !erio (BWWW 79 % VWW &) 1. The subject matters of painting were commemorative statues, sarcophagi, frescoes, esigns with vine motifs.
I<&; !IO i. &;= 9HI$TI&3 &T 1. $ubject matters of art were s#mbols: cross, 1sh, lamb, alpha an omega, triumphal wreaths, grapes, oves, an peacoc"s an later-haloe 9hrist, saints, an the
iii.
7=U&3TI3 &T 1. The subject matters of painting were 9hrist as the 9reator, an ar#, as the other of /o. /OTHI9 &T 1. The subject matters of painting were eligious an grotesue (unattractive) more calmer an plastic st#le. 2. .g. the picture of the aonna an 9hil ga0ing into each other+s e#es in pla#ful moo is an eample of this st#le.
e.
5&39O-5;I$H !&I3TI3/ i. !ortable easel paintings an oil paintings were utili0e. ii. Illustrations consisting of alter pieces with general wings that open an close. iii. 9hilren+s faces were painte li"e small aults spectator was even rawn into the picture. i(. ;anscape was place within the pictures b# the open winow techniue where farawa# lanscape of towns, people an river were seen.
f.
3&I$$&39 &T i. &;= 3&I$$&39 (ZV TH % Z TH 93T4=) 1. The st#les of painting are simplicit#, beaut#, gesture, an epression.
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2. ii.
HI/H 3&I$$&39 (Z[ TH 93T4=) 1. !ainting st#le consists of the eepening of pictorial space, ma"ing the s"# more ramatic with ar" clous an 6ashes of light. 2. .g. a
iii.
&3I$ !IO 1. $ubject matter is on human 1gure with the use of oil painting an color. 2. 9olors were sumptuous, warm, an sensual.
i(.
!&I3T$ O5 THI$ TI: 1. /iotto, ;eonaro a
g.
7&OF4 &T i. $t#le is ornate an fantastic appealing to the emotion, sensual an highl# ecorative with light an shaow for ramatic e2ect. ii. The paintings showe 1gures in iagonal, twists, an 0ig0ags. iii. 5amous painters inclue: !aul ubens, embrant, l /reco, iego
h.
O9O9O &T i. !ainting st#le emphasi0e voluptuousness, picturesue an intimate presentation of farm an countr#. ii. The art techniue mae use of soft pastel colors renering the lanscape smo"ing an ha0# with the subject alwa#s in the center of the canvas. iii. 5amous painters were: ?atteau, 5ragonar, Hogarth, e#nols, an Ingres.
i.
O&3TI9 &T i. The emphasis of painting is on the painter+s reactions to past events, lanscapes, an people. ii. 5amous painter: 5rancisco /o#a
j.
>II.
!ainting was on man an nature in fresco techniue.
ZX TH 93T4= !&I3TI3/ (O3 &T) % art was aime to please the public i. I!$$IO3I$T$ 1. !aul 9e0anne was the greatest impressionist an the 5ather of oern &rt ii. C!$$IO3I$T$ 1.
CHAPTER 0: DE>ELOPMENT OF >IS-AL ARTS IN THE PHILIPPINES a. !&I3TI3/ 4I3/ TH $!&3I$H !IO i. !ainting in churches starte in anila area with the priests as painter-ecorators 1. &ugustinian 5riars o2ere rawing lessons to the 5ilipinos. 2. !ainters: 8ose ans, amiano omingo, 8ustiniano &suncion, &lfonso Ongpin ii. TH &9&I& 1. $imon 5lores # ela osa, was one of those who stuie at the &caemia a. His subjects: religious paintings % $aint 8ohn the 7aptist, aonna an 9hil, 5eeing 9hic"ens 2. ;oren0o /uerrero, also stuie in the &caemia a. aster of non-religious an creative paintings % D5rom the ar"etE ). 5elipe oas a. ;anscape painter % D9hurch of &ntipoloE *. Other painters: 5eli artine0, amon artine0, 8ose artine0, anuel 5lores, &nselmo spiritu, anuel spiritu, an !epe ;a0ano +. afael nriue0: D;a uerte e $imon e &naE
b.
ZX TH 93T4= &$T$ i. 8uan ;una an 5eli esurreccion Hialgo 1. eceive high honors abroa 2. 8uan ;una % $polarium, ;a uerte e 9leopatra, l !ueblo # ;os e#es, 7loo 9ompact, !ortrait of ;egaspi ). 5eli Hialgo % stuie in the &caemia a. !aintings:
c.
!&I3TI3/ 4I3/ TH &I9&3 !IO i. !ainting was a stanstill because commerce was generall# restricte uring the perio between the $panish rule an the &ssumption of the &merican government that naturall# isable the artist 1nanciall#. ii. 5amous painters: iguel Uarago0a, afael nriue0, 5abian ela osa, Teooro 7uenaventura, 8orge !inea, amon !eralta, Isiro &ncheta iii. afael nriue0 organi0e the &ssociation International e &rtistas 1. It sponsore an hibition on the scolta an
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!&I3TI3/ I3 TH O3 !IO i. In ZXZ: a galler# for the moern painting was establishe on a sie street of 9alle abini in rmita. ii. This /aller# is calle the !hilippine &rt /aller# 1. Heas of Igorots, Ifugaos, inanao oslems, 7agobos, an ang#ans were the favorite subjects in their galleries. 2. !ainters: omeo nriue0 ($onata), 5ernano Uobel 8r.,
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