Humn12n:Reading Visual Arts - KTJ 1

Module 3: Art
Iconography and
Symbolism
Module Overview
This module will tackle how to identify the subject and visual genres of a work of art.
These genres are the main objects or subjects that are seen in the art. Further, through this
lesson we will try to understand the content of the art by analyzing the subjects of the
artwork.

Motivation Question

What kind of artist are you? What kind of style would you employ? And what
kind subject/s would you like to show in your work?
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Lesson 3.1: Subject and Content of Art

Lesson Summary

There are many different images shown in an artwork and the meaning behind may differ
based on the artist’s intentions and the viewers perceptions. This lesson will help us how to
identify the art’s subject and how can we create meanings out of the subjects found in the
artwork.

Learning Outcomes

 Recognize the different subjects of Art

 Analyze the content of an Art.
 Describe the different symbols and subjects found in Art.

Discussion
To a majority of people, the appeal of most works of art lies in the representation of familiar
objects.
Their enjoyment of painting, sculpture and literature comes not from their perception of the
meaning but from the satisfaction they get out of recognizing the subject or understanding the narrative
content.

The Subject and Content of Art are two of the basic component of art that are
inseparable in some ways. All artworks will always have its subject and content, whether it is
easily recognized by the eyes or not. To identify the subject and the content of art, one can
ask the questions What? and Why? . The subject is the art’s What. What is the topic? What is
the focus? Or what is the image shown in the artwork? On the other hand, the Content is the
art’s Why? Why did the artist used this subject? Why did he portray his/her subject as such?
Why did the artist expressed his intentions through the use of these elements? The content
answers the questions on the artist’s intention and the meaning behind the work.

Subject
What is a Subject?
The subject of art refers to any person, object, scene, or event described or
represented in a work of art. It refers to the main character that is presented as the main
focus in the work of art.
The subject of the art may be placed at the center of the piece, or it may also be found
in the other part of the work. However, whether it is in the center or not, the subject of the
work is the one being emphasized and the most recognizable part of the artwork.
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Most of the time, the subject is portrayed as an object based on the things we observe
in the real world, but not all of the time as some subject may be portrayed in abstract form.
Nevertheless, it is still recognized as it can be seen in context alongside the rest of the work of
art.

For example in this painting entitled The Stroller

by Claude Monet, we can easily recognize that the
subject of the painting is the woman in the center,
even when there are still other things in the
painting like the tress.

Moreover, there is no specific standard as to what should only be and what should
not be considered as a subject because in general, subject of art can be anything under the
sun.
Since people have always been intrigued by the human face as an index of the
owner’s character, this genre was used as an instrument of expression that is capable of
showing a variety of moods and feelings. Whether it is the portrait of the President or a self-
portrait of the artist, they carry an emotional connection that mankind has always been partial
towards. At times, it feels like looking into a mirror for us.
Two Kinds of Subject
 Representational or Objective
 Non-Objective

Representational or Objective Subjects

Representational or objective subject, are subjects that represents actual objects from
reality. It represents people or objects that are close as possible to their real-world counterpart and
are easiest to digest from the viewer’s perspective.

These are examples of Representational Subject as we can easily identify what is

presented in the artworks.
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However, it does not mean that representational object should completely depict the
object seen in the real world, Non-naturalistic depiction of things or objects that shows an image
even in an unusual manner is still considered as representational object as long as one can
recognize the object shown, or one can still associate these objects to the one seen in the real
world.

Dancing Girls by Chan Siva The Woman with a Hat by Example of Landscape art
Henri Matisse

Looking at the examples above, even if the subjects are partially abstracted or changed in
terms of its form or color, we can still easily identify what the subject is, or what is being shown in
the artwork, thus these subjects are still considered as Representational or Objective subjects.

