Ge06-Art Appreciation

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General Education
Academic Year 2020-2021, 2nd Semester
ART APPRECIATION
GE 06
MR.ELVIN “VINCE” AZARES
OSMEÑA COLLEGES College of Teacher Education

Aspire…Achieve…Advance!
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What Is Art: Introduction and Assumptions

MODULE 1
OVERVIEW
Art is something that is perennially around us. Some people may deny having to do with arts but it
is indisputable that life presents us with many forms and opportunities for communion with the arts. A bank
manager choosing what tie to wear together with his shirt and shoes, a politician shuffling her music track
while comfortably seated on her car looking for her favorite song, a student marveling at the intricate
designs of a medieval cathedral using his field trip, and a market vendor cheering for her bet in a dance
competition on a noontime TV program all manifest concern for values that are undeniably, despite
tangentially, artistic.
Despite the seemingly overflowing
instances of arts around people, one still finds
the need to see more and experience more,
whether consciously or unconsciously. One
whose exposure to music is only limited to one
genre finds it lacking not to have been exposed
to more. One, whose idea of a cathedral is
limited to the locally available ones, finds
enormous joy in seeing other prototypes in
Europe. Plato had the sharpest foresight when
Figure 1. A Medieval Cathedral he discussed in the Symposium that beauty, the
object of any love, truly progresses. As one
moves through life, one locates better, more objects of desire (Scott, 2000). One can never be totally content
with what is just before him. Human beings are drawn toward what is good and ultimately, beautiful.
This module is about this yearning for the beautiful, the appreciation of the all-consuming beauty
around us, and some preliminary clarifications on assumptions that people normally hold about art.
LEARNING OUTCOMES
By the end of this module, you should be able to:
 understand the role of humanities and arts in man’s attempt at fully realizing his end;
 clarify misconceptions the arts;
 characterize the assumptions of arts; and
 engage better with personal experiences of and in art.
LEARNING EXPERIENCES & SELF-ASSESSMENT ACTIVITIES (SAA)

Activity
In the first column of the table below, list down your most striking encounters with arts. On the
second column, explain why you think each encounter is an experience with art. Write your answers on the
self-assessment activities (SAA) sheet on the following pages.

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Analysis
1. What is an art?
2. How did you identify your encountered experience as an art?
Abstraction
Why Study the Humanities?
For as long as man existed in this planet, he has cultivated the end, altered the conditions of the
fauna and the flora, in order to survive. Alongside these necessities, man also marked his place in the world
through his works. Through his bare hands, man constructed infrastructures that tended to is needs, like his
house. He sharpened swords and spears. He employed fire in order to melt gold. The initial meaning of the
word “art” has something to do with all these craft.
The word “art comes from the ancient Latin, ars which means a “craft or specialized form of skill,
like carpentry or smithying or surgery” (Collingwood, 1938). Art then suggested the capacity to produce
an intended result from carefully planned steps or method. When a man wants to build a house, he plans
meticulously to get to what the prototype promises and he executes the steps to produce the said structure,
then he is engaged in art. The Ancient World did not have any conceived notion of Art in the same way
that we do now. To them, art only meant using the bare hands to produce something that will be useful to
one’s day-to-day life.
Ars in Medieval Latin came to mean something different. It meant “any special form of book-
learning, such as grammar or logic, magic or astrology” (Collingwood, 1938). It was only during the
Renaissance Period that the word reacquired a meaning that was inherent in its ancient form of craft. Early
Renaissance artists saw their activities merely as craftsmanship, devoid of a whole lot of intonations that
are attached to the word now. It was during the seventeenth century when the problem and idea of aesthetics,
the study of beauty, began to unfold distinctly from the notion of technical workmanship, which was the
original conception of the word “art.” It was finally in the Eighteenth century when the word has evolved
to distinguish between the fine arts and the useful arts. The fine arts would come to mean “not delicate or
highly skilled arts but ‘beautiful’ arts” (Collingwood, 1938). This is something more akin to what is now
considered art.
“The humanities constitute one of the
oldest and most important means of
expression developed by man” (Dudley et al.,
1960). Human history has witnessed how man
evolved not just physically but also culturally,
from cave painters to men of exquisite
paintbrush users of the present. Even if one
goes back to the time before written records of
man’s civilization has appeared, he can find
cases of man’s attempts of not just crafting
tools to live and survive but also expressing
his feelings and thoughts. The Galloping Wild
Boar found in the cave of Altamira, Spain in
one such example. In 1879, a Spaniard and his
daughter were exploring a cave when they saw
pictures of a wild boar, hind, and bison. Figure 2. Cave Paintings
According to experts, these paintings were
purported to belong to Upper Paleolithic Age, several thousands of years before the current era. Pre-historic
men, with their crude instruments, already showcased and manifested earliest attempts at recording man’s
innermost interests, preoccupations, and thoughts. The humanities, then, ironically, have started even before
the term has been coined. Human persons have long been exercising what it means to be a human long
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before he was even aware of his being one. The humanities stand tall in bearing witness to this magnificent
phenomenon. Any human person, then, is tasked to participate, if not, totally partake in this long tradition
of humanizing himself.
Assumptions of Art
Art is universal.
Literature has provided key works of art. Among the most popular ones being taught in school are
the two Greek epics, the Iliad and the Odyssey. The Sanskrit pieces Mahabharata and Ramayana are also
staples in this field. These works, purportedly written before the beginning of recorded history, are believed
to be man’s attempt at recording stories and tales that have been passed on, known, and sung throughout
the years. Art has always been timeless and universal, spanning generations and continents through and
through.
In every country and in every generation, there is always art. Oftentimes, people feel that what is
considered artistic are only those which have been made long time ago. This is a misconception. Age is not
a factor in determining art. An “…art is not good because it is old, but old because it is good” (Dudley et
al., 1960). In the Philippines, the works of Jose
Rizal and Francisco Balagtas are not being read
because they are old. Otherwise, works of other
Filipinos who have long died would have been
required in junior high school too. The pieces
mentioned are read in school and have remained
to be with us because they are good. They are
liked and adored because they meet our needs
and desires. Florante at Laura never fails to
teach high school students the beauty of love,
one that is universal and pure. Ibong Adarna,
another Filipino masterpiece, has always
captured the imagination of the young with its
timeless lessons. When we recite the Psalms, we
feel in communion with King David As we feel
one with him in his conversation with God.
When we listen to a kundiman or perform folk
dances, we still enjoy the way our Filipino Figure 3. Ibong Adarna
ancestors whiled away their time in the past. We
do not necessarily like a kundiman for its original meaning. We just like it. We enjoy it. Or just as one of
the characters in the movie Bar Boys thought, kundiman makes one concentrate better.
The first assumption then about the humanities is that art has been crafted by all people regardless
of origin, time, place, and that it stayed on because it is liked and enjoyed by people continuously. A great
piece of work will never be obsolete. Some people say that art is art for its intrinsic worth. In John Stuart
Mill’s Utilitarianism (1879), enjoyment in the arts belongs to a higher good, one that lies at the opposite
end of base pleasures. Art will always be present because human beings will always express themselves
and delight in these expressions. Men will continue to use art while art persists and never gets depleted.
Art is not nature.

