ART APPRECIATION

LESSON 1: WHAT IS ART?

Unit 1. The Nature of Art

When the word "art" comes up, many of us envision museums or framed paintings. In this
context, some individuals might dismiss it, thinking, "Nah, I'm not a big fan of art! I just don't get
it." Alternatively, they might view art as something reserved for intellectuals or those inclined
toward the arts. However, art is truly accessible to anyone who wishes to engage with it, often
manifesting in unexpected places: the songs you enjoy, the movies you watch, poems, theater
productions, or even a quilt crafted by your grandmother. All of these are forms of art.
Consequently, you might ask, "What exactly is art? How do I define it?" Well, that's a challenging
question! Art has existed for thousands of years, evolving in various ways throughout different
epochs, with creators driven by diverse motivations. Thus, defining art proves to be a complex
task, subject to ongoing debate throughout history. There isn't a single universally accepted
definition.

However, many subscribe to the notion that art is anything that evokes emotion. The
emotions stirred up, however, hinge entirely on your personal history, your narrative, and all the
elements that converge to shape your identity. Consequently, three different individuals can
encounter the same piece of art and have vastly different reactions. One person may find it
breathtakingly beautiful, the second might harbor disdain, and the third may remain relatively
indifferent. Importantly, none of these reactions would be deemed incorrect. Each person is
entitled to their own preferences and feelings in the realm of art. Much like the way you connect
with your favorite song, someone else might feel a similar connection to their favorite sculpture.
Even if the sculpture fails to resonate with you, it can be valuable to contemplate why it holds such
significance for that person. Through this, you may gain insights into their perspective and,
perhaps, even your own.

The term "art" is essentially a label. Throughout the years, many individuals have
attempted to define and classify it, but that's not the essence of what art truly represents. It's more
about your personal experience with it and the meaning you derive from it. Art elicits varied
reactions from everyone, offering the potential for growth and learning. It provides us with the
opportunity to narrate stories, document history, and connect with our emotions in a way that few
other things can ("What is Art, Goodwill Community Foundation, 2012).

1
Different Definitions of Art

The arts represent one of the oldest and most significant forms of expression developed by
humanity.

Throughout the ages, people have been creating art, and its enduring existence is a
testament to its popularity and enjoyment.

Art encompasses the personal experiences of individuals, accompanied by a certain

intensity of emotion.

Zulueta (2006) posits that “art is made by man, no matter how close it is to nature; although
each work of art is evidently the expression of an artist’s personal thoughts and feelings, it may be
inferred that, like any other individual, he/she belongs to a nuclear, and he/she cannot free
himself/herself form the influence of his/her social, economic, political, cultural, geographic,
scientific and technical environment – these factors undoubtedly affect his/her creative
expression.”

Art is a product of man’s need to express himself and is not limited to the revelation of
emotions alone – the personal and social values of the artist are also manifested and conveyed
through the arts.

Art is a man’s way of expressing his/her ideas and feelings through his/her creations in
non-geographic expression (Ferraro, 2008).

Ferraro (2008) contents that art could be:

1. A creation of men or any non-graphic expression of a man that appeals to a man's
where woman's taste or sense of beauty; the use or employment of things to answer
some special need;
2. The special skill required by those who practice Fine Arts and;
3. Away or means of communicating ideas through sensors mediums.

While there is no universally agreed-upon definition of art, a general consensus exists that
it involves the conscious creation of something beautiful or meaningful, utilizing skill and
imagination. The definitions and perceived value of artistic works have undergone changes over
time and across various cultures. For instance, a Jean Basquiat painting, fetching $110.5 million
at a Sotheby's auction in May 2017, would likely have faced challenges finding an audience in
Renaissance Italy.

2
Etymology

The term "art" is linked to the Latin word "ars," which signifies art, skill, or craft. Its earliest
documented usage can be traced back to 13th-century manuscripts. However, it is likely that the
word "art" and its various forms (such as "artem," "eart," etc.) have been in existence since the
founding of Rome.

Philosophy of Art

The definition of art has been a subject of debate for centuries among philosophers. The
fundamental question in the philosophy of aesthetics is "What is art?" which essentially asks, "How
do we determine what qualifies as art?" This inquiry encompasses two subtexts: the essential
nature of art and its social significance (or lack thereof). Traditionally, the definition of art has
been categorized into three main concepts: representation, expression, and form.

Art as Representation: Mimesis. Plato originally introduced the concept of art as

"mimesis," a Greek term signifying copying or imitation. This notion persisted for centuries,
shaping the primary meaning of art as the representation or reproduction of something beautiful or
meaningful. Until the close of the eighteenth century, the merit of a work of art was determined
by how faithfully it replicated its subject. This definition of "good art" exerted a profound influence
on both modern and contemporary artists.

As Gordon Graham notes, this perspective led people to highly value lifelike portraits
created by masters such as Michelangelo, Rubens, and Velasquez. It also sparked debates about
the worth of "modern" art, including the cubist distortions of Picasso, the surrealistic figures of
Joan Miro, the abstract creations of Kandinsky, or the dynamic "action" paintings of Jackson
Pollock. While representational art continues to exist today, it no longer stands as the sole criterion
for assessing artistic value.

This evolution in the understanding of art has broadened the scope of artistic expression,
fostering a diverse range of styles and approaches. The criteria for evaluating art have expanded
to include factors beyond mere imitation, allowing for a richer and more nuanced appreciation of
the myriad forms that contemporary artistic expression can take.

Art as Expression of Emotional Content. The significance of expression gained

prominence during the Romantic Movement, characterized by artworks that sought to convey
distinct feelings, such as the sublime or the dramatic. Central to this artistic approