Republic of the Philippines

POLYTECHNIC UNIVERSITY OF THE PHILIPPINES

Lopez, Quezon

INSTRUCTIONAL MATERIALS FOR

GEED 20093- READING VISUAL ARTS

by:

DAVID L. SORIANO
Faculty
 TABLE OF CONTENTS

Module 1- What Is Art: Introduction And Assumption 1

Module 2- Creativity, Imagination And Expression 4

Module 3- Functions And Philosophical Perspective On Art 9

Module 4- Subject And Content 13

Module 5- Elements and Principles Of Art 18

Module 6- Art In Early Civilizations 24

Module 7- Art Of Emerging Europe 28

Module 8- Caught In Between: Modern And Contemporary Art 35

 MODULE 1
WHAT IS ART: INTRODUCTION and ASSUMPTION
Overview
 Art is something that is perennially around us. Some people many deny having to
do with the arts but it is indisputable that life presents us with many forms of and
opportunities for communion with the arts
 This lesson is about this yearning for the beautiful, the appreciation of all
consuming beauty around us, and some preliminary clarifications on
assumptions that people normally hold about art.

Objectives
After successful completion 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 of art;
 Characterize the assumptions of art; and
 Engage better with personal experiences of and in art

WHAT IS ART?
 Art is derived from Latin word “ars”,meaning craft or specialized form of
skills. In this sense, art is used in many varied ways. It covers those areas of
artistic creativity that seek to communicate beauty primarily through senses. Art
embraces the visual arts, literature, music, and dance.
 Art is the expression or application of human creative skills and imagination,
typically in a visual form such as painting or sculpture, producing works to be
appreciated primarily for their beauty or emotional power.

Humanities also refers to the Arts. Humanities come from the Latin Humanus,
which means human, cultured, and refined. To be human is to have or show qualities
like rationality, kindness and tenderness. The humanities constitute one of the oldest and
most expression and developed by man.

ASSUMPTION OF ART
 Art is universal
Art has always been timeless and universal, spanning generations and
continents through and through. In every country and every generation, there is
always art. In art, age is not a factor in determining an art. An “…art is good
because it is old, but old because it is good”.

 Art is not nature

Art is man’s expression of his reception of nature. Art is man’s way of
interpreting nature. Art is made by man, whereas nature is given around us.
Artists are not expected to duplicate nature just as even scientist with their
elaborate laboratories cannot make nature.

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  Art involves experience
For most people, art does not require a full definition. Art is just
experience. By experience, we mean the actual doing of something. Art depends
on experience, and if one is to know art, he must know it not as fact or
information but as experience.

The VISUAL ARTS such as architecture, painting and sculpture, music and
dance, theater or drama and literature. They are branches of learning concerned with
human thoughts, feelings and relations.

WHY STUDY ART?

 Art intensifies and complements our own experience. Art represents people,
cultures, values, and perspective on living, but it does much more.
 It constitutes one of the oldest and most important means of expression
developed by man. It concerns itself with the communication of certain ideas and
feelings by means of sensuous medium- color, sound, bronze, marble, words,
and film.

CHARACTERISTICS OF ART
 We can describe the artwork based on three characteristics:
 Medium What materials did the artist use?
 Subject Matter What do you see?
 Theme What it is about?

The Activities/Assessments
Answer the following question as precisely yet as thoroughly as possible.
1. If you were an artist, what kind of artist would you be?
2. Why art is not nature?
3. Why is art ageless and timeless?
4. Why does art involve experience?

Let’s Make It Happen

Choose one artwork under each given category that you are familiar with. This
can be the last artwork that you have come across with or the one that made the most
impact to you. Criticize each using the guide question provided.

CATEGORIES:
1. Movie
2. Novel
3. Poem
4. Music
5. An architectural structure
6. A piece of clothing

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CATEGORY:_______________

ARTWORK:________________
1. What is it about? What is it for?
2. What is it made of?
3. What is it style?
4. How good is it?

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 MODULE 2
CREATIVITY, IMAGINATION AND EXPRESSION
Overview
 It takes an artist to make art. One may perceive beauty on a daily basis.
However, not every beautiful things can be seen or experienced may truly be
called work of art. Art is a product of man’s creativity, imagination, and
expression. No matter how mountains are, nature is not considered art simply
because it is not made by man.
 An artwork may be inspired by nature or other work of art, but an artist invest 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. 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.

Objectives

After successful completion of this module, you should be able to:

 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

ART APPRECIATION AS A WAY OF LIFE

JEAN-PAUL SARTRE

 He is 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)
 In cultivating an appreciation of art, one should also exercise and develop his
taste for things that are fine and beautiful.

THE ROLE OF CREATIVITY IN MAKING AN ART

In art, creativity is what sets apart one artwork from another.
An artist does not imitate the lines, flaws, colors, and patterns in recreating
nature. He embraces originality, puts his own flavour into his work, and calls it his
own creative piece.Creativity should be backed with careful research on related
art to avoid conflicts.
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 MEDUSA

ART AS A PRODUCT OF IMAGINATION, IMAGINATION AS A PRODUCT OF ART

ALBERT EINSTEIN

 A German physicist who had made a significant and major contribution in

science and humanity.
 Knowledge is actually derived from imagination.
 “Imagination is more important than knowledge. For knowledge is limited
to all we know and understand, while imagination embraces the entire
world and all there ever will be to know and understand.

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ART AS EXPRESSION

ROBIN GEORGE COLLINGWOOD

 An English philosopher who is best known for his work aesthetics.

 “What an artist does to an emotion is not to induce it, but to express
it.”(The Principle of Art, 1938)
 Expressing emotions is something different from describing emotions.

DESCRIPTION vs. EXPRESSION
Description actually destroys the idea of expression, as it classifies the emotion,
making it ordinary and predictable. Expression on the other hand, individualizes.

WAYS OF EXPRESSING ONESELF THROUGH ART

VISUAL ARTS
 Creations that appeal to the sense of sight and are mainly in nature.
 Some mediums of visual arts include paintings, drawings, letterings, printings,
sculptures, digital imaging, and more.

John La Farge, “Camellia in Old Chinese Vase on Black Laquer Table

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 aesthetics, cultural, and social value and is
considered as both art and an industry.

Some Techniques Used in Films

1. Motion-picture camera(also known as movie camera)
2. Animation techniques.
3. Computer Generated Imagery(GCI)

Some Important Elements

1. Lighting 2. Musical Score 3. Visual Effects 4. Direction
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PERFORMANCE ART
Performance art is a live art and the artist’s medium is mainly the human body
which he or she uses perform, but also employs other kind of art such as visual art,
props, or sound.
Four Important Elements:
1. Time 2. Place 3. Performer/Performer’s body
4. Relationship between the audience and the performer(s)

POETRY PERFORMANCE
 Poetry is an art from where the artist expresses his emotions not by using paint,
charcoal, or cameras, but expresses them through words.
 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.

ARCHITECTURE
 Architecture is the making of beautiful buildings.
 Buildings should embody these three important elements-plan, construction, and
design-if they wish to merit the title architecture (Collins & Riley, 1931).

The Grand Theatre de Bordeaux

DANCE
Dance is a series of movements that follows the rhythm of a music
accompaniment.
Dancing is a creative form that allows people to freely express themselves.

Olga Spessive in Swan Lake Costume

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LITERARY ART
 Artist who practice literary arts uses words-not on paint, musical
instruments, or chisels-to express themselves and communicate
emotions to the readers.
 Literary art goes beyond the usual professional, academic, journalistic,
and other technical forms of writing.

THEATER
 Theater uses live performance to present account or imaginary events
before a live audiences.

ELEMENTS OF THEATER
1. Acting
2. Gesture
3. Lighting
4. Sound Effects
5. Musical Score
6. Scenery
7. Props

GENRES OF THEATER
1. Drama
2. Musical
3. Tragedy
4. Comedy
5. Improvisation

APPLIED ARTS
 Applied Arts incorporating elements of style and design to everyday items
with the aim of increasing their aesthetical value.
 Industrial design, interior design, fashion design, and graphic design are
considered applied arts.

The Activities/Assessments

 Let’s Work On This

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 your
relation to others?

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 MODULE 3
FUNCTIONS AND PHILOSOPHICAL PERSPECTIVE ON ART

Overview
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 they determine what kind of thing a thing
is.

Objectives
After successful completion of this module, you should be able to:
 Distinguish between directly functional and indirectly functional art;
 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.

ARISTOTLE
A Greek philosopher, 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. This telos, according to Aristotle, is intricately linked with function.
For a thing to reach its purpose, is bound to achieve a life of fulfillment and
happiness, or in Greek, eudemonia. All men move toward this final end.
However, happiness, the supposed end of man, is linked with its function, which
is being rational. One can only be happy when he is rational. The telos, the
function, and the ‘whatness of a thing are all interconnected.

FUNCTIONS OF ART

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 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.
 Jewelry-making as an art is known by its product.
 The name of the art in these applied arts is basically denoted by its specific
function.
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  The name of the art basically points toward the direction of the product or its
function.

PERSONAL FUNCTIONS OF ART

 The personal functions of art are varied and highly subjective.
 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.
 An art may also be therapeutic. In some orphanages and home for abandon
elders, art is used to help residents process their emotions or while away their
time.

SOCIAL FUNCTIONS OF ARTS

 Art is considered to have a social function if and when it addresses a particular
collective interests 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.
 Performance art like plays or satires can also rouse emotions and rally people
toward a particular end.

PHYSICAL FUNCTIONS OF ART

 The physical functions of art are the easiest to spot and understand.
It can be found in artworks that are crafted in order to serve some physical purpose.
Architecture, jewelry-making, and even interior design are all form of arts that have
physical function

OTHER FUNCTIONS OF ARTS

 Music used for dance and religion. In ancient world saw music only as an
instrument to facilitate worship and invocation to gods. It was essential to dance
because music assures synchronicity among dancers. Today music has
expanded its function and coverage. There is now a lot of music that has no
connection whatsoever in dance or religion. People compose hymns of love to
express feeling and emotions. It is also used as a wonderful accompaniment to
stage plays and motion pictures.
 Sculpture is another functional art form that has long existed for various
purposes. It is also made in order to commemorate important figures. Coins are
also manifestations of sculpting’s function.
 Architecture is an art form that readily lends itself to multiple functions. A lot of
investments is put into making structures. Indeed, whenever art serves a
particular function, the form has to be determined by the function.

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DOES ART ALWAYS HAVE TO BE FUNCTIONAL?
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 work itself. A functional object cannot be
claimed to be beautiful unless it cam perform it function sufficiently. Efficiency cannot be
mistaken as beauty. 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.
PHILOSOPHICAL PERSPECTIVE ON ART
ART AS AN IMITATION
 Plato in his masterpiece, The Republic, particularly paints a picture of
artists as imitators and an art as mere imitation.
 In his view of reality, the things in this world are only copies of the original,
the eternal, and true entities that can be only found in the World of Forms.
 He was convinced that artist merely reinforce the belief in copies and
discourage men to reach for real entities in the World of Forms.
 He was deeply suspicious of arts and artists for two reason: they appeal
to the emotion rather than to the rational faculty of man and they imitate
rather than lead one to reality.
 Also, Socrates is worried that art objects represent only the things in
world, copies themselves of reality and he claimed that art is an imitation
of imitation.

ART AS A REPRESENTATION
 Aristotle, Plato’s most important student in philosophy, agreed with his
teacher that art is form of imitation.
 In contrast, Aristotle considered art as an aid to philosophy in revealing
the truth.
 Aristotle conceived of art as representing possible version of reality.
 In the Aristotelian worldview, art serves two particular purposes first, art
allows for the experience of pleasure and art has an ability to be
instructive and teach its audience things about life; thus, it is cognitive as
well.

ART AS A DISINTERESTED JUDGMENT

 Immanuel Kant considered the judgment of beauty, the cornerstone of art,
as something that can be universal despite its subjectivity.
 For Kant, when one judges a particular painting as beautiful, one in
effects is saying that he said painting has induced a particular feeling of
satisfaction from him and that he expects the painting to rouse the feeling
from anyone,
 There is something in the work of art that makes it capable of inciting the
same feeling of pleasure and satisfaction from any perceiver, regardless
of his condition.