Non-Objective
In cases where the things ir object presented in the rtwork no longer present descriptions,
stories, or references to identifiable objects or symbols, then these subjects are considered as
Non-objective subjects.
Here, the subject my be difficult for the observer to identify, since it is based solely on the
elements of art rather than real-life people or objects. They do not have a defined outline of
the subject, and it shows the subject with the use of colors, lines, and forms. It distorts the
features of the object in such a way that it doesn't resemble the object, but also makes it
possible for the viewer to recognize it.
This type of subject often refers to the artist's idea about energy and movement,
which guides the use of raw materials, and it communicates with those who can read the
language of form. These subjects do not appeal to the senses, rather they appeal directly to the
sensibilities primarily because of the satisfying organization of their sensuous ans expressive
elements. Moreover, the meaning perceived in this kind of subject may not be the same to
each person.
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Example of Abstract Art Rorschach Experiment 01 by Self Portrait of Lajos Vajda

Eric Wayne
From the examples above, we can see that the subject of the artwork is not identified
with the things found in the real world, even the the self portrait of Lajos Vada is not
recognizable as an image of a human being. However, this does not mean that this is wrong as
an artist can portray his/her subject in any ways the he/she likes. Moreover, each individual’s
perception of the subject is also different from one another. The emotion and feeling I am able
to recognize as I look at each artwork may also be different from the way you perceive and
feel each artwork.
In today’s time, many contemporary painters have turned away from representational to non-
objective painting.They have shifted their attention to the work of art as an object in itself, an
exciting combination of shapes and colors that fulfills an aesthetic need without having to
represent images or tell a story. Many modern paintings are like this, making them more
difficult to comprehend.

Agnes Martin, Happy Holiday 1999 Agnes Martin. The Tree. 1964

The examples shown above are some of the paintings of Agnes Martin. Martin shows
an interesting dichotomy in her paintings within carefully measure lines, while using
unusually soft, diaphanous, and ethereal shades that seemed to float —the seeming
contradictions of depicting a joyful, expansive feeling, yet containing her work within a rather
rigid grid.
We can see here how Agnes Martin presents her emotions and feeling in a different
way that is not easily understood by all. Martin takes a different approach in expressing
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herself that does not show any representation from the real world. In Martin’s The Tree, this
is what she has to say about her painting, “I hope I have made it clear that the work is about
perfection as we are aware of it in our mind but that the paintings are very far from being
perfect . . .” Though the painting is titled The Tree, she remarked years later that her paintings
are “not really about nature. It is not what is seen—it is what is known forever in the mind.”

The Artist and His/Her Choice of Subject

Practically everything under the sun is a raw material for the artist to draw his
subjects from. Most, if not all, of the visual arts are representations of what the artist thought
and felt about the world they lived in. Or they are representations of things the artists
imagined or dream about. Whatever subject an artist chooses, his choice involves some
personal statement.
There are different things that affect the artist’s choice of subject, one of them is the
medium or material that he/she is using. The medium of art refers to the the materials used
by artists to create a their artwork. Artists choose the medium they enjoy working with or
those that work best for a particular piece of work.
Anything can be used by the artist as his/her medium. The artist may choose to use
tempera paint, paper, watercolor, pencil, or they can even use the non-traditional medium into
their work such as chewing gum, wine, human skin, blood, hair etc. There are no limitations
to the medium used and the more you get to explore the world of art the more oddities you
will discover. This can be quite gruesome for some, but it is also fascinating and interesting,
as the different medium that artists use helps the audience to interpret the art in a specific
way.

Newspaper Dress Dante Enage’s Tuba Painting

The examples above show different medium as used in art. The newspaper art used as a
medium for creating a dress could indicate the idea of recycling materials that we thought are no
longer useful. On the other hand, the coconut wine or tuba, like the one used by Dante Enage in
the example above, is usually used by some artists to minimize their expenses since acrylic, oil,
and other materials can be too expensive. Leovigildo Merto Villaflor, a known Tuba artist from
Leyte also mentioned that he uses Tuba as a medium for his painting to show the identity of the
Filipino being creative and ingenious.
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Moreover, the Time in which the artist lives or the patronages he/she gets also affects
the subject presented in the work. For example, the subjects portrayed in the paintings from
the year 1900s is different from the subjects found in the paintings from the contemporary
era.
As we can see from the different artworks,
time really is an important element that affects
what is shown by the artist in her/his painting.
From the prehistoric era, there are a lot of
paintings found in the walls of caves showing
different animals. The use of animals has been one
of the most common subjects in Prehistoric
paintings.
The paintings during the early to mid
Prehistoric Cave Painting 1950s, just like the example below in Amorosolo’s