In the Philippines, it is not entirely novel to hear some consumers of local movies remark that these
movies produced locally are unrealistic. They contend that local movies work around certain formula to the
detriment of substance and faithfulness to reality of the movies. These critical minds argue that a good
movie must reflect reality as closely as possible. Is that so?
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Paul Cézanne, a French painter, painted a scene from reality entitled Well and Grinding Wheel in
the Forest of the Château Noir. The said scene is inspired by a real scene in a forest around the Château
Noir area near Aix in Cézanne’s native Provence. Comparing the two, one can see that Cézanne’s landscape
is quite different from the original scene. Cézanne has changed some patterns and details from the way they
were actually in the photograph. What he did is not nature. It is art.
One important characteristic of art is that it is not nature. Art is man’s expression of his reception
of nature. Art is man’s way or interpreting nature. Art is not nature, Art is made by man, whereas nature is
a given around us. It is in this juncture that they can be considered opposites. What we find in nature should
not be expected to be present in art too. Movies are not meant to direct representation of reality. They may,
according to the moviemaker’s perception of reality, be a reinterpretation or even distortion of nature.
This distinction assumes that all of us see nature,
perceive its elements in myriad, different, yet ultimately valid
ways. One can only imagine the story of the five blind men
who one day argue against each other on what an elephant
looks like. Each of the five blind men was holding a different
part of the elephant. The first was touching body and thus,
thought the elephant was like a wall. Another was touching the
beast’s ear and was convinced that the elephant was like a fan.
The rest were touching other different parts of the elephant and
concluded differently based on their perceptions. Art is like
each of these men’s view of the elephant. It is based on an
individual’s subjective experience of nature. It is not meant,
after all, to accurately define what the elephant is really like in Figure 4. The Elephant and the
nature. Artists are not expected to duplicate nature just as even Blind Men
scientists with their elaborate laboratories cannot make nature.
Once this point has been made, a student of humanities can then ask further questions such as: What
reasons might the artist have in creating something? Why did Andres Bonifacio write “Pag-ibig sa
Tinubuang Lupa”? What motivation did Juan Luna have in creating his masterpiece, the Spoliarium? In
whatever work of art, one should always ask why the artist made it. What is it that he wants to show?
Art involves experience.

Getting this far without a satisfactory definition of art can be quite weird for some. For most people,
art does not require a full definition. Art is just experience. By experience, we mean the “actual doing of
something” (Dudley et al., 1960). When one says that he has an experience of something, he often means
that he knows what that something is about. When one claims that he has experienced falling in love, getting
hurt, and bouncing back, he in effect claims that he knows the (sometimes) endless cycle of loving. When
one asserts having experienced preparing a particular recipe, he in fact asserts knowing how the recipe is
made. Knowing a thing is different from hearing from others what the said thing is. A radio DJ dispensing
advice on love when he himself has not experienced he does not really know what he is talking about. A
choreographer who cannot execute a dance step himself is a bogus. Art is always an experience. Unlike
fields of knowledge that involve data, art is known by experiencing. A painter cannot claim to know how
to paint if he has not tried holding a brush. A sculptor cannot produce a work of art if a chisel is foreign to
him. Dudley et al. (1960) affirmed that “[a]ll art depends on experience, and if one is to know art, he must
know it not as fact or information but as experience.”
A work of art then cannot be abstracted from actual doing. In order to know what an artwork is, we
have to sense it, see or hear it, and see AND hear it. To fully appreciate our national hero’s monument, one
must go to Rizal Park and see the actual sculpture. In order to know Beyoncé’s music, one must listen to it
to actually experience them. A famous story about someone who adores Picasso goes something like this:
“Years ago, Gertrude Stein was asked why she bought the pictures of the then unknown artist Picasso. ‘I
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like to look at them,’ said Miss Stein” (Dudley et Al,

1960). At the end of the day, one fully gets
acquainted with art if one immerses himself into it.
In the case of Picasso, one only learns about
Picasso’s work by looking at it. That is precisely
what Miss Stein did.
In matters of art, the subject’s perception is
of primacy. One can read hundreds of reviews about
a particular movie, but at the end of the day, until he
sees the movie himself, he will be in no position to
actually talk about the movie. He does not know
about the movie until he experiences it. An
important aspect of experiencing art is its being
highly personal, individual, and subjective. In
philosophical terms, perception of art is always a
value judgment. It depends on who the perceiver is,
Figure 5. Pablo Picasso
his tastes, his biases, and what he has inside him.
Degustibus non disputandum est (Matters of taste are not matters of dispute). One cannot argue with another
person’s evaluation of art because one’s experience can never be known by another.
Finally, one should also underscore that every experience with art is accompanied by some
emotion. One either likes or dislikes, agrees or disagrees that a work of art is beautiful. A stage play or
motion picture is particularly one of those art forms that evoke strong emotions from its audience. With
experience comes emotions and feelings, after all. Feelings and emotions are concrete proofs that the
artwork has been experiences.

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SELF-ASSESSMENT ACTIVITIES (SAA) SHEET
Activity
My Encounters with Arts Why?
1.
2.
Analysis
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KEY POINTS
 Art is present in every part of the globe and in every period of time. This is what is meant by its
universality.
 Art is always been a creation of the artist, not nature.
 Without experience, there is no art. The artist has to be foremost, a perceiver who is directly in
touch with art.
END OF MODULE ASSESSMENT
Now that you have finished the review of the various concepts outlined above, it is now time for an
assessment to see how far you have improved. On every module’s “End of Module Assessment” (this part),
write your answers on separate sheet/s provided. (See separate sheets for the questions.)
LOOKING AHEAD
Congratulations for making it till the end of this module! The next topic will deal on the Art
Appreciation: Creativity, Imagination, and Expression! Happy learning!
SELF AND MODULE EVALUATION

This part requires you to rate the quality of the module to help you continuously improve the development
of this learning module. This also asks you to rate your learning experience for each of the modules.
Rate the module using the following:
1- Strongly disagree
2- Disagree
3- Agree
4- Strongly agree
The learning module: 1 2 3 4
Please check appropriate column

was engaging
allowed for self-checking (SAAs)
developed in gradual, manageable steps
provided independent, self-paced learning
contained relevant information I needed
SELF-EVALUATION