ART AS A COMMUNICATION OF EMOTION

 Leo Tolstoy, the author of War and Peace & Anna Karenina, provided
another perspective on what art is. For him, art plays a huge a role in
communication to its audience’s emotions that the artist previously
experienced.
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  Art serves as a language, a communication device that articulates
feelings and emotion that are otherwise unavailable to the audience.
 As a purveyors 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 make accessible feelings and
emotions of people from the past and present, from one continent to
another.

Activities/Assessment

 Let’s Work On This

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?

 Let’s Make It Happen

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 beginnings of this item and
identify what function it has played in history (e.g., a painting of the Last Supper in your
dining room or a spoon).

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 MODULE 4
SUBJECT and CONTENT

Overview
 One of the major hurdles that spoils and individual’s engagement with an artwork
is the notion that in order to appreciate it, one must be able to extract a specific
image, isolate the artist or maker’s intention, and unearth a particular meaning.
The primary stage engaging with art is its perception. Looking at the art is much
like any instance of taking information or stimulus that originates from world
around us.
 There are clues that mediate between the artwork and the viewer, allowing the
viewer to more easily comprehend what he is seeing. The clues are the three
basic components of a work of art: subject, form, and content. These
components are largely inseparable from each other and usually related to each
other.

Objectives
After successful completion of this module, you should be able to:
 Differentiate representational art and non-representational art;
 Discuss the difference between an artwork’s subject and its content;
 Identify the subject matter and content of specific examples of art; and
 Enumerate the sources of the subjects of some of the most recognizable
works of art in Philippine art history

SUBJECT
 It refers to the visual focus or the image that may be extracted from
examining artwork. Also, subject seen as “what”.

CONTENT
 It is the meaning that is communicated by the artist from the artwork.
Also, content see as “why” and the form is the “how”.

“The primary stage of engaging with art is its perception.”

TYPES OF SUBJECT
1. Representational Art
 Subject that refer to object or events
occurring in the real world. It is also
termed as “figurative art”.
Representational works are often
favored because they are easier to
recognize.

It is clear that the painting is of a

woman that is realistically-proportioned;
only the upper torso is shown; a beguiling
and mysterious smile is flashed: : and that
the background is a landscape—probably a
view from a window.
Leonardo da Vinci, ”Mona Lisa” (1503).
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2. Non-representational Art
It does not make a reference to
the real world. It is stripped down to visual
elements such as shapes, lines, and
colors that are employed to translate a
particular emotion, and even concept. It is
also termed as “non-figurative art”.

Jackson Pollock, detail of “Number 1a” (1948).

NON REPRESENTATIONAL ART and ABSTRACT ART

 There is a confusion between this two, because they are always
classified as the same art but it is not.

REPRESENTATIONAL ART AND NON-REPRESENTATIONAL ART

 is not a clear –cut divide; rather, they exist in a spectrum.

ABSTRACT ART

In itself a departure from

reality, but the extent of that
departure determine whether it has
reached the end of the spectrum,
which is non-representationally.

Pablo Picaso, “Head of a Woman, Mougins” (1962)

SOURCES AND KINDS OF SUBJECT

Where do they source the subjects of their paintings? What do they paint?
For non-representational art, a higher perceptiveness and insight might be required to
fully grasp the feeling, emotion, or concept behind the work.

1. NATURE
From plants to animals, the qualities of water and the terrain of landmasses’ even
the perceivable cycles and changing of seasons. These depictions are seen as an
expressions of the sacred or the profane, sired by reality or supplemented by the artist’s
imagination.
 14

Vincent van Gogh,

“Dei Ebene von Auvers”
(890).
Osterreichische Galerie
Belverdere Collection.
Vincent van Gogh saw art
and nature as inseparable,
often finding solace and
happiness in painting in it
and painting from it

2. GREEK AND ROMAN MYTHOLOGY

 Artist on the other hand, gave faces Greek and Roman deities or the god and
goddesses whose fates are seemingly as tragic as those of men. It is because of
the belief system of Greeks and Romans, it was polytheism with a multitude of
gods and goddesses. The Judeo-Christian tradition stems from a belief in lone
creator of the universe or what we called monotheism.
 The tradition had an immense influence in Western civilization especially in art.

“Discobolus” Roman, 2nd

Century AD) British Museum
Collection London

2. CHURCHES ARCHITECTURE
 Gothic churches were characterized by three things; soaring
heights(ceilings), volume(flying buttresses and ribbed vaults), and light
9bright stained glass windows, airy and pleasant interiors). Gothic style
architecture is often attributed as he brainchild of Abbot Suger.
 There is a definitive sense that pointed to the feeling of awe on the part of
the believer and he perceived majesty and power of God—all of which
happened during the time when religion was at the heart of everyday life.
This echoes he belief that “art was central to religious experience.”
 15

Michelangelo
“Sistine Chapel”
(1508-1512)

4. HISTORY
 It brings into consideration events that are familiar and sometimes even
common or shared in world context: the establishment of nations and
states and the resulting ideologies that they breed.
 It serves as documentary and commemorative artworks that illustrate
subjects such as important leaders and figures, events as they were
recorded to have happened, and representations ideologies or values.

Francisco de Goya, “El res de Mayo ”(1814)

-it captures the death of Madrilenes, the local insurgents
during the Peninsular War.

CONTENT IN ART
Where was the artwork created in the first place? When this question is asked?
Historian Erwin Panofsky explained the content analysis or how meaning is arrived
as Iconology through the interpretation of iconography.
  To understand the content it must be reiterated that are various levels of meaning.
Perhaps the most common is what we call factual meaning.
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FACTUAL MEANING
 Pertains o the most rudimentary level of meaning for it may be extracted
from the identifiable and recognizable forms in the artwork and
understanding how these elements relate to one another.

CONVENTIONAL MEANING
 Pertains to the acknowledged interpretation of the artwork sing motifs,
signs, symbols and other cyphers as bases of its meaning.