painting, commonly
shows the ways of life of
most Filipinos. Lastly, the
artworks in the
contemporary era, just
like the work of Manuel
Ocampo, usually depicts
abstract or non objective
images. This can be due to
the aim of most painters
to show their emotions
instead of showing objects
that are easily recognize
Fernando Amorsolo - Old Woman Manuel Ocampo “Boycotter of by the eyes.
1920 Beauty” (2011)
Since, art involves experience, it becomes easier for the artist to show subjects that
reflects what the artists commonly experience in their daily lives or with the things happening
around them, may it be through the realistic depiction or through non-naturalistic depiction
As mentioned earlier, anything under the sun can be used as a subject for art, even
those that cannot be seen but are felt can be presented by the artist as his/her subject. Thus, as
anything can be used as a subject of art, a lot of factors can also affect the artist’s choices in
what and how he/she will portray his/her subject.
There is nothing that may be considered as an improper subject when it comes to art.
The grotesque, the ugly, and the tragic are all legitimate subjects as the pleasurable and the
beautiful are. Some may not like it, but the greatest artworks that we have, may it be in
drama, literature and paintings are invariably subjects that shows tragedies, e.g Romeo and
Juliet. Many of the songs we like to listen to are also songs that speak about love denied or
lost. Just like what Percy Bysshe Shelley said “Our sweetest songs are those that tell of
saddest thoughts”.
There are reasons for the wide appeal of works of art that show human suffering, as
each of us has suffered grief, frustration or loss in one way or another. In these works of art
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we find an affinity with the rest of the humanity who have likewise experienced these painful
emotions and tensions. It is as if by vicariously experiencing the suffering evoked by these
works, we are purged of the pain and we achieve a release of tension.
Moreover, in choosing/analyzing a work of art, do note that the value of the art does
not depend on the artist’s choice of subject. It does not mean that the more profound the
subject, the greater the work of art. How a work of art is to be appreciated and assessed has
more to do with the way in which its subject is presented than what is presented. Thus, worth
of any work of art depends upon how the subject is being presented whether it is shows
realistic or abstract depiction.

Content
If the subject refers to the literal image/object in the work of art, the content in art
refers to the message behind the subject/s portrayed in the artwork. It talks about the
connotative, symbolic, and suggestive aspects of the image. According to Gerald Brommer,
“How to create paintings that communicate notes that "Content is the reason for making a
painting."
All artworks have content even when the objects shown in the artwork does not have
any references to nature, historical events, or objects from the real world (Non-Objective
subjects). The content of art differs from the subject, but both must go hand in hand as each
artwork always seek to communicate certain messages, feelings, beliefs, and values.
The content of an artwork can be unpacked and communicated by referring to how
the symbols and imagery look, the symbolic meaning behind the use of certain symbols (like
dove is usually use as a symbol for peace, lion is for strength, rainbow is for hope), and the
reason behind the creation of the artwork (why the art came into existence and what is the
artist’s reason for creating the art). Content, moreover, reveal the artist’s attitude towards
his/her subject.
How we can come up with the content of the art come from a variety of
sources and places, including political, social, ethics, values, and context in which a piece of
art was created. The intention of an artist and the reception of the audience are also parts of
content. It must also be considered that content is based on meanings that answers the
questions as to what the artists meant to portray, what the artists actually portray, the reaction
of the individuals who are witnessing such artwork, the special and conventional meanings as
well as the actual messages of the artwork.
Art historians study art by applying different interpretation methods to it. This leads
to single works of art often containing more than one meaning, especially if these works or art
are directed at several different audiences at once. The study of subject matter is also known
as Iconography, which is one of the lessons for our class. The word Iconography literally
means “the study of images.”

