Art Appreciation

01. Introduction to Art

In your own words, what do you think art is?
“True” and “counterfeit” art
Art is something that stimulates an individual's • Following the definition of art provided by Tolstoy,
thoughts, emotions, beliefs, or ideas through the what distinguishes true art from a counterfeit is its
senses. Works of art can be explicitly made for this infectiousness:
purpose or interpreted on the basis of images or
objects. It is the ability of an artwork to evoke a feeling that
creates a communion between the artist and the
Tolstoy’s definition of art spectator/observer.

• It is not: • However, the degree of infectiousness depends on

three (3) conditions:
 a production of pleasing/pleasurable/beautiful
object  Individuality/originality of the artist/work
 a physio-evolutionary survival mechanism  clearness/clarity of the expression
 the manifestation of internal feelings through  sincerity of the artist/work
lines, colors, sounds, forms etc.
• Hence, “counterfeit” art is the “art” that does not
 a means for pleasure without practical
communicate.
gain/pure aesthetic interest
Why “elite art” is not art?
Tolstoy’s definition of art
• What is implied by the foregoing discussion is – what
It is:
is typically known to be “true” art is often set-up by
 “To evoke in oneself a feeling one has once society and ideology:
experienced, and having evoked it in oneself, then, by
 the focus on “beauty” that affords pleasure
means of movements, lines, colors, sounds, or forms
(entertainment/spectacle)
expressed in words, so to transmit that feeling that
 the “art of the upper-classes”
others may experience the same feeling - this is the
 Eurocentric/ethnocentric art
activity of art. Art is a human activity consisting in this,
that one man consciously, by means of certain external • The point here is not to vilify these artistic styles, but
signs, hands on to others feelings he has lived through, the problem is that of access and inclusion.
and that other people are infected by these feelings
• To solve this problem, Tolstoy suggests that
and also experience them.”
reorganizing society is the key to an equal access to art.
Hence, for Tolstoy, “Art is not, as the metaphysicians
In addition:
say, the manifestation of some mysterious idea of
beauty or God; it is not, as the aesthetical physiologists Art is a communion (of humanity) through time and
say, a game in which man lets off his excess of stored-up space; it transcends the limits and boundaries that
energy; it is not the expression of man's emotions by ordinarily obstructs us. It unites us through a common
external signs; it is not the production of pleasing feeling—a feeling for humanity—art that is truly
objects; and, above all, it is not pleasure; but it is a universal.
means of union among men, joining them together in
the same feelings, and indispensable for the life and Art as a discipline
progress toward well-being of individuals and of
humanity.”
Art as a humanistic science
• Art belongs to the humanities/human sciences experiences not yet known, the visions of the future to
(Geisteswissenschaften). come, etc.

Art Appreciation
  The humanities or the human sciences are
the disciplines that deal with human
phenomena. E.g., art, history, linguistics, 02. The Elements of Art and the Principles of
philosophy, etc. Composition
• It has a distinct paradigm of understanding things
The Arts
apart from natural science (Naturwissenschaften).
• Refers to the wide range of human practices of
  The natural sciences understands/learns
creative expression and socio-cultural participation.
something external to the knower. E.g., a
scientist knows/learns about the natural world. • They can be classified into:
  While the human sciences knows/learns • Liberal arts – the classic disciplines that are composed
about the human self/person. E.g., a humanist of the trivium: grammar, logic and rhetoric and the
knows/learns about human phenomena. quadrivium: arithmetic, geometry, music and
astronomy.
Natural sciences
• Fine arts – they traditionally refer to the arts that
We learn about objects/phenomena around us
promote pure aesthetic expression.
Human sciencesdsxzqa
• Crafts – they traditionally refer to skilled arts that are
We learn about ourselves; we learn about oneself functional/utilitarian in nature. They do not provide
through the study of others pure aesthetic satisfaction but merely serve as means
toward an end.
Art as a discipline
Fine arts and crafts 1.0
• When we study art, we do not merely study artistic
• They are traditionally categorized into:
works/works of art, but also our understanding of art
and how it reflects our experiences as humans. • Literary arts (literature) – are those presented in the
written mode and intended to be read and/or spoken.
• Hence, in the process of learning to create and to
These include all kinds of poetry and prose (e.g., novels,
appreciate art, we understand what it means to be short stories, sonnet, ballad, epic, essay)
human.
• Visual arts (painting, sculpture, architecture) – are
• According to Spirkin, “[t]he main responsibility of art those forms perceived by the eyes.
to society is the formation of a view of the world, a true
and large-scale assessment of events, a rational, • Graphic Arts are those visual arts that have length and
width; they are also called two-dimensional arts. They
reasoning orientation of man in the world around him, a
are described as flat arts because they are seen of flat
true assessment of his own self. But why does art have
surfaces.
this function? Because in its great productions it is not
only consummately artistic but also profoundly • Plastic Arts are those visual arts that have length,
philosophical.” width, and volume; thus, they are also called three-
dimensional arts.
• So even if artworks seem to be arbitrary or subjective,
it reflects something objective about our experience as • Performing /audio-visual arts (music, dance,
humans. It gives an insight to an artist’s view of the drama/theater) – forms perceived by both ears (audio)
and eyes (visual). They are called performing arts in as
world, the justification of the observer’s view of the
much as the artists render a performance in front of an
world, the world during their time, the world before
audience.
their time, the experiences common to many, the
 4. Texture
5. Space