SUBJECTIVE MEANING
 When the meaning may not be singular, rather, a painting may
communicate multiple meanings to its viewers.

Michelangelo, “Creation of Adam” from the ceiling of the Sistine Chapel

Activities/ Assessment
 Let’s Work On This

Answer the following question as precisely yet as thoroughly as possible.

1. What are the hurdles of accessing art in terms of its subject and content?
2. Where do artist source their subjects?
3. Name an example of an artwork and speculate on the content of the
artwork based on its factual, conventional, and subjective manners.
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MODULE 5
ELEMENTS and PRINCIPLES of ART

Overview
 In the module on Subject and Content, it was mentioned that arts have a
specialized language. And to be able to understand this language, the familiarity
with some of the elements and principles that make it legible is required. Think of
it as the letters- the stringing of letters to formulate words, and perhaps even the
different pronunciations and enumerations that assist comprehension.

Objectives
After successful completion of this module, you should be able to:
 Enumerate the different elements of visual and auditory art;
 Differentiate the principles of art;
 Provide examples of the interrelatedness of some of the elements and
principles of art;
 Explain the relevance of the elements and principles of art in the study of
art and its products (artworks); and
 Illustrate examples of hybrid art and dissect what art forms are combined
therein

ELEMENTS OF ART
 The elements of art are the aspects of an artwork that can be isolated
from each other. It is produced when something is done to the medium
after the technique is carried out. Elements are the necessary
preconditions for the creation of art. Some art forms also necessitate
some of the elements as they are inherent in the very nature of them.

ELEMENTS OF ART: Visual

1. LINE-Refers to a point moving at an identifiable path- it has length, width and
direction. It has variations in view of its orientation/direction, shape and thickness.

Keith Haring, Todos juntos podemos parar el sida”(We can all tugether stop AIDS), Plastic wall, MACBA
Collection, Barcelona City Council long-term.

HORIZONTAL LINES -rest or calm.

VERTICAL LINES -elevation and height
DIAGONAL LINES convey movement and instability although the progression can be
seen.

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CROOKED LINES on the other hand are reminiscent of violence, conflict or struggle.
CURVED LINES- are lines that bend or coil. They allude to softness, grace, flexibility or
even sensuality.

2-3 SHAPE AND FORM

 These two are related to each other in the sense that they define the
space occupied by the object of art
 Shape refers to two dimensions: height, and width.
 Form refers to three dimensions: height, width, and depth.
 Two categories can be used as a broad distinction: Geometric and
Organic

GEOMETRIC- These shapes

find origin in mathematical
propositions including squares,
triangles, cubes, circles, Peit Mondrian,”Composition with color planes and Gray
spheres, and cones. lines 1”(1918) Oil on canvas

Louis Comport
Tiffany(designer),
ORGANIC-Organic shapes Tiffany Furnaces
(maker), Vase
are those readily occurring in made of favrile
nature, often irregular and glass (c.a 1913).
Gift pf Louis 1951.
asymmetrical the Metropolitan
Museum of Art,
NewYork

4. SPACE -It is usually

inferred from a sense of
depth, whether it is real or
simulated.

Anish Kapoot, “Cloud Gate”(2004), located in Chicago Illinois.

 5. COLOR- one of the
elements that enhances the
appeal of an artwork. Its
effect has range, allowing
the viewer to make
responses based on
memory, emotion, and
instinct, among others
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6. TEXTURE-Like space, texture can
be either real or implied. This element
in an artwork is experienced through
the sense of touch (and sight)

Textures In The Two-dimensional

Plane- can be amplified using one
technique or a combination of other
elements of art. Use to describe Frans Pourbus the Younger, “Margherita
Gonzaga, Princess of Mantua,” oil on
texture: rough or smooth, hard or soft, canvas. Bequest of Collis P. Huntington,
hairy, leathery, sharp or dull, etc. 1990. The Metropolitan Museum of art, New
York.
6. TEXTURE
PRINCIPLES OF ART
 If elements of art were like the letters, then principles of art would perhaps be the
closest to the rules of grammar and composition.

1. BALANCE- refers to the distribution of the visual elements in view of their placement
in relation to each other.

Isamu Noguchi. “Cube.” Entrance of Marine Building, Manhattan

Three Forms of Balance

a. Symmetrical- the element used on one side are reflected to the other. This
offers the most stable visual sense to any artwork.
 The UP-Diliman Oblation Statue
20

b. Assymetrical- the elements are not the same (or of the same weight) on
each side, putting the heaviness on one side.
c. Radial- there is a central point in the composition, around which elements
and objects are distributed.

2. SCALE AND PROPORTION

 Scale pertains to the size in relation to what is normal for the figure or
object in question.

Claes Oldenberg and Coosje van Bruggen,”Plaintor”(2001)

Meredith Corporation Cillection, Des Moines
3-4. EMPHASIS AND CONTRAST
 Emphasis- allows the attention of the viewer to a focal point,
accentuating, or drawing attention to these elements or objects.
 Contrast- is the disparity between the elements that figure into the
composition.

5-6. UNITY AND VARIETY

 Unity- unless intended to be otherwise, compositions are intended to imbue a
sense of accord or completeness from the artwork.
 Variety- is the principle that aims to retain the interest by allowing patches or
areas that both excite and allow the eye to rest.
 Vasudhara Mandala(dated to 1777: Samvat 897), Distemper
on cloth. Gift on Stephen and Sharonn Davies Collection2015
21

7. HARMONY
 Unity and variety is related to the principle of harmony, in which the
elements or objects achieve a sense of flow and interconnectedness.

8. MOVEMENT
 Refers to the direction of the viewing eye as it goes through the artwork,
often guided by areas or elements that are emphasized.

9. RHYTHM
 This is created when an element is repeated, creating implied movement.
Variety of repetition helps invigorate rhythm as depicted in the artwork.