Subject Matter’s Different Levels of Meaning

The content or meaning that is expressed or communicated in the artwork can be
understood through the various levels of meaning which includes factual Meaning,
Conventional Meaning, and Subjective Meaning.
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Factual Meaning
Factual meaning is the basic level of meaning as it may be drawn out from the
identifiable or recognizable forms in the artwork and how these subjects relate to one another.
The meaning is the literal statement or the narrative content in the work which can be directly
apprehended because the objects presented are easily recognized.
"Pundok Ni Noy Pinoy ll" by Jessie Bonnie “Jebonbaz”
Bazalo
In this painting of Jebonbaz, one can easily
identify the subjects shown in the artwork. Here we can
easily see farmers in the rice field as the subject of our
art. Thus, it is also easy to identify the factual or literal
meaning of the artwork presented. We can say, based
on what we see in the artwork alone, that the artwork
talks about the life of the farmers during the harvest
season as they gather together to harvest the rice they
have planted. Here we can see the solidarity of the
farmers as they work together while performing their
specific tasks.

Conventional Meaning
Conventional meaning pertains to the special meaning that a certain object or color
has in a particular culture or group of people. Here, we interpret the artwork using motifs,
signs, and symbols as bases of its meaning. The conventional meaning we can get from an
artwork can be established through time, which is strengthened by recurrent use and wide
acceptance by its viewers or by those who study the artwork. For example, a flag is use as a
symbol for a nation, the color purple is use to signify royalty, the shape heart is use as a
symbol for Love.
Going back to the artwork of Jebonbaz above, as we can see in the painting, there are
farmers who are working together in harvesting the rice. In the conventional perspective, we
can say that the artwork’s subject, even the clothes they wear, talk about the kind of
livelihood most Filipinos who are living in the rural areas have. The way they work together,
talks about the traits of Filipino being hardworking and full of solidarity. The rice in the
artwork above, also symbolizes the staple food of the Filipino which is also important to our
economy as the Philippines is also known as an Agricultural country.

Subjective Meaning
Subjective meaning is the personal meaning consciously or unconsciously conveyed
by the artist/viewer using personal symbolism that stems from his/her own association of a
certain object, action, or colors from his/her past experiences.
The perceive in an artwork may differ from one viewer to another. The artist and the
viewer may also have different interpretation on the same artwork. This happens because each
one of us have different experiences, culture, and values. Further, the meaning or
interpretation of an artwork stems from the viewer’s or artist’s circumstances that come into
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play when engaging with art (what we know, what we learned, what we experienced; what
values we stand for).

From Jebonbaz’ Pundok Ni Noy Pinoy ll, the artist once mentioned that as a homage
to his hometown, he wanted to depict the natural beauty of Ormoc City in his textured canvas.
In most of his paintings, Jebonbaz applies subtle hues with vivid highlights as he captures the
charm of his birthplace. His subject and way of painting is also influenced from the works of
Fernando Amorsolo.
This is the subjective meaning behind the works of Jebonbaz. However, as
interpretations of an artwork vary from one person to another, the interpretation you have may
also be different from him even if he is the artist and you are looking at the same artwork.
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Lesson 3.2: Visual Genres

Lesson Summary

There are many different types of visual art like drawing and painting, and each has its
own techniques and styles. This unit will explore various genres, or categories, of visual art
and consider some examples of the different elements that contribute to the finished product.

Learning Outcomes

 Recognize and explain the difference between subject and genre.

 Define genres in art, give examples, and consider how and why the visual arts have been
represented in particular ways.
 Identify the genre of a variety of works of art.
 Recognize and evaluate basic elements of art in the artworks presented.
 Describe the many different ways artists have interpreted subjects in art history, drawing
on connections between their visual appearance and the contextual aspects of their
production.

Discussion

Visual style and subject are two distinct but related ways in which artworks can be
grouped together in the interests of understanding and appreciation. However, genres seem to
have more to do with the general classification of the subject presented than what the specific
subject of the art is.
Throughout history, the main genres of art have been constantly rearranged in terms
of valor, importance to the time period, and the dominant members of power. For this unit, we
will elaborate the five main visual genres of painting; Portraiture, Religion/History,
Landscape, Still Live, Animals, and Progressive Concepts/Abstraction.