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Rate the extent of your learning in this module using the scale blow. Check the column corresponding to
your rating in the space provided. Do not hesitate to contact me if you need further assistance.
4- I’m an expert. I understand and can teach a friend about it.
3-I’m a Practioner. I understand and can cite examples on the topics given.
2- I’m an apprentice. I understand if I get help or look at more examples.
1- I’m a novice. I do not understand the topic.
My learning: 1 2 3 4
I can now

 understand the role of humanities and arts in man’s attempt at fully realizing
his end;
 clarify misconceptions the arts;
 characterize the assumptions of arts; and
 engage better with personal experiences of and in art.
REFERENCES
Collingwood, R.G (1938). The Principles of Art. Worcestershire: Read books Ltd.
Dudley, L., Faricy, A., and McGraw-Hill Book Company. (1960). The Humanities. New York: McGraw-
Hill
Mill, J.S. (1879). Utilitarianism. 7th Ed. London: Longmans, Green, and Co.
Scott, D. (2000). “Socrates and Alcibiades in the ‘Symposium.’” Hermathena 168, 25 - 37
Bernardo Nicolas Caslib, Jr., Dorothea C. Garing, Jezreel Anne R. Casaul (2018) 1st Edition. Art
Aprreciation. Rex Book Store, Inc.
https://www.google.com

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END OF MODULE ASSESSMENT (Answer Sheet)
(Please do not forget to provide information on this part)
Name: ____________________________ Course& Year: _____________
Module Number and Title: ____________ Contact number & email (if any):____________
Date accomplished: __________________
assessment to see how far you have improved. Write your answers on the blank space provided for each
question.
A. Answer the following questions as precisely yet as thoroughly as possible. Write your answer on
the space provided below.
1. If you were an artist, what kind of artist would you be?
2. Why art is not nature?
3. Why art is ageless and timeless?
4. Why does art involve experience?

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B. Choose one artwork under each given category that you are familiar with. This can be the latest
artwork that you have come across with or the one that made the most impact to you. Criticize each
using the guide questions provided.
Categories:
1. Movie 3. Poem 5. An architectural structure
2. Novel 4. Music 6. A piece of clothing
Category: ___________________________
Artwork: ___________________________
1. What is it about? What is it for?
2. What is it made of?
3. What is its style?
4. How good is it?

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Art Appreciation: Creativity, Imagination, and Expression

MODULE 2
OVERVIEW
It takes an artist to make art. One may receive beauty on a daily basis. However, not every beautiful
thing that can be seen or experienced may truly be called a work of art. Art is a product of man’s creativity,
imagination, and expression. No matter how perfectly blended the colors of a sunset are and no matter how
extraordinarily formed mountains are, nature is not considered art simply because it is not made by man.
Not even photographs or sketches of nature, though captured or drawn by man, are works of art, but mere
recordings of the beauty in nature (Collins & Riley, 1931). An artwork may be inspired by nature or other
works of art, but an artist invents his own forms and patterns due to what he perceives as beautiful and
incorporates them in creating his masterpiece.
Perhaps not everyone can be considered an artist, but surely, all are spectators of art. In deciding
what pair of shoes to buy, we carefully examine all possible choices within our budget and purchase the
one that satisfies our beauty and practical standards. We are able to distinguish what is fine and beautiful
from what is not and what is good quality from poor. This gives us a role in the field of art appreciation.
LEARNING OUTCOMES
 differentiate art from nature;

 characterize artistic expression based on personal experiences with art;
 discuss the nature of art’s preliminary expression; and
 categorize works of art by citing personal experiences.

Activity
In one of your encounters with art through museum visits, musicals and plays, among others, have
you ever disconnected from an artwork? Was there a point in time when you did not understand what
message the art was trying to convey? If yes, write the name of the artwork in the box and attach an image
of the artwork, if possible. Explain why you think you did or did not understand the art. Write your answers
on the self-assessment activities (SAA) sheet on the following pages.
Abstraction
Art Appreciation as a Way of Life

Jean-Paul Sartre, a famous French philosopher of the twentieth century, described the role of art as
a creative work that depicts the world in a completely different light and perspective, and the source is due
to human freedom (Greene, 1995). Each artwork beholds beauty of its own kind, the kind that the artist sees
and wants the viewers to perceive. More often than not, people are blind to this beauty and only those who
have developed a fine sense of appreciation can experience and see the art the same way the artist did.
Because of this, numerous artworks go unnoticed, artists are not given enough credit, and they miss
opportunities. It sometimes takes a lifetime before their contribution to the development of art is recognized.

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Hence, refining one’s ability to appreciate art allows him to deeply understand the purpose of an artwork
and recognize the beauty it possesses (Collins& Riley, 1931).
In cultivating an appreciation of art, one should also exercise and develop his taste for things that
are fine and beautiful. This allows individuals to make intelligent choices and decisions in acquiring
necessities and luxuries, knowing what gives better value for time or money while taking into consideration
the aesthetic and practical value (Collins& Riley, 1931). This continuous demand for aesthetically valuable
things influences the development and evolution of art and its forms.
Frequenting museums, art galleries, performing arts theaters, concert halls, or even malls that
display art exhibitions that are free in admission during leisure time will not only develop an understanding
of the art, but will also serve as a rewarding experience. Leaning to appreciate art, no matter what vocation
or profession you have, will lead to a fuller and more meaningful life (Collins& Riley, 1931).
The Role of Creativity in Art Making
Creativity requires thinking outside the box. It is often used to solve problems that have never
occurred before, conflate function and style, and simply make life a more unique and enjoyable experience.
In art, creativity is what sets apart one artwork from another. We say something is done creatively when
we have not yet seen anything like it or when it is out of the ordinary. A creative artist does not simply copy
or imitate another artist’s work. He does not imitate the lines, flaws, colors, and patterns in recreating nature.
He embraces originality, puts his own flavor into his work, and calls it his own creative piece.
Yet, being creative nowadays can be quite challenging. What you thought was your own unique
and creative idea may not what it seems to be after
extensive research and that someone else has
coincidentally devised before the idea in another
part of the world. For instance, the campaign ad
“It’s More Fun in the Philippines” used by the
Department of Tourism (DOT) boomed popularity
in 2011, but later on it was found out that it was
allegedly plagiarized from Switzerland’s tourism
slogan “It’s More Fun in Switzerland,” back in
1951. In DOT’s defense, former DOT Secretary
Figure 6. “It’s More Fun in the Philippines” by Ramon Jimenez Jr. claimed that it was “purely
The Misadventures of Maja coincidental” Thus, creativity should be backed
with careful research on related art to avoid such
conflicts.
Art as a Product of Imagination, Imagination as a Product of Art
Where do you think famous writers, painters, and