10-11. REPETITION AND PATTERN

 Repetition- lines, shapes, colors, and other elements may appear in an
artwork in a recurring manner.
 Pattern- the image created out of repetition.
 Vincent van Gogh, ” La Berceuse” augustine-Alix Pellicot Poulin,
1851-1930

COMBINED OR HYBRID ART

 It was also a direct upshot of post modernist ideas in which barriers were more
porous – strict delineation of art forms was overthrown to make way for
collaborations and partnerships between fields, professionals, and creatives. The
idea of a single-medium-based art seems like a strange past that no longer holds
in an interdisciplinary reality we live in.
 Some examples of combined arts include dance, theater, installation art, film,
video art, documentary, photography, puppetry, design, and other forms of
production.

22

HYBRID ARTS
 another movement that is reminiscent of the motivations of the
Renaissance, and whose emergence is hinged on the frontiers of science
of science and technology.

Referencing and tapping into the fields of:

 Robotics
 Artificial intelligence
 Biotechnology
 Natural and computer sciences
 Telecommunications
 Information
 Digital and interface technologies

Artist whose works tread under this movement disrupt the norms in terms of what is
considered as art, and even the way people envisage artistic production.
ACTIVITIES/ASSESSMENT
 Let’s Work On This

Answer the following question as precisely yet as thoroughly as possible.

1. What are the elements of art?
2. In two-dimension artwork such as paintings, cite the elements and principles
of art that when utilized in the composition of the artwork, will help simulate or
suggest the three- dimensional space?
3. What is the relevance of combined arts and hybrid art in the twenty- first
century?

 Let’s Make It Happen

Create a poster for your favorite film

1. Using the elements and principles of art as guide, redesign the poster of
your favorite film.
2. The poster must clearly reflect the use of elements and principles of art. It
is not required that all elements and principles be represented in the
poster.
3. Prepare to show the poster in class without revealing many clues on the
film, allow your peers to guess what film is represented in the poster.

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MODULE 6
ART in EARLY CIVILIZATION

Overview
Stone age is a term used describe a period of history when stones were used to
make tools for survival. The term “conjures an image of men and women dressed in
skins, huddling before a fire in cave”(Fitchner- Rathus, 2013). Some artifacts in the form
of cave paintings and sculpture serve as storytellers.

In order to talk about prehistoric art, there is a need situate them within the
context of the three periods of the Stone Age culture (which roughly span the 14, 000-
2,000 BCE): Palaeolithic (the late years of the Old Stone Age). Mesolithic (Middle Stone
Age ), and the Neolithic (New Stone Age).

Objectives
 After successful completion of this module, you should be able to:
 Discuss how art was used by prehistoric people to depict everyday life;
 Identify the central themes of prehistoric art;
 Differentiate the techniques used during the three kingdoms of early Egypt; and
 Explain how art is linked with religion in early Egyptian civilization.

PRE-HISTORIC ART
 Archeological explorations reveal that there has been a gradual shift from a
nomadic lifestyle of early humans to that of permanent settlements, paving the
way for the rise of early civilizations.
 Early humans also turned to the creation of paintings and sculptures that depict
humans, animals and their natural habitats.

PALEOLITHIC ART
 is a product of climate change. Caves become protective havens for the earlier
humans and these caves paved the way for the birth of their first attempts to
create art.

HALL OF BULLS in Lascaux, France

The painting evoke naturalism
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VENUS OF THE WILLENDORF

 Highly abstracted woman from highlighted body parts associated with
fertility.
 The representation shows the importance of taking care of this body parts for
procreation and consequently the survival of species.
NEOLITHIC ART
 Has developed especially when life for the early human has become
more stable.
 They learned to cultivate the land and domesticate animals.

STONEHENGE

EGYPTIAN ART
 Fertile Ribbon starts from the banks of the Nile River, which flows north to
Africa and ventures into the Mediterranean. It is in this very ribbon where
early Egyptians recognized the integral role of the Nile River to their daily
lives. 

Three periods of Egyptian Civilization:

1. Old Kingdom
2. Middle kingdom
3. New kingdom
25

OLD KINGDOM
 Religion was bound to the afterlife.
 A concrete manifestation of this would have to be the erection of tombs.
 NARMER’S PALETTE PYRAMID OF GIZA

MIDDLE KINGDOM
 One of the key features of the Middle Kingdom is the shift in the political
hierarchy.
 Emergence of powerful groups of landlords that threatened the authority and
rule of pharaoh.
 Art taken a back seat during the middle kingdom because of the internal
struggle between the two most influential sides.
 Portrait sculptures and fresco paintings that were freely drawn are some of
the styles that emerged during this period.
 Egypt fell into the hands of Hyksos. This Asiatic Tribe introduced Bronze age
weapons and horses to the Egyptians.
NEW KINGDOM
 Art in New Kingdom had references from both preceding kingdoms.
 Monuments and sculptures were still linked with death and reverence for the
deceased.
 Mortuary temples – carved from living rocks, served not only a sanctuary for
the dead but also a place of worship for the living.
 After the New Kingdom, Egypt witnessed the Amarna Revolution led by King
Akhenaton and Queen Nefertiti. He move the capital to Tel El-Amarna, thus
the name Amarna.
 Most sculptures during this period has curving lines and full-bodied forms.
 Naturalism was not only used to depict pharaoh but also was used for the
members of the royal family.

EGYPTIAN CIVILIZATION
 One of the greatest discoveries from the Egyptian Civilization was the tomb
ofTutankhamen. Howard Carter discovered his tomb in 1922. Made of solid
gold. The body of the young king was covered in linen and a gold mask
covered his face.

26

During the prehistoric period:

 Early humans had transitioned from a nomadic lifestyle to that of a more
permanent one, which led to early civilizations
 Works discovered in this period give modern society a glimpse of what was
 life during that period.
 One of the early civilizations where art flourished was the Egyptian civilization.
 Art has been used particularly in religious and spiritual activities.

ACTIVITIES/ASSESSMENT

 Let’s Work On This

To check your understanding of the lesson, answer the following essay question:
1. What was the importance and significance of art during the prehistoric
period?
2. During the Egyptian civilization, in what ways were art and religion
interconnected?

 Let’s Make It Happen

Make a photo journal of three art pieces discovered during the Stone Age or
the Egyptian civilization that depicts their beliefs and practices. For each artwork,
identify the key elements and features consistent with ones discussed in class.
Share your insights as to how these pieces help people from the modern context
understand the historical past.

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MODULE 7
ART of EMERGING EUROPE

OVERVIEW
  Art has been an integral part in European History. From the time of the ancient
civilizations like the Greeks and romans all the way to the modern times, art has
been used to communicate ideologies and beliefs system prevalent within their
context. Greek and roman civilizations were also known as the classical World
because both cultures aimed to embody the highest possible standard of quality
in all aspects of their societies.

 Most art movements have taken inspiration from the certain artistic elements
from the two civilization. There are different art movements that emerged within
the different time periods in Europe. Each movement has a distinctive
characteristic to them highlighting the different trends and changes as they
transition from one period to the next.

OBJECTIVES
After successful completion of this module, you should be able to:
 Identify the major periods in Western art history;
 Compare and contrast the artwork produced during the different time periods and
art movements; and
 Discuss the importance of art to the development of Western culture.

ANCIENT GREECE
 The ancient Greeks were known for their great Literature, Philosophy, Artworks,
and Architecture.
 Ancient Greece had several thinkers called Philosophers.
 Socrates was a well-known philosopher. He taught about knowledge, friendship,
and justice.
 Plato was a student of Socrates. He wrote about government, mathematics, and
astronomy. He also wrote about how people behaved.

HELLENISTIC PERIOD
 The time of Alexander the Great
 The was primarily focused on showcasing emotions and depicting reality.
 Hellenistic sculptures started to emphasize balance while showcasing dynamic
poses and a number of emotions evoked by the subjects.
 Lacoon and His Sons
 This sculptures depicts Lacoon, a Trojan priest, and his sons being strangled by
serpents. Their position was a result of Lacoons instruction during the
Trojan War.

“Lacoon and His Sons“

This is an example of work wherein the
Greeks emphasized the details of the
body. Most subjects of their work
included that of the gods from Greek
mythology

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  The origins of theater and drama can
be traced back during the Greek
civilization.
 The followers of Dionysus- the god of
fertility- started the Greek theater.
 People who devoted to Dionysians
devised a more structured form of a
drama involving dances and choral
songs, which depicted Greek
Mythologies. Eventually the Greeks
organized theatrical contest where the
performances were held in a large
citizens.

DIONYSUS
God of Fertility
ANCIENT ROME
 The roman republic was established around 500 BCE. This civilization eventually
transformed into one of the Western Europe’s mightiest empire,
particularly with the Greeks.
 The fusion of Greeks and Roman cultures can be seen in most Roman artworks.
It argues the Roman copied Greeks art. This eventually made the romans
produce artworks that are often looking Stern, Harsh, and Strong.
 They invoked the principles of realism in most of their works, highlighting the
features of Human Being.
 Romans were known to be Master builders which earned their reputation for
grand monuments and architectural infrastructures.

COLOSSEUM
 One of the Romans architectural achievements.
 The Amphitheatre was planned and constructed during reign of Emperor
Vespasian.
 Its main use was for entertainment purposes like Public Events and Gladiator
Games.

MIDDLE AGES
 Period between the decline of the Roman Empire and the Renaissance
 It was a period that is characterized by ignorance and darkness
 Church was the most figure, the most important products of the early middle
ages
 During this time, cathedrals were also built that can be categorized into two
periods: Romanesque (1050-1200), inspired by the old Roman Empire; and
Gothic (1200-1500), which had more northern flavor from the Goths- vulgar and
barbarian.

RENAISSANCE ART
 During the Renaissance period, artists valued the "individual" as a subject of arts.
 Renaissance artists also gave importance to non-religious themes or subjects.
This was brought by privatization of the art during Renaissance period.
29
  There was also a revival of theatrical plays during thus period.

Michelangelo, "David“
This sculpture is an example of how
humanism was a dominant belief
system during the renaissance. There is
an emphasis on the details of the body
of human being.

MANNERISM
 Mannerism was a period in art history which was a product of the Renaissance
period
 Most artworks during this period displayed distorted figures, two-dimensional
spaces, discordant hues and colors, and lack of defined focal point.

BAROQUE AND ROCOCO

 The term “baroque” is derived from the Portuguese term barocco which is
translated as “irregularly shaped pearl.” This is a suitable description that Rome
was the birthplace of the Baroque period, which according to some historians
was a response to Protestantism.
 This period roughly spanned from 1600 to 1750.
 Expansion was the central theme of this period.
 Motion and space were taken into consideration by the artists like the use of
dramatic lighting and the concept of time.
 Aside from art, music also flourished during the Baroque Period.
 Baroque composers include Vivaldi, Corelli, and Monteverdi. Other composers
include Germany’s Bach and Handel.
 Since Baroque composers, through their works, tried to evoke certain emotions
from their audience, they began to make more complex musical compositions
and performances.
 The Rococo movement was an artistic period that emerged in France and spread
the artistic cough out the world in the late 17th and early 18th century. The word
is a derivative of the French term ro caille, which means “rock and shell garden
ornamentation”.
 It is also referred to as Late Baroque because it developed as Baroque artists
moved away from symmetry to more fluid designs.
 The Rococo art movement addressed the most important controversy of the time
– color versus drawing – and combined the two to create beautiful pieces.

30
 “THE ASSUMPTION OF THE VIRGIN” a
painting by Titan located at Venice. The
Biblical event in the painting show how
the Baroque Period reverted to having a
religious subject of their works.

NEOCLASSICISM
 Neoclassicism was a movement in Europe that transpired during the late
eighteen and early nineteen centuries.
 It was the dominant art movement that time which basically aimed to revive and
rekindle the influences of Greek and Roman into art and architecture.
 Some historians would also say that this movement was a reaction to the
artworks produced during the Baroque period.

Antonio Canova, “ Paolina Borrghese as Venus Victrix

ROMANTICISM
 Romanticism, as an art movement, used the central themes of Neoclassicist
artworks as a springboard.
 Romanticists have highlighted heroic elements into their work.
 During the age of revolutions, there has been a tremendous focus on patriotic
and nationalistic movements.
 The major and central themes of Romanticism movement include the emphasis
on the goodness of mankind. Most works also promoted justice, equality, and
social order.
 Artist also emphasized emotions and feelings of man, which was a deviation from
the humanist principles of rationalism.