Fine arts and crafts 2.0 1. Line

• An identifiable path created by a point
• Some include an eight category to this traditional
moving in space. It is one-dimensional and
classification – film/cinema.
can vary in length, width and direction.
• Moreover, due to the greater understanding of the They lead your eye around the composition
nature of art in general, most scholars have dropped and can communicate information through
this classificatory practice. This signifies a cultural their character and direction.
change on how we view art. Before, art is divided into • Their direction can be:
fine arts and crafts – the former remarked to be “high o Horizontal – suggests a feeling of rest
art” and the latter “low art.” High art are those enjoyed or repose since objects parallel to the
by the upper-echelons of society while low art are those earth are at rest.
art considered to be for mere entertainment. o Vertical – often communicate a sense of
height because they are perpendicular
• This is certainly problematic as it stratifies people
to the earth,
based on social class, of which deems that people of low
o extending upwards toward the sky.
status cannot participate in higher forms and vice-versa.
o Diagonal – convey a feeling of
Furthermore, those of the crafts require the same effort movement. Objects in a diagonal
in terms of skill and ingenuity. position are unstable.
o Curved – Soft, shallow curves recall the
Fine arts and crafts 3.0
curves of the human body and often
• Hence, what we believe to be part of the arts today, is have a pleasing, sensual quality and a
a spectrum of different categories ranging from those softening effect on the composition.
art forms which are for pure aesthetic enjoyment and While sharply curved or twisted lines
expression to art forms that serve a purpose. can convey turmoil, chaos, and
violence.
• As such, we can add:
• Their variations can be:
• Applied/decorative arts
o Contour lines – defines the edges or
• Digital arts
boundaries of a subject.
• Photography o Implied lines – are implied; they are not
drawn but they guide our sight when
• Graphic novels, comics, videogames
observing a subject.
• Contemporary forms such as installation art, protest o Gesture lines – can be implied or not;
art, etc. they allow the artist to define the
subject’s movement, form and
The Elements of Art and The Principles of character.
Composition o Continuous lines – drawn in a single,
continuous stroke.
The elements of art
1. Line 2. Shape and Form
2. Shape and Form
• Shape and form define objects in space. Shape
3. Color
has only height and width. Shape is usually,
 though not always, defined by line, which can • The surface quality of an object that we sense
provide its contour. Form has depth as well as through touch. It can either be tactile (real) or
width and height. The three-dimensional form is strictly visual (implied). Tactile surface quality is
the basis of sculpture, furniture, and decorative mainly seen through three-dimensional works,
arts. like sculptures, as the viewer can see and/or
feel the different textures present, while visual
o Geometric shapes and forms include
surface quality describes how the eye perceives
mathematical, named shapes such as
the texture based on visual cues.
squares, rectangles, circles, cubes,
spheres, and cones. Geometric shapes 5. Space
and forms are often man-made.
o Organic shapes and forms are typically • Space in a work of art refers to a feeling of
irregular or asymmetrical. Organic depth or three dimensions. It can also refer to
shapes are often found in nature, but the artist's use of the area within the picture
man-made shapes can also imitate plane. The area around the primary objects in a
organic forms. work of art is known as negative space, while
the space occupied by the primary objects is
3. Color
known as positive space.
• Light reflected off from objects. Color has
• Furthermore, the relationship of positive to
three main characteristics: hue (red, green,
negative space can greatly affect the impact of a
blue, etc.), value (how light or dark it is), and
work of art. For instance, the disproportionate
intensity (how bright or dull it is). Colors can be
amount of negative space can accentuate a
described as warm (red, yellow) or cool (blue,
feeling of isolation.
gray), depending on which end of the color
spectrum they fall.

o Hue – the names we assign to a certain The elements from different artistic genres
color
o Value/Luminosity – describes the • Literature
brightness of color. Artists use color  Plot/Narrative, Setting, Character, Point-of-
value to create different moods. Dark view, Theme, Tone
colors in a composition suggest a lack of
light, as in a night or interior scene. • Music
While light colors often describe a light  Rhythm, Dynamics, Melody, Harmony, Tone
source or light reflected within the color/Timbre, Texture, Musical form
composition.
o Intensity/Saturation – describes the • Dance
purity or strength of a color. Bright  Body, Action, Space, Time, Energy
colors are undiluted and are often
associated with positive energy and • Film/cinema
heightened emotions. Dull colors have  Theme, Screenwriting, Visual design,
been diluted by mixing with other Cinematography, Editing, Sound design, Acting,
colors and create a sedate or serious Directing
mood.
4. Texture The principles of composition
• The arrangement of elements in a work of art. All
works of art have an order determined by the artist.
Composition creates a hierarchy within the work, which  Hence, theories about art or philosophizing
tells the viewer the relative importance of the imagery about art can be a neighbor to the activity of art
and elements included. – that it will seek (though without finality and in
a more abstract way) clarity about this natural
interest in determining the nature of art.

Why is there a need for a theory of art?

 Nietzsche: Apollinian and Dionysian tendencies

The principles of composition 2.0 – the delight for representation, appearances
and individuation; the intoxication and the
• Some of the principles governing composition are: abandonment of individuation as to reaffirm a
 Balance – refers to the distribution of weight or union between man and nature – Art as an
the apparent weight of a piece which can be individual and collective experience.
either visual or structural.  Dewey: ‘‘Art is the living and concrete proof
 Contrast – is produced by a stark difference in that man is capable of restoring consciously,
colors to create emphasis. and thus on the plane of meaning, the union of
 Emphasis – is produced by any element or sense, need, impulse, and action characteristic
principle in order to create a focal point. of the live creature.”
 Rhythm – is a type of repetition used to either  Adorno: ‘‘[Art is] the image of what is beyond
demonstrate movement or expanse. exchange.” – To liken art to a gesture, implicit in
 Pattern – is the organized and regular repetition the presentation, much like the intent behind
of any element of art. the giving of a gift.
 Variety – is opposite to unity, as it signifies
Three major categories
change diversity to a piece.
 Unity – is a sense of completeness and  FUNCTIONALIST THEORIES
cohesiveness to a piece.  ANTI-ESSENTIALIST THEORY
 Proportion/scale – is the relationship between  CONTEXTUAL/RELATIONAL THEORIES
objects in a certain piece.
-Functionalist theories-
Art Appreciation  designates that works of art or art itself serves a
03. The Theories of Art certain function, purpose or role.

Theories of Art Art as imitation (Imitationalism)

Why is there a need for a theory of art? • Art is “good” if it imitates/resembles reality.