musicians get their ideas? Where do ideas in making creative
solutions begin? It all starts in the human mind. It all begins
with imagination.
German physicist Albert Einstein who had made
significant and major contributions in science and humanity
demonstrated that knowledge is actually derived from
imagination. He emphasized this idea through his words:
“Imagination is more important knowledge. For
knowledge is limited to all we now know and understand,
Figure 7. Bob Wierdsma, “Imagination”
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while imagination embraces the entire world, and all there ever will be to know and understand.”
Imagination is not constrained by the walls of the norm, but goes beyond that. That is why people
rely on curiosity and imagination for advancement. Through imagination, one is able to craft something
bold, something new, and something better in the hopes of creating something that will stimulate change.
Imagination allows endless possibilities.
In an artist’s mind sits a vast gallery of artworks. An artwork does not need to be a real thing, but
can be something that is imaginary (Collingwood, 1938). Take for example a musician who thinks of a tune
in his head. The making of this tune in his head makes it an imaginary tune, an imaginative creation, an
imaginary art (Collingwood, 1938). It remains imaginary until he hums, sings, or writes down the notes of
the tune on paper. However, something imaginary does not necessarily mean it cannot be called art. Artists
use their imagination that gives birth to reality through creation.
In the same way that imagination produces art, art also inspires imagination. Imagine being in an
empty room surrounded by blank, white walls, and floor. Would you be inspired to work in such a place?
Often, you will find coffee shops, restaurants and libraries with paintings hung or sculptures and other
pieces of art placed around the room to add beauty to the surroundings. This craving and desire to be
surrounded by beautiful things dates back to our early ancestors (Collins &Riley, 1931). Cave walls are
surrounded by drawings and paintings of animals they hunted: wild boars, reindeers, and bison (Figure 8).
Clays were molded and stones were carved into forms that resemble men and women; burial jars were
created with intricate designs on them. These creative pieces were made not only because they were
functional to men, but also because beauty gave them joy (Collins & Riley, 1931).
Figure 8. Thomas Quine, “Cave Paintings”

Art as Expression
There may have been times when you felt something is going on within you, you try to explain it
but you do not know how. You may only be conscious about feeling this sort of excitement, fear, or
agitation, but you know that just one word is not enough to describe the nature of what you truly feel.
Finally, you try to release yourself from this tormenting and disabling state by doing something, which is
called expressing oneself (Collingwood, 1938). Suppose this feeling is excitement. It is frustrating to
contain such feeling, so you relieve it by expressing through shouting or leaping in excitement. An emotion
will remain unknown to a man until he expresses it.
Robin George Collingwood, an English philosopher who is best known for his work in aesthetics,
explicated in his publication The Principles of Art (1938) that what an artist does to an emotion is not to
induce it, but express it. Through expression, he is able to explore his own emotions and at the same time,
create something beautiful out of them. Collingwood further illustrated that expressing emotions is
something different from describing emotions. In his example, explicitly saying “I am angry” is not
expression of an emotion, but a mere description. There is no need in relating or referring to a specific
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emotion, such as anger, in expressing one’s emotion. Description actually destroys the idea of expression,
as it classifies the emotion, making it ordinary and predictable. Expression, on the other hand,
individualizes. An artist has the freedom to express himself the way he wants to. Hence, there is no specific
technique in expression. This makes people’s art not a reflection of what is outside or external to them, but
a reflection of their inner selves.
There are countless ways of expressing oneself through art. The following list includes, but is not
limited to, popular art expressions.
Visual Arts
Creations that fall under this category are those
that appeal to the sense of sight and are mainly visual
in nature. Artists produce visual arts driven by their
desire to reproduce things that they have seen in the
way that they perceived them (Collins & Riley, 1931).
We will not be too strict on the definition since there
are other artistic disciplines that also involve a visual
aspect, such as performance arts, theatre and applied
arts that will be discussed in detail later on. Visual arts
is the kind of art form that the population is most likely
more exposed to, but its variations are so diverse-they
range from sculptures that you see in art galleries to the
last movie you saw.
Some mediums of visual arts include paintings, Figure 9. John La Farge, “Camellia in Old
drawings, letterings, printing, sculptures, digital Chinese Vase on Black Lacquer Table”
imaging, and more.
Film
Film refers to the art of putting together successions of still images in order to create an illusion of
movement. Filmmaking focuses on its aesthetic, cultural, and social value and is considered as both an art
and an industry. Films can be created by using one or a combination of some or all of these techniques:
motion-picture camera (also known as movie camera), animation techniques, Computer-Generated Imagery
(CGI), and more. Filmmaking simulates experiences or creates one that is beyond the scope of our
imagination as it aims to deliver ideas, feelings, or beauty to its viewers.
The art of filmmaking is so complex it has to take into account many important elements such as
lighting, musical score, visual effects, direction, and more. That is why in famous film festivals and awards
such as the Metro Manila Film Festival and Oscars, a long list of categories is considered to recognize
excellence in the art of filmmaking.
Performance Art
Performance art is a live art and the artist’s medium
is mainly the human body which he or she uses to perform,
but also employs other kind of art such as visual art, props, or
sound. It usually consists of four important elements: time,
where the performance took place, the performer’s or
performer’s body, and a relationship between the audience
and the performer(s) (Moma Learning. N.d.). The fact that
performance art is live makes it intangible, which means it
cannot be bought or traded as a commodity, unlike the Figure 10. Performance Art
previously discussed art expressions.
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Poetry Performance
Poetry is an art form where the artist expresses his emotions not by using paint, charcoal, or camera,
but expresses them through words. These words are carefully selected to exhibit clarity and beauty and to
stimulate strong emotions of joy, anger, love, sorrow, and the list goes on. It uses a word’s emotional,
musical, and spatial values that go beyond its literal meaning to narrate, emphasize, argue, or convince.
These words, combined with movements, tone, volume, and intensity of the delivery add to the artistic
value of the poem. Some poets even make poems out of their emotions picked up from other works of art,
which in turn produce another work of art through poetry.
Architecture
As discussed, art is the pursuit and creation of
beautiful things while architecture is the making of
beautiful buildings. However, not all buildings are
beautiful. Some buildings only embody the
functionality they need, but the structure, lines, forms,
and colors are not beautifully expressed. Thus, not all
buildings can be considered architecture. Take, for
example, the Grand Théâtre de Bordeaux (Figure 11)
where the functionality of the theater remains, but the
striking balance of the lines, colors, and shapes
completes the masterpiece. Buildings should embody
these three important elements –plan, construction, and Figure 11. The Grand Théâtre de Bordeaux
design –if they wish to merit the title architecture
(Collins &Riley, 1931).
Dance
Dance is a series of movements that follows the
rhythm of the music accompaniment. It has been an age-old
debate whether dance can really be considered an art form,
but here we primarily describe dance as a form of expression.
Dancing is a creative form that allows people to freely
express themselves. It has no rules. You may say that
choreography does not allow this, but in art expression,
dancers are not confined to set steps and rules but are free to
create and invent their own movements as long as they deem
them graceful and beautiful.
Figure 12. Olga Spessiva in Swan
Lake Costume
Literary Art
Artists who practice literary arts use words – not paint,
musical instruments, or chisels –to express themselves and
communicate emotions to the readers. However, simply
becoming a writer does not make one a literary artist. Simply
constructing a succession of sentences in a meaningful manner
is not literary art. Literary art goes beyond the usual
professional, academic, journalistic, and other technical forms
of writing. It focuses on writing using a unique style, not Figure 13. William Shakespeare
Page 17 of 29
following a specific format or norm. It may include both fiction and non-fiction such as novels, biographies,
and poems. Examples of famous literary artists and their works include The Little Prince by Antoine de
Saint-Exupéry and Romeo and Juliet by William Shakespeare.
Theater
Theater uses live performers to present accounts or
imaginary events before a live audience. Theater art performances
usually follow a script, though they should not be confused with
literary arts. Much like in filmmaking, theater also considers
several elements such as acting, gesture, lighting, sound, effects,
musical score, scenery, and props. The combination of these
elements is what gives the strongest impression on the audience
and the script thus becomes a minor element. Similar to
performance art, since theater is also a live performance, the
participation of the viewer is an important element in theater arts.
Some genres of theater include drama, musical, tragedy, comedy, Figure 14. Macbeth
and improvisation.
Applied Arts
Applied arts is incorporating elements of style and design to everyday items with the aim of
increasing their aesthetical value. Artists in this field bring beauty, charm, and comfort into many things
that are useful in everyday life (Collins & Riley, 1931). Industrial design, interior design, fashion design,
and graphic design are considered applied arts. Applied is often compared to fine arts, where the latter is
chiefly concerned on aesthetic value. Through exploration and expression of ideas, consideration of the
needs, and careful choice of materials and techniques, artists are able to combine functionality and style.
SELF-ASSESSMENT ACTIVITIES (SAA) SHEET