31
 Theodore Gericault “The Raft of Medusa”

REALISM
 Realism as a style of work focuses on the accuracy of details that depicts and
somehow mirrors reality
 There is little room for imagination in this movement since emphasis is placed in
observable traits that can concretize through artwork.
 Influenced by Hellenistic Greek culture since most artworks during that period
placed emphasis on the human body.
 A modern movement in art veered away from traditional forms of art. In a way, it
revolutionized themes and techniques in paintings. In addition, this movement
also expanded and widened existing notions of what can be considered as art.
 Since artist worked within the context of revolutions and social change, artistic
works began to depict real-life events.
 Idealistic concepts and images were replaced by real manifestations of society.
 There is a move to combine both art and life in artistic work since the modern
world were suitable for subjects of art.
 This movement also reexamined existing belief systems and traditions.

Gustave Courbet,
“Burial at Ornans

32
IMPRESSIONISM
 The Impressionism movement started in France, which led to a break from the
tradition in European painting.
 Is a style of painting that emerged in the mid- to late 1800s.
 Impressionist artist incorporated scientific principles to achieve a more distinct
representation of color.
 The distinctive characteristics of this style is that it allows the artist to emphasize
the immediate impression he has of a particular event or scene.
 The said impression is communicated by the artist through his work and can be
seen through the brushstrokes, distinction of colors, and the lights and shadows
used by the artist.

“ The Harbor At Lorient” (1869)

POST-IMPRESSIONISM
 An art movement that emerged in France, which is a result of both influence and
rejection of impressionism.
 This eventually led to the development of individual style that gave emphasis to
defining from the use of broken colors and short brush strokes.
 Post-impressionist artists include Paul Cezanne, Georges Seurat, and Vincent
Van Gogh.

NEO-IMPRESSIONISM
 As an art movement , neo-impressionism is considered as a response to
empirical realism of impressionism.
 The leading figure in neo- impressionism was Georges Seurat who recorded
optical sensations on a more scientific manner. His color theories paved the way
for the technique called pointillism.
 Neo-impressionism artists include Henri Edmond Cross, Maximillien Luce, and
Camille Pissarro.

ART NOUVEAU
 Art Nouveau is the asymmetrical line that usually is in the form of insect wings
and flower stalks.
 Between 1890 and 1910, countries from Europe and United States witnessed the
emergence and flourishing of a new art style.

33
FAUVISM
 This is a style of painting that emerged in France around the turn of the twentieth
century.
 What makes fauvist revolutionary is that they used pure and vibrant colors by
applying straight from the paint tubes directly to the canvas. This is done to
produce a sense of explosion of colors in the canvas.
 The fauves, just like the impressionist, painted directly from nature. Fauves have
strong and expressive reaction to how they portray their subjects.
 Most fauvist works reject the conservative and traditional renderings of three-
dimensional space. What artists did was they introduced and promoted a picture
space that is defined by the movement of color

CUBISM
 Between 1907 and 1914, French artist Pablo Picasso and Georges Braque
introduced a new visual arts style called cubism.
 Cubist highlighted the two-dimensional surface of the picture plane. Focusing on
a flat surface was a rejection of the dominant techniques like the use of
perspective, foreshortening, and modeling.
 In addition, one of the things that cubism rejected was the existing and prevailing
notion that art should imitate nature.
 Cubist emphasized that they are not in any way obliged to copy texture, form,
color, and space. They presented a new depiction of reality that may appear
fragmented objects for viewers.

FUTURISM
 It is an early twentieth century art movement that started in Italy, which
highlighted the speed, energy, dynamism, and power of machines.
 In addition, common themes for works in this movement are restlessness and the
fast-pace of modern life. Later on, the movement’s influence branched out not
only in Europe but also in Russia.
 The greatest impact of futurism is evident in poetry and visual arts.

ACTIVITIES/ASSESSMENT

 Let’s Work On This

To check your understanding of the lesson, answer the following essay question:
1. Compare and contrast Greek and Roman artworks.
2. Discuss how Mannerism art became an offshoot of works from the
Renaissance.
3. Explain why Neoclassicism served as a response or reaction to the Baroque
Period

34
 MODULE 8
CAUGHT in BETWEEN: MODERN and CONTEMPORARY ART

OVERVIEW
 The history of art is one of the most difficult task to pin down. It is important to
note that the periods and movements of art are themselves testament to the
connection of art and culture in everyday life. As it is examined and analysed in
context, it becomes increasingly apparent that art is not detached from: rather, it
is embedded in the affairs of the society in which it exists. It offers a glimpse as to
beliefs of specific eras and how these beliefs were translated into how people
saw themselves and the how they chose to come into terms with it- all in flux.
 This lesson attempts to provide a glimpse of contemporary art and how it was
understood, defined, and represented, not only within the bounds of art world, but
also beyond it.

OBJECTIVES
After successful completion of this module, you should be able to:
 Differentiate modern and contemporary art;
 Show the interrelation of modern and contemporary art;
 Isolate and discuss significant historical events that informed and inspired
the different movements under contemporary art; and
 Classify specific artworks into the different movements under contemporary
art.

What does the word “contemporary” mean?

 The complexity of defining the term is attribute to the fact that people dissenting
views on the interpretation of the “present,” of “today,” or what the “now”.

CONTEMPORARY ARTS
st
 The art of today; produced by artists who are living in the 21 century. It provides
an opportunity to reflect on contemporary society and the issues relevant to
ourselves and the world around us.

CONTEMPORARY ART VS MODERN ART

Contemporary Art
 Offers works with a dynamic combination of materials, methods, concepts and
subjects that challenge the traditional and defy easy definition. Artists explore ideas,
concepts, questions and practices of the past with the aim to understand the present
and envision the future. It is due to the diversity of these approaches that
Contemporary art is often viewed as lacking a uniform organized principle, ideology
or label and at times so straight forward that the public is left wondering if they are
missing something.
Modern Art
 Art made during the period extending roughly between the 1860s and 1970s. The art
made during this period celebrated experimentation and placed traditions of the past
aside. Experimenting with different materials and ways of seeing art, the functionality
of art developed with the move away from the narrative, characteristic of the
traditional arts, towards abstraction. This newfound freedom and revolutionary way
of relying on the inner visions and expression of such visions
35
 marks the biggest influence of Modern Art. This reflected not only the move towards
non-figuration but also influenced the approach to real life, social issues and images
of modern life.