 Naturally, they arise from the natural curiosity  E.g., when a work of art directly imitates what is
we feel upon being struck by this experience. present, without adding or subtracting to it. The
We then seek explanations or something that artist merely presents the subject as it is. The
can provide meaning to this essential greater the resemblance of the work to the
experience. object, the greater is its value.
 However, there is no singular theory that can o Vanitas by Harmen Steenwijck
suffice to capture the entirety of the nature of o La Scapigliata by Leonardo da Vinci
art (even if there are, at times, absolute claims
Art as form (Formalism)
about this matter).
• Art is “good” if it masters the artistic elements and  Experience of the
principles. mysterious/unknown/unconscious
 Expression of the imagination
 E.g., when a work of art evoke interest in the
 Ritualistic/symbolic functions
spectator/viewer through the artistic
manipulation of elements and principles. The • Motivated functions
artist arranges elements and principles in such a
 Communication
way that it evokes a sense of harmony and unity
 Entertainment
when perceived by a spectator/viewer.
 Socio-political and cultural change
 Most contemporary artworks that are
 Therapeutical
“formalist,” are generally abstract in character.
 Propaganda
Nevertheless, many works produced can be
interpreted through the theory of formalism.
o Composition with Yellow, Blue, and Red by
Piet Mondrian
o Bauhaus School (German for 'building -Anti-Essentialism Theory-
house')
 designates that works of art or art itself cannot
Art as instrument (Instrumentalism) be defined through a single concept or function.
• Art is “good” if it can communicate its message or if it It can only be described by virtue of
can serve a certain function. resemblances or similarities, but an exhaustive
definition cannot be provided. Art as an “open
 E.g., when a work of art serves as an object of concept.”
ritual or of religious adoration/veneration. The o Mona Lisa B & Viewer 1 (Women) by Paul
artist creates a work of art to serve as an Giovanopoulos
instrument to a certain end. o Umbrella C & Pig A
o Coronation of the Virgin by Diego Velazquez
o Thangka of Shakyamuni Buddha Contextual/Relational Theories
Art as expression (Expressionism)  designates that works of art or art itself can be
defined based on context: historical, socio-
• Art is “good” if it can express the artist’s emotion or if cultural, linguistic factors.
it can evoke emotion from viewers/spectators.
Levinson’s historical theory of art
 E.g., when a work of art serves to express one’s
own feelings/emotions. The artist intends that • Art is “art” if it bears some relation to existing works
the work of art express/clarify emotions of art. Hence, an artwork exists in an art-historical
through the medium, which in turn context which makes it “art.” Furthermore, if new works
communicates to an audience with the same of art are to be called “art” they must resemble or
emotions. relate to previous works of art.
o The Scream by Edvard Munch
• Levinson defines that: “a work of art is a thing
o Self-Portrait, 1910 by Egon Schiele
intended for regard-as-a-work-of-art: regard in any of
Other functions the ways works of art existing prior to it have been
correctly regarded.”
• Non-motivated functions
Institutional theory of art
 Human instinct for harmony, balance, rhythm
  Art is “art” if it is “art” in context to an advantage in understanding/appreciating
institution known as the “artworld.” the work of art in question.
 Arthur Danto, his essay, The Artworld, wrote: o Antipolo & Planting Rice by Fernando
“[t]o see something as art requires something Amorsolo
the eye cannot decry—an atmosphere of artistic
theory, a knowledge of the history of art: an In retrospect
artworld.” • Art cannot be fully defined under a single theory as
 The “artworld” is comprised of everyone human nature itself cannot be limited. If humanity
involved in producing, commissioning, strives for freedom, then art is very much the mirror of
presenting, preserving, promoting, chronicling, this desire to be free, not only as an individual but also
criticizing, buying and selling of “art.” as an entire race.
 Art here is usually understood as “art” as
considered to be “art” by existing social • As Spirkin notes, “[t]he main responsibility of art to
institutions and structures. Nevertheless, society is the formation of a view of the world, a true
“artworlds” are numerous depending on how and large-scale assessment of events, a rational,
those who consume, purchase, create, reasoning orientation of man in the world around him, a
promote, etc. alter and respond to socio- true assessment of his own self. But why does art
cultural changes.  Hence, “[t]he work of the artist is not
spontaneous. It always follows some kind of
Institutional theory of art 2.0
plan and it is most effective when talent is
 George Dickie further clarifies and promotes guided by a world-view, when the artist has
this theory, and thus, reformulates a new something to tell people, much more rarely is it
definition to art: “[a] work of art in the effective when it comes about as a result of the
classificatory sense is 1) an artifact 2) on which accidental associative play of the imagination,
some person or persons acting on behalf of a and never is it effective when it is a result of
certain social institution (the artworld) has blind instinct.
conferred the status of candidate for
appreciation.”  The keen attention that is given to the problems
o Dadaism – Fountain by Marcel Duchamp of method is a sign of progress in both modern
o De Stijl - Mechano-Dancer by Vilmos Huszar science and art, a sign of the increasing
o Suprematism- White on White by Kazimir interaction of all aspects of intellectual life—
Malevich science, philosophy, and art.” have this
function? Because in its great productions it is
Linguistic/symbolic theory of art not only consummately artistic but also
profoundly philosophical.”
 Art is “art” if it corresponds to an
observer’s/spectator’s symbol system. Artworks
exist in virtue of its relation to a
symbol/linguistic system. Art Appreciation
 E.g., an artistic representation/expression 04. Brief History of Art
becomes an object of aesthetic appreciation
if can be understood Cubism by pablo pivasso
linguistically/symbolically by a certain group PREHISTORIC
to be of aesthetic value. If one is a member
of that group, then one immediately has an Art is already a part of man even in the earliest time

Means we didn’t begin in fruit there is a time

MESOPOTAMIAN ART

Might what makes up right

Mastabas earliest tomb

Section of great pyramid Khufa, Gizeh, Egypt, Fourth,

Dynasty

Cased by polish lime stone it had an ivory on the top

Old existed for thousand of years