Activity

Page 18 of 29
KEY POINTS
 Some forms of art expression include visual arts, film, performance art, poetry performance,
architecture, dance, literary arts, theater arts, and applied arts.
 Visual arts is the kind of art form that the population is most likely more exposed to, but its
variations are so diverse-they range from sculptures that you see in art galleries to the last movie
you saw.
 Film refers to the art of putting together successions of still images in order to create an illusion of
movement.
 Performance art is a live art and the artist’s medium is mainly the human body which he or she uses
to perform, but also employs other kind of art such as visual art, props, or sound.
 Poetry is an art form where the artist expresses his emotions not by using paint, charcoal, or camera,
but expresses them through words.
 Dance is a series of movements that follows the rhythm of the music accompaniment.
 Literary art goes beyond the usual professional, academic, journalistic, and other technical forms
of writing.
 Theater uses live performers to present accounts or imaginary events before a live audience.
 Applied arts is incorporating elements of style and design to everyday items with the aim of
increasing their aesthetical value.
assessment to see how far you have improved. On every module’s “End of Module Assessment” (this part),
write your answers on separate sheet/s provided. (See separate sheets for the questions.)
LOOKING AHEAD
Congratulations for making it till the end of this module! The next topic will deal on the Functions and
Philosophical Perspectives on Art! Happy learning!

6- Disagree
7- Agree
8- Strongly agree
Page 19 of 29

was engaging
SELF-EVALUATION
I can now

 differentiate art from nature;
 characterize artistic expression based on personal experiences with art;
 discuss the nature of art’s preliminary expression; and
 categorize works of art by citing personal experiences.
REFERENCES
Collingwood, R.G (1938). The Principles of Art. Worcestershire: Read books Ltd.
Collins, M.R. and Riley, O. (1931). Art Appreciation for Junior and Senior High Schools. New York:
Harkcourt, Brace & World, Inc.
Greene, M. (1995). Art and Imagination: Reclaiming the Sense of Possibility. Indiana, USA: Phi Delta
Kappa International
Moma Learning. (n.d.). “Conceptual Art” Accessed October 14, 2017. Retrieved from
https://www.moma.org/learn/moma_learning/themes/conceptual-art/performance-into-art.
The Arts Center. (n.d.). “Poetry is Art Form.” Accessed October 14, 2017. Retrieved from
http://www.theartscenter.org/art-exhibitions/poetry-art-form.html.
Unbound Visual Arts. (n.d.). “What is Visual Art?” Accessed October 15, 2017. Retrieved from
http://www.unboundvisualarts.org/what-is-visual-art/.

Page 20 of 29
Name: ____________________________ Course& Year: _____________
question.
A. Answer the following questions as precisely yet as thoroughly as possible.
1. What art field will you explore? Why?
2. How can you utilize the arts to express yourself, your community, and you relation to others?
B. Using the table below, write down examples of the different art forms studied in this lesson. Provide
ways on how these art forms express and unmask creativity from the artist.
Type of Art Example How Does This How Does This
Expression Express? Unmask the Artist’s
Creativity?