SOCIAL CONTEXT : In between Modern and Contemporary Art

 Reaping the benefits and drawbacks of the dramatic changes that
occurred at the beginning of the twentieth century, the social, political, and cultural
context continued to provoke the artist to create.

 “Art may be spoilt for choice. In a world where nothing is seasonal or regional
anymore, there is no home base from which to operate. And so the arts today can
be seen as responding to a number of issues, some from within their own structures
of means and techniques, some more widely understood as issues within society.
Typically none is resolved.’’ ( Tamplin, 1991)

SEVERAL ART MOVEMENTS

*Abstract Expressionism
*Optical Art
*Minimalism
*Pop Art

(Early 1940’s to mid -1960’s) which took the basic tenets of abstraction and
combined with it with gestural techniques, mark-making, and a rugged spontaneity in its
visual articulation. There are two major styles emerged from this : Action Painting ad
Color Fields

Underscored the process of creation in that it showed the physicality, direction

and most often, the spontaneity of the actions that made the drips and strokes possible.

36
 It emphasizes the emotional power of colors from the vivid demarcations to the
more toned-down transitions, these bands of colors were akin to the effect of landscapes

(Early 1960’s onward) Much like what was discussed in the lesson on elements of art
that dimension can be implied even on a two-dimensional surface or plane, op art relied
on creating an illusion to inform the experience of the artwork using color, pattern and
other perspective tricks that artists had on their sleeves.

37

It was seen as an extreme type of abstraction that favored geometric shape,

color fields, and the use of objects and materials that had an “industrial” the sparse.
 First emerged in 1950s but found its footing in the 1960s. It drew inspiration,
sources and even materials from commercial culture, making it one of the most
identifiable and relatable movements in art history.

38

POSTMODERNISM
 It was nudge to formalize the critique toward modernism and its claim over art for the
better of the twentieth century. It highlights the importance of individual experience
and was often steeped in complexity and contradiction. In a sense, the artist’s
creativity was in its most free—with an “anything goes” disposition.

The Global Millenial

CONTEMPORARY ART
 Most socially aware and involved form of art
 The subject matter of its work was one of the most pressing, heated, and even
controversial issues of CONTEMPORARY SOCIETY.

“My Super Hero” by Jenny Holzer

39
“Yellow Confetti” by Benedicto Cabrera
Other Contemporary Art Movement

1. NEO-POP ART
 It appropriated some of first ideas of DADA in which ready-made materials
were used for the art.
DADA-Movement that was very much against to the bourgeois.
“Puppy” by Jeff Koons “Flowers” by Andy Warhol

40

2. PHOTOREALISM
  The resurgence of figurative art, where realistic depictions is a choice, is a
proof how varied and fragmented postmodernism is. In photorealism, a
painstaking attention to detail is aimed, without asserting an artist’s personal
style. These drawings and paintings are so immaculate in their precision that
it starts to look like a photo without direct reference to the artist who created
it. Two of the known photorealist artist are Chuck Close and Gerhard Richter.

3. CONCEPTUALISM
 Other movements were informed and shaped by pop art, such as
conceptualism. As opposed to celebrating commodities as references to real
life, conceptualism fought against the idea the art is commodity. This
movement also brought the fore issues brought about by an art institutions
such as museums and galleries where works are peddled and circulated.
Some of the major conceptual artists are Jenny Holzer, Damien Hirst, and Ai
Wei Wei.

41
4. PERFORMANCE ART
 Performance Art is related to conceptual art. As a movement, it began in the
1960s and instead of being concerned with entertaining its audience, the
heart of the art work is its idea or message. Here, the audience may even be
accomplice to the realization of the work.
 Performance art may be planned or spontaneous and done live or recorded.
Since it is also durational in nature, it is also considered as ephemeral works
of art. An interesting proposition is that performance is not about the medium
or the format; rather, it is how a specific context is made in which through
engagement or interaction, questions, concerns, and conditions will be
fleshed out.

5. INSTALLATION ART
 Compared to traditional art format, installation art is a kind of an immersive
work where the environment or the space in which the viewer steps into or
interacts with (going around installative art) is transformed or altered. Usually
large-scale, installation art makes use of a host of objects, materials,
conditions and even light and aural components. These work may also be
considered site-specific and may be temporary or ephemeral in nature. Well-
known installation artist are Allan Kaprow, Yayoi Kusama, and Dale Chihuly.
42
 6. EARTH ART
 Sometimes considered as a kind or a spin-off of installation art, earth art (or
land art) is when natural environment or a specific site or space transformed
by artist. It is a kind of human intervention into a specific landscape or terrain.
Earth art is different from environmental art in a sense that it does not focus on
the subject(environmental issues or concerns) but rather on landscape
manipulation and the materials used, taken directly from the ground or
vegetation (rocks or twigs). Artists know for Earth art are Robert Smithson,
Christo, Richard Long, Andy Goldsworthy and Jeanne-Claude.

Spiral Jetty of Robert Smithson in Great Salt USA

7. STREET ART
 This art movement is related to graffiti art it is a by-product of the rise of graffiti
in the 1980s. Artworks created are not traditional in format but are informed by
the illustrative, painterly and print techniques and even a variety media(even
video projections). Some of the examples of this includes murals, stenciled
images, stickers, and installation or installative/sculptural objects usually out of
a common objects and techniques. Known street artists include Michel
Basquiat, Keith Haring, Shepard Fairey

ACTIVITIES/ASSESSMENT

 Let’s Work On This

To check your understanding of the lesson, answer the following essay

questions:
1. What do you think are the most important contributions of contemporary art
as a period and the numerous movements under it in lives of men today?
2. Out of all movements mentioned and discussed, what do you think are no
longer relevant nowadays?
43