Portraiture
Since the Egyptian period, portraits of powerful leaders and their symbols of power
have been held in high regards and still carry a lot of weight to this day. It was not until after
the industrial revolution that artists could be commissioned or hired by wealthy business
owners or the middle class that allowed artists to pursue an independent trade.
Since people have always been intrigued by the human face as an index of the
owner’s character, this genre was used as an instrument of expression that is capable of
showing a variety of moods and feelings. Whether it is the portrait of the President or a self-
portrait of the artist, they carry an emotional connection that mankind has always been partial
towards. At times, it feels like looking into a mirror for us.
Portraiture is an important art discipline and adds value to the arts in general, as its
primary focus is generally on the human subject. Great artists are able to capture the
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personality, face, expression, even the inner essence of the person through the portrait by
being well-versed in anatomy and light placement, as well as possessing expertise in
capturing emotions. All of these lead to a complete and successful portrait.

American Gothic by Self-Portrait with A contemporary portrait

Grant Wood, 1930 Flowers by Frida made by Yulia Brodskaya
Khalo, 1940 using paper qulling.

Religion/Historical
This genre of painting usually depicts a moment in a narrative story, rather than a
specific and static subject, as in a portrait. This genre has been the forerunner genre of mass
impression and scale as they were artworks used to tell stories on church walls or within the
king's halls.

Paintings with this genre were the most expensive commissions of the times and they
were the first loose application of art and design as a means of advertising and swaying the
viewer.
Arguably, this still is the highest respected work but because of the indentation
Modernism has had on our culture, the Abstraction genre now holds the highest regard. This
is because of our pursuit of individualism and freedom from oppressive ideas and regimes
through projecting and sharing our ideals through art.

Judas Returning the Thirty Silver Richard Parkes Bonington, Henri III
Pieces by Rembrandt, 1629 of France, 1827-28, a small "Intimate
Romantic" anecdotal scene from
history
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Landscape
Artists have always been fascinated with their physical environment. In Europe,
paintings of pure landscapes without human figures were almost unheard of until the
Renaissance. This genre has become the favorite genre of Chinese and Japanese painters.
Viewers also like this genre because one can connect easily with the genre painted.
Whether awe of the sunset's colors or familiarity of a landscape, one most easily gravitates
towards the horizontal presence of landscape paintings. Although the subject was used more
as settings and backgrounds throughout the Middle Ages and Renaissance, they have always
been a technical adventure for an artist.

Mont Sainte-Victoire (1904- The Starry Night (1889) by

1906) by Paul Cézanne Vincent Van Gogh

Still Life
A still life (also known by its French title, nature morte) painting is a piece that
features an arrangement of inanimate objects as its subject. Usually, these items are set on a
table and often include organic objects like fruit and flowers and household items like
glassware and textiles.
In the past, still life paintings were at the very bottom in terms of importance and
worth of being painted. In a sense, still life paintings have been used for studying light and
color or adding symbolism to a larger message. Many times, woman were not allowed to
paint much more than still life paintings and other women and children; An odd happening for
a few hundred years. Luckily within recent times, still life painting has more validity and can
still show a truly skilled artist by their precise attention to detail and/or loose handling.

Sunflowers by Vincent Van Tjalf Sparnaay, ‘Healthy Sandwich’ (2013)

Gogh, 1888
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Animals
Animals have been been a source of subject for many artists. They have been
represented by artists from almost every age and place. In fact, the earliest known paintings
are representations of animals on the walls of caves.From art about rural life and growth, to
myths and legends, animals are used in art in many different ways. Animals also carry with
them symbolism that helps our world connect with human cultures across time. Art can also
help us explore our relationship to wildlife and can help us think about how we care for
animals and the environment.
From songs, literature, to visual arts animals have been used also to teach
moral or lesson. Whether the artist use the animals to mean a literal or figurative object, or
they are shown with a human subject or not, the depiction of animals in art can remind us not
only of ourselves, but also of the qualities and traits we assign to animals. From the first
drawings of animals, we are able to discover a lot about our history and our culture. Here in
the Philippines for example, Carabao is one of the animals we commonly see in painting. The
use of Carabao in our local paintings shows the trait we give to this animal that is related to
how we see the Filipino people which is being Hardworking.