Page 21 of 29
Functions and Philosophical Perspectives on Art

MODULE 3
OVERVIEW
Greek philosopher Aristotle claimed that every particular substance in the world has an end, or
telos in Greek, which translates into “purpose.” Every substance, defined as a formed matter, moves
according to a fixed path toward its aim. A seed is bound to become a full-grown plant. A cocoon can look
forward to flying high when it morphs into a butterfly. A baby
will eventually turn into a grown man or woman.
This telos, according to Aristotle, is intricately linked
with function. For a thing to reach its purpose, it also has to fulfil
its function. Man, in Aristotle’s view of reality, is bound to
achieve a life of fulfillment and happiness, or in Greek,
eudaimonia. All men move toward this final end. However,
happiness, the supposed end of man, is linked with his function,
which is being rational. One can only be happy when he is
rational. This means that to Aristotle, plants can never be happy
because they are not rational, as well as tables and chairs. Man’s
natural end, telos, is connected with his function, which is his
rationality.
Moreover, the telos and function of a thing are both
Figure 15. Aristotle related to a thing’s identity. What makes a table a table is the fact
that it does perform its function and thereby, reaching its telos. If
a table does not have a surface on which we can put on our books or our plates and glasses, then it ceases
to be a table. The same goes for the human being. What makes a human being, according to some schools
of thought, is his capacity for thinking, his supposed function. Without this function, the human being
ceases to be a human being. The telos, the function, and the “whatness” of a thing are all interconnected.
In contemporary life, the connection between the end, the function, and the “Whatness” of a thing
has become closer and more interlaced, suggesting sometimes that the end is the function and vice versa,
and that they determine what kind of thing a thing is. When one sees a new kitchen appliance in the
department store, one tries to know first what functions the appliance has. After knowing these functions,
then one can claim to know the purpose of the appliance and then begins to realize what appliance one is
holding in his arms.
Does art necessarily have an end? When an artist creates a work of art, does he have an end in
mind? What function does an artwork perform? Does it have any purpose? Do all artworks have a function?
Does the function make an object a work of art? This module is an attempt to clarify these questions.
LEARNING OUTCOMES
 distinguish between directly functional and indirectly functional;

 explain and discuss the basic philosophical perspectives on the art;
 realize the function of some art forms in daily life; and
 apply concepts and theories on beauty and aesthetics in real life scenarios.

Page 22 of 29

Abstraction
Functions of Art
When one speaks of function, one is practically talking about the use of the object whose function
is in question. An inquiry on the function of art is an inquiry on what art is for. Alternatively, the answer to
the question “what is it for is the function of whatever “it” in the question refers to. Suppose one asks, what
is the Rizal monument for? Why was it erected in Rizal Park or what then was called Luneta or
Bagumbayan? Is it for pure sentimental value? Is it for its aesthetic value? Or does it send a message to
those who witness it? In this string of questions, the inquirer is hoping to get the function of the piece of art
in Rizal Park.
When it comes to function, different art forms come with distinctive functions. There is no one-to-
one correspondence between an art and its function. Some art forms are more functional than others.
Architecture, for example, as an art is highly functional just like most applied arts. A building as a work of
art is obviously made for a specific purpose. The Taj Mahal, a massive mausoleum of white marble built in
Agra was constructed in memory of the favorite wife of the then emperor, Shah Jahan. On the other hand,
jewelry-making as an art is known by its product. The name of the art in these applied arts is basically
denoted by its specified function. In this and other such functional arts, “..function is so important that it
has usurped the name of the art on the identification of individual works” (Dudley et al., 1960). Other
examples are paintings, poems, and statues. The name of the art basically points toward the direction of the
product or its function.
On the other end of the spectrum, one can only think of painting and literature as forms of art that
have the least to do with purely practical values.
When one examines and thinks of a painting or a
work of literature such as a poem or a novel, one
looks at the value of the art in itself and not
because of what it can do and benefit us. Unlike
practical arts where the value of the art (in pottery,
jewelry-making, architecture, among others) in
question lies in the practical benefits one gains
from it (a pot, a jewelry, or a house or building),
with painting and literature, one can only look at
the value of the product of art in and for itself. A
poem is beautiful regardless of its possible
ramifications in the society. Joyce Kilmer’s
“Trees” has maintained its popularity through the
years regardless of its application or practical Figure 16. Jewelry-making in Malaysia
benefit. This definitely is not to say that paintings
and literary works can never have any function.
The two masterpieces of our national hero, Dr. Jose P. Rizal, the Noli Me Tangere and El Filibusterismo
served as a catechist for Filipino revolutionaries to gather strength in rejecting the oppressive forces of the
Spaniards in the Philippines in the nineteenth century. The novels accrued value and as a consequence,
function. This function as it turns out, may be over and beyond its literary worth. They are functional “in
so far as they are designed to accomplish some definite end” (Dudley Et al., 1960). In the case of Rizal’s
novels, they spelled out a country’s independence. They continue to be treasured even a hundred years after
their supposed functions.

Page 23 of 29
Roughly and broadly, the functions of art are classified into three: personal (public display or
expression), social (celebration or to affect collective behavior), and physical (utilitarian). Let us try to
understand each of these three.
Personal Functions of Art

The personal functions of art are varied and highly
subjective. This means that its functions depend on the
person –the artist who created the art. An artist may create
an art out of the need for self-expression. This is the case
for an artist who needs to communicate an idea to his
audience.It can also be mere entertainment for his intended
audience. Often, the artist may not even intend to mean
anything with his work.
An art may also be therapeutic. In some
orphanages and home for abandoned elders, art is used to
help residents process their emotions or while away their
time. Recently, the use of adult coloring books to de-stress
has been apparent too, now with a lot of designs being sold
in bookstores nationwide. These all fall under personal
functions of art. Figure 17. An Adult Coloring Book
Social Functions of Art

Art is considered to have a social function if and when it addresses a particular collective interest
as opposed to a personal interest. Political art is a very common example of an art with a social function.
Art may convey message of protest, contestation, or whatever message the artist intends his work to carry.
Often, art can also depict social conditions. Photography, as an art form, delivers this kind of function by
taking photos of subjects in conditions that people do not normally take a look at or give attention to.
Pictures of poverty may carry emotional overtones that may solicit action or awareness from their audience.
Moreover, performance art like plays or satires can also rouse emotions and rally people toward a particular
end. In these and more, the social function of art is apparent.
Physical Functions of Art

The physical functions of art are the easiest to spot
and understand. The physical functions of art can be found in
artworks that are crafted in order to serve some physical
purpose. A Japanese raku bowl that serves a physical function
in a tea ceremony is an example. Architecture, jewelry-
making, and even interior design are all forms of arts that
have physical function.
Figure 18. A Japanese Raku Bowl
Other Functions of Art

Music as an art is also interesting to talk about in relation to function. Music in its original form
was principally functional. Music was used for dance and religion. Unlike today, when one can just listen
to music for the sake of music’s sake, the ancient world saw music only as an instrument to facilitate
worship and invocation to gods. Music also was essential to dance because music assures synchronicity
among dancers. Moreover, music also guarantees that marches, in the case of warriors, were simultaneous.
Page 24 of 29
Today, music has expanded its function and coverage. Music is listened to and made by people for
reasons that were foreign to early civilizations. There is now a lot of music that has no connection
whatsoever to dance or religion. Serenade is one example. People compose hymns of love to express
feelings and emotions. Music is also used as a wonderful accompaniment to stage plays and motion pictures.
Interestingly, a piece of music can mean a multitude of meanings to different people, a proof that as an art,
music has gone a long way.
Sculpture, on the other hand, is another functional art form that has long existed for various
purposes. Just like music, from the early days of humanity, sculptures have been made by man most
particularly for religion. People erect status for the divine. In the Roman Catholic world, the employment
of sculptures for religious purposes has remained vital, relevant, and symbolic.
Sculptures were also made in order to
commemorate important figures in history. Jose Rizal’s
monument in Rizal Park and Andres Bonifacio’s
Monumento in Caloocan are common examples. In the
University of the Philippines, the iconic statue Oblation
by Guillermo E. Tolentino has remained a pillar of the
university and constant reminder of the need to offer
oneself up selflessly for the country. Coins are also
manifestations of sculpting’s function. Every coin in
the Philippines features a relief of a Famous hero or
personality. Recently, the Central Bank of the Figure 19. Pope Francis Commemorative
Philippines produced special, commemorative coins Coin
for certain personalities like Pope Francis and the
Jesuit, Horacio de la Costa.
Another art form that readily lends itself to multiple functions is architecture. In fact, architecture
might be the most prominent functional art form. Buildings are huge, expensive, and are not easily
constructed and replaced. Unlike other forms of art like pots, furniture, poetry, or even paintings, buildings
take so much time to erect and destroy. A lot of investments is put into making megastructures like the
pyramids of Giza, the acropolis, or the great cathedrals of the Middle Ages. One cannot simply dismiss
taking into consideration the function of a building before construction.
It is also in architecture where one can find the intimate connection of function and form. In
planning out an architectural structure, one has to
seriously consider the natural conditions like topography
and climate of the place of erection and the social
conditions such as the purpose of the building itself. In the
Philippines, climate is a huge factor in building a house.
Spanish colonial houses were designed to allow for air to
circulate inside the house. Large windows were staples
then. Capiz shells were also utilized to allow for light to
enter the house even if the windows were closed.
Moreover, social conditions, such as purpose, play a huge
role in architecture. To Christians, a church is primarily a
place of worship and assembly. Regular ceremonies,
where members of the church are expected to come
regularly, are held inside the church. A huge, spacious
church therefore is necessitated by this social condition. Figure 20. A Spanish House in the
Indeed, whenever art serves a particular function, the form Philippines
has to be determined by the function.

Page 25 of 29
Does Art Always Have to be Functional?

While it has been shown that most arts are functional, still there are some which are not. The value
of a work of art does not depend on function but on the work itself. The plays of Aeschylus and the poetry
of Robert Frost and Edgar Allan Poe are still counted as examples of great works of art despite their not
having a known function. In those whose functions are ascertained, however, it is a different story. A
functional object cannot be claimed to be beautiful unless it can perform its function sufficiently. Consider
a house that cannot even protect its resident from the nasty weather outside or a spoon that spills the food
on it. Adequate performance of function partly determines the beauty of a design in these functional art
forms.
Despite these, efficiency cannot be mistaken as beauty. While it certainly determines beauty in
some works of art, an efficient functional object is not necessarily beautiful. Art demands so much more
than mere efficiency. What then really comprises beauty and art? What makes something truly beautiful?
What really makes a work of art? What really is art? The next section attempts to provide different
perspectives on the nature of art.
Philosophical Perspectives on Art
Art as an Imitation
Plato (2000) in his masterpiece, The Republic, particularly paints a picture of artists as imitators
and art as mere imitation. In his description of the ideal republic, Plato advises against the inclusion of art
as a subject in the curriculum and the banning of artists in
the Republic. In Plato’s metaphysics or view of reality, the
things in this world are only copies of the original, the
eternal, and the true entities that can only be found in the
World of Forms. Human beings endeavor to reach the
Forms all throughout this life, starting with formal
education in school. From looking at “shadows in the
cave,” men slowly crawl outside to behold the real entities
in the world. For example, the chair that one sits on is not
a real chair. It is an imperfect copy of the perfect “chair”
in the World of Forms. Much is true for “beauty” in this
world. When one ascribes beauty to another person, he
refers to an imperfect beauty that participates only in the
form of beauty in the World of Forms. Plato was
convinced that artists merely reinforce the belief in copies
and discourage men to reach for the real entities in the
Wold of Forms. Figure 21. Plato
Plato was deeply suspicious of arts and artists for
two reasons: they appeal to the emotion rather than to the rational faculty of men and they imitate rather
than lead one to reality. Poetry and painting, the art forms that Plato was particularly concerned with, do
not have any place in the ideal state that Socrates (as the protagonist) in Plato’s dialogue envisions. First,
Plato is critical of the effects of art, specifically, poetry to the people of the ideal state. Poetry rouses
emotions and feelings and thus, clouds the rationality of people. Poetry has a capacity to sway minds
without taking into consideration the use of proper reason. As such, it leads one further away from the
cultivation of the intellect that Plato campaigned for. Likewise, Socrates is worried that art objects represent
only the things in this world, copies themselves of reality. As such, in the dialogue, Socrates claimed that
art is just an imitation of imitation. A painting is just an imitation of nature, which is also just an imitation
of reality in the World of Forms.

Page 26 of 29
The arts then are to be banished, alongside the practitioners, so that the attitudes and actions of the
members of the Republic will not be corrupted by the influence of the arts. For Plato, art is dangerous
because it provides a petty replacement for the real entities that can only be attained through reason.
Art as a Representation
Aristotle, Plato’s most important student in philosophy, agreed with his teacher that art is a form
of imitation. However, in contrast to the disgust that his master holds for art, Aristotle considered art as an
aid to philosophy in revealing truth. The kind of imitation that art does is not antithetical to the reaching of
fundamental truths in the world. Talking about tragedies, for example, Aristotle (1902) in the Poetics
claimed that poetry is a literary representation in general. Akin to other art forms, poetry only admits of an
attempt to represent what things might be. For Aristotle, all kinds of art, including poetry, music, dance.,
painting, and sculpture, do not aim to represent reality as it is. What art endeavors to do is to provide a
vision of what might be or the myriad possibilities in reality. Unlike Plato who thought that art is an
imitation of another imitation, Aristotle conceived of art as representing possible versions of reality.
In the Aristotelian worldview, art serves two particular purposes. First, art allows for the experience
of pleasure. Experiences that are otherwise repugnant can become entertaining in art. For example, a
horrible experience can be made an object of humor in a comedy. Secondly, art also has an ability to be
instructive and teach its audience things about life: thus, it is cognitive as well. Greek plays are usually of
this nature.
Art as a Disinterested Judgment