Blue Jeweled Cave Cattle Fish Vase, Bernard Leach

by Kazuya Akimoto
1973

Animals have been used as symbols in

conventional religious art. For example, the
dove stands for the Holy Spirit in
representations of the Trinity; The fish and
lamb are symbols of Christ; and the phoenix
is the symbol of Resurrection
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Abstractions
This genre of art can be described as when an artist has either ‘removed (abstracted)
elements from an object to create a more simplified form’ or produced something which ‘has
no source at all in external reality’

While an artist may have a real object in mind when painting, that object might be
stylized, distorted or exaggerated using colors and textures to communicate a feeling, rather
than produce a replica. It is more about how the beauty of shapes and colors can override
representational accuracy. Abstraction is a ‘continuum.’ Many art movements have been
influenced by and employ abstract principles to a varying extent; the more removed from
reality a painting or sculpture is, the more abstract it could be considered. Cubism, for
example, with its distorted subjects, is highly abstract, whereas an Impressionist painting
might be more conservatively so. This realm leans into all aspects in the sense that you can
paint an abstract portrait or still life.

Self Portrait of Lajos Woman I by Willem de Still Life with Bottle

Vajda (1937) Kooning (1950-52) and Glass by Juan Gris
(1914)

Difference between Visual Genres and Subjects

Visual Genres mean a type or category such as the different classifications above.
These are pictorial representations of various media of scene or events from everyday life
such as farming, parties, and street scenes. The representation of these scenes may be
realistic, imagined, or romanticized depending on the artist.

The subject of a work might be something like ‘fruit’, ‘mountains’, ‘family group’ or
‘war,’ and this might help to define the work’s genre. It refers to the main idea that is
represented in the artwork. The subject in art is basically the essence of the piece. To
determine subject matter in a particular piece of art, ask yourself: What is actually depicted in
this artwork? What is the artist trying to express to the world? What is his or her message?
And how are they conveying that message? Some works fall into two or more genres, or
between subjects and genres.
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Lesson 3.3: Iconographic Analysis

Lesson Summary

This lesson will allow students to understand how iconographic reading will help
them identify different objects represented in a work of art. This will better enhance not only
students’ writing skills but also their visual communication skills.

Learning Outcomes

 Establish the meaning a work of art had during the time it was made.
 Describe, classify, and interpret subject matter of work of art, and understand
meaning behind what is represented.

Motivational Question/Task

List down the different elements of visual arts and their classifications.

Discussion
Iconography is the study of the meaning of images and symbols in an artwork, as
understood by art historians. These symbols and images often have religious contexts but they
can also be culturally based. This study was developed by the art historian Erwin Panofsky as
a means of expanding the sense of an artwork beyond formal analysis and focuses on
analyzing the subject matter in the artwork, especially symbols whose meaning can be
associated and understood by a people or culture of a specific time. This analysis focuses on
the representative iconography of a work, accounting for the symbolic role of images, the
historical or mythological identity of figures, and any other elements that may have visual
significance.
One example of a symbol that can be associated within a certain culture is the naked
statue of Malakas and Maganda in front of the Administration Building of the Visayas State
University (VSU). The naked statue symbolizes the quest for knowledge, truth, excellence,
and integrity in all human endeavors of a Viscan, the name that has stuck for a student of
VSU. As Viscans, it will be easy for you to identify the specific meaning of why Malakas and
Maganda are naked. However, an outsider might have difficulties in decoding what the statue
stands for. Morever, some meanings of an artwork may also be lost over time even within the
culture that created them. Therefore, as Viscans, it is our responsibility to live out for the
values of knowledge, truth, excellence, and integrity by a personal endless search for truth
and excellence to ensure that future students will still know and appreciate that iconic statue.
In iconographic analysis, the writer establishes the meaning of the work at the time it
was made. This may or may not include the intention of the artists, but may consider the
person who commissioned the artist to create a specific artwork. The different time and place
where an artwork was created will provide different audiences specific information so they
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can make certain assumptions. The arguments presented in iconography always depend upon
assembling the historical evidence to reconstruct these subjects.
In the first step of analysis, one should first consider the things that can be seen in the
artwork. These objects can then be related to other visual images eventually creating a bigger
picture of what the painting or the objects are all about. However, there may be more than one
interpretation in the object/s observed. As the one analyzing the artwork, you will thus need to
come up with convincing interpretations.
One of the most famous paintings that can help develop our understanding of how
iconography works is Jan van Eyck’s Arnolfini Portrait, 1434.
The different objects found in this painting have more specific meanings beyond what
is seen. In fact, some would consider this painting as a marriage contract designed to solidify
the agreement between two families. One should also note also that this painting does not
show an actual event or scene, but an artwork made to convey particular meanings. Here is
an example of the iconographic analysis of this painting.