In the third critique that Immanuel Kant wrote, the “Critic of Judgment,” Kant considered the
judgment of beauty, the cornerstone of art, as something that can be universal despite its subjectivity. Kant
mentioned that judgment of beauty, and therefore, art, is innately autonomous from specific interests. It is
the form of art that is adjudged by one who perceives art to be beautiful or more so, sublime. Therefore,
even aesthetic judgment for Kant is a cognitive activity.
Kant recognized that judgment of beauty is
subjective. However, Kant advanced the proposition
that even subjective judgments are based on some
universal criterion for the said judgment. In the process,
Kant responded to the age-old question of how and in
what sense can a judgment of beauty, which ordinarily
is considered to be a subjective feeling, be considered
objective or universal. How is this so? For Kant, when
one judges a particular painting as beautiful, one in
effect is saying that the said painting has induced a
particular feeling of satisfaction from him and that he
expects the painting to rouse the same feeling from
anyone. There is something in the work of art that
Figure 22. Immanuel Kant makes it capable of inciting the same feeling of pleasure
and satisfaction from any perceiver, regardless of his
condition. For Kant, every human being, after perception and the free play of his faculties, should recognize
the beauty that is inherent in a work of art. This is the kind of universality that a judgment of beauty is
assumed by Kant to have. So when the same person says that something is beautiful, he does not just believe
that the thing is beautiful for him, but in a sense, expects that the same thing should put everyone in awe.

Page 27 of 29
Art as a Communication of Emotion

The author of War and Peace and Anna Karenina, Leo Tolstoy, provided another perspective on
what art is. In his book, What is Art (2016), Tolstoy defended the production of the sometimes truly
extravagant art, like operas, despite extreme poverty in the world. For him, art plays a huge role in
communication to its audience’s emotions that the atist previously experienced. Art then serves as a
language, a communication device that articulates feelings and emotions that are otherwise unavailable to
the audience. In the same way that language communicates information to other people, art communicates
emotions. In listening to music, in watching an opera, and in reading poems, the audience is at the receiving
end of the artist communicating his feelings and emotions.
Tolstoy is fighting for the social dimension of art. As a purveyor of man’s innermost feelings and
thoughts, art is given a unique opportunity to serve as a mechanism for social unity. Art is central to man’s
existence because it makes accessible feelings and emotions of people from the past and present, from one
continent to another. In making these possibly latent feelings and emotions accessible to anyone in varied
time and location, art serves as a mechanism of cohesion for everyone. Thus, even at the present, one can
commune with early Cambodians and their struggles by visiting the Angkor Wat or can definitely feel for
the early royalties of different Korean dynasties by watching Korean dramas. Art is what allows for these
possibilities.
Figure 22. Cambodia’s Angkor Wat
KEY POINTS
 An art function is personal if it depends on the artist herself or sometimes still, the audience of the
art.
 There is a social function in art if when and it has a particular social function, when it addresses a
collective need of a group of people.
 Physical function has something to do with direct, tangible uses of art.
Page 28 of 29
assessment to see how far you have improved. On every module’s “End of Module Assessment” (this
part), write your answers on separate sheet/s provided. (See separate sheets for the questions.)
LOOKING AHEAD
Congratulations for making it till the end of this module! Happy learning!

10- Disagree
11- Agree
12- Strongly agree

was engaging
SELF-EVALUATION
I can now

 distinguish between directly functional and indirectly functional;
 explain and discuss the basic philosophical perspectives on the art;
 realize the function of some art forms in daily life; and
 apply concepts and theories on beauty and aesthetics in real life
scenarios.
REFERENCES
Page 29 of 29
Name: ____________________________ Course& Year: _____________
question.
A. Answer the following questions as precisely yet as thoroughly as possible.
1. What art form/ artwork has changed something in your life? Why? Account for the experience.
2. Does art always have a function? Why? Support your response. Provide your own example.
3. If an artwork ceased to have a function, will it remain an art? Why?
B. Look around your house and identify a product of art. In the box below, paste a picture of that
product of art in your household. Trace the beginning of this item and identify what functions it
has played in history (e.g., a painting of the Last Supper in your dining room or a spoon).


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Page 1 of 29

MR.ELVIN “VINCE” AZARES

OSMEÑA COLLEGES College of Teacher Education

What Is Art: Introduction and Assumptions

By the end of this module, you should be able to:

LEARNING EXPERIENCES & SELF-ASSESSMENT ACTIVITIES (SAA)

OSMEÑA COLLEGES College of Teacher Education

Art is not nature.

Art involves experience.

like to look at them,’ said Miss Stein” (Dudley et Al,

OSMEÑA COLLEGES College of Teacher Education

SELF-ASSESSMENT ACTIVITIES (SAA) SHEET

My Encounters with Arts Why?

OSMEÑA COLLEGES College of Teacher Education

END OF MODULE ASSESSMENT

SELF AND MODULE EVALUATION

The learning module: 1 2 3 4

Please check appropriate column

OSMEÑA COLLEGES College of Teacher Education

Please check appropriate column

OSMEÑA COLLEGES College of Teacher Education

1. If you were an artist, what kind of artist would you be?

2. Why art is not nature?

3. Why art is ageless and timeless?

4. Why does art involve experience?

OSMEÑA COLLEGES College of Teacher Education

2. What is it made of?

3. What is its style?

4. How good is it?

OSMEÑA COLLEGES College of Teacher Education

Art Appreciation: Creativity, Imagination, and Expression

By the end of this module, you should be able to:

 differentiate art from nature;

LEARNING EXPERIENCES & SELF-ASSESSMENT ACTIVITIES (SAA)

Art Appreciation as a Way of Life

OSMEÑA COLLEGES College of Teacher Education

The Role of Creativity in Art Making

Art as a Product of Imagination, Imagination as a Product of Art

Where do you think famous writers, painters, and

Figure 8. Thomas Quine, “Cave Paintings”

SELF-ASSESSMENT ACTIVITIES (SAA) SHEET

OSMEÑA COLLEGES College of Teacher Education

END OF MODULE ASSESSMENT

SELF AND MODULE EVALUATION

The learning module: 1 2 3 4

Please check appropriate column

Please check appropriate column

OSMEÑA COLLEGES College of Teacher Education

OSMEÑA COLLEGES College of Teacher Education

Functions and Philosophical Perspectives on Art

By the end of this module, you should be able to:

 distinguish between directly functional and indirectly functional;

OSMEÑA COLLEGES College of Teacher Education

LEARNING EXPERIENCES & SELF-ASSESSMENT ACTIVITIES (SAA)

OSMEÑA COLLEGES College of Teacher Education

Personal Functions of Art

Social Functions of Art

Physical Functions of Art

Figure 18. A Japanese Raku Bowl