“One can apply a variety of iconographic interpretations

to Jan Van Eyck’s Arnolfini Wedding. Erwin Panofsky, a
prominent art historian in the first half of the twentieth
century and one of the foremost proponents of
iconography, attributed symbolic meaning to the various
elements of the scene; he ultimately viewed the painting
as a legal document of a marital union between Giovanni
Arnolfini and his wife in 1434. In Panofsky’s opinion, the
single candle in the chandelier represents the presence of
an all-seeing God witnessing the ceremony. The dog at
the couple’s feet represents fidelity; the wooden carving
of St. Margaret at the top of the bedpost, protection for
expecting mothers; and the bedroom setting for the scene
underscores the intimacy of the ceremony. Finally, the
artist’s signature above the mirror constitutes the central
focal point of the scene and documents the artist’s
presence as a witness in the ceremony. Not only do these
Figure 1: Example of Iconographic Analysis elements work in a symbolic manner; it is the very nature
of their symbolism that gives the work its nuptial
significance.”
(taken from: https://www.hamilton.edu/academics/centers/writing/writing-resources/writing-an-art-
history-paper)

The example analysis relies on Panofsky’s interpretation of the scene, citing specific
iconographic details to support the writer’s conclusion.
Here are other common iconographies in art:
 The heart is a widely used symbol of love.
 The dove is used as a symbol for peace.
 The color yellow is mostly associated with bright and sunny emotions.
 Zigzag and curvy line may sometimes mean chaos.
All in all, there are a lot of objects in a work of art that can be associated with other things. As
Art students, it is very important to become aware and sensitive to the symbols we see in a
Humn12n:Reading Visual Arts - KTJ 18

work of art. We need to look at things not only in its immediate and surface appearance but
also within the broader social contexts of the times. You should not be afraid to compare the
different images used, and you should ask yourself the intention behind the use of the symbol.
What is the context of the piece? What is the connection of the setting and the objects
themselves? What stories do these items tell? Will such an understanding of symbols provide
fresh meanings to the work of art? Why or why not?

Example of Iconographic Analysis:

Left: The Resurrected Christ Appearing to Mary Magdalene in the Garden (The Cloisters Collection,
56.47);

Right: Ivory Plaque with the Journey to Emmaus and Noli Me Tangere (17.190.47).

This paper will analyze the iconography of two medieval works from the collection of the
Metropolitan Museum of Art. Both of them depict the appearance of the resurrected Jesus Christ to his
follower Mary Magdalene (Gospel of John 20:11-17). According to the Bible, three days after Christ
died by crucifixion and was buried, he was resurrected. On that day, Mary Magdalene came to his
tomb early in the morning, alone, and found the tomb empty. As she was weeping in the garden outside
the tomb, she recognized a man she thought was a gardener, and asked him what had become of Jesus’
body. When the man spoke her name, Mary Magdalene recognized that he was Jesus Christ, who had
been resurrected. As she reached out to embrace Jesus, he motioned for her to stay back, saying “Do
not touch me,” because he had not yet ascended into heaven.
The first work I will discuss is a tapestry from the South Netherlands, The Resurrected Christ
Appearing to Mary Magdalene in the Garden (The Cloisters Collection, 56.47), which is about 5’ x
6’. The tapestry was woven of wool, silk, and gilt-metal wrapped thread between 1500 and 1520
CE. It presents Jesus standing just right of center, in front of a large fruit tree, with Mary Magdalene
kneeling to his right. Because Mary and Jesus are centered horizontally in the composition, and they
are both large (between 2 and 3 feet tall), the viewer can determine that they are the primary subjects
Humn12n:Reading Visual Arts - KTJ 19

in the tapestry. Christ is wearing a red robe, and the wounds on his hands and feet from where he was
nailed to the cross are visible. These signs identify the figure as Christ, indicating his mortality and
recent death. He is holding a shovel in his left hand, which explains Mary’s mistake in identifying him
as a gardener. Behind Jesus, in the upper right corner of the tapestry, is a small cliff with an open
cave and a boulder sitting in front of it. This cave represents Jesus’ tomb.
In the tapestry, Mary reaches out toward Jesus, as if to embrace him with both arms, but he holds
his right hand up in protest, gesturing that she stop. This body language communicates the most
important part of the story, when Jesus tells Mary Magdalene not to touch him. Mary Magdalene is
wearing a red robe over her blue dress, colors which attract the viewer's attention. A small ceramic
jar that is placed on the ground at the base of the fruit tree also identifies the woman as Mary
Magdalene. It reminds viewers of the biblical story when she washed Jesus' feet with her hair, after
breaking open a jar of ointment.
The second work I have selected is Ivory Plaque with the Journey to Emmaus and Noli Me
Tangere (17.190.47). This plaque is a small relief, carved in ivory around 1115-20 CE in Spain. The
sculpture, which is about 5” x 11”, depicts two scenes, one in the top half and the other in the
bottom. Between the two scenes, the following words are inscribed: DNS LOQVITVR MARIE, which is
Latin for The Lord Speaks to Mary. This fits the elements in the bottom panel, which depicts a bearded
man standing on the right side of the panel, pointing to and partly pulling away from a woman on the
left who is reaching out toward him. The inscription as well as the presence of a man and a woman,
and the positions of the figures, make it clear that the scene in the bottom half of the plaque portrays
Jesus in the garden with Mary Magdalene. The figures are further identified by their haloes. Christ's
is marked with three decorative, v-shaped rays, symbolizing the Holy Trinity. The woman has a simple
halo around her head and is placed to the right side of Jesus, which indicates that she is a saint. From
all of these things, the viewer can conclude that this scene shows Jesus warning Mary Magdalene,
“Noli Me Tangere” – “Do not touch me
(Taken from: https://writingaboutart.org/pages/appendix4b.html)
Humn12n:Reading Visual Arts - KTJ 20

References and Additional Resources to Watch and Read

Art definitions, artistic roles, and visual thinking/Artistic styles. Wikieducator. (October 30,
2015). Retrieved from:
https://wikieducator.org/Art_definitions,_artistic_roles,_and_visual_thinking/Artistic
_styles
Gildow, Christopher (no date). Art Appreciation: An Open Source Self-Paced Course offered
via the Canvas Network. Retrieved from: https://learn.canvas.net/courses/24/modules.
Munsterberg, Marjorie (2009). Personal Style. Writing About Art. retrieved from:
https://writingaboutart.org/pages/personalstyle.html
Period Style. Design Intuit. Retrieved from :
http://www.designintuit.com/issue0002/focus/periodstyle.html
Penny Huntsman (2016). Thinking About Art: A Thematic Guide to Art History, First
Edition. John Wiley & Sons, Ltd.
https://www.academia.edu/14874159/THE_SUBJECT_OF_ART_Meanings_Kinds_and_Fun
ctions_of_Subject_Meanings_Kinds_and_Functions_of_Subject
https://courses.lumenlearning.com/sacartappreciation/chapter/oer-1-4/
https://learn.canvas.net/courses/24/pages/m5-the-second-level-of-meaning-subject
http://www.geocities.ws/vitasophia_bookcenter/humanities2.pdf
https://arthearty.com/understanding-nonrepresentational-art-with-examples

Readings:
https://www.cusd80.com/cms/lib/AZ01001175/centricity/domain/886/stylesofart.pdf
http://www.users.on.net/~hashem/Essay/AMessay.pdf
https://arts.ok.gov/pdf/Teaching_with_Capitol_Art/GenresInPainting.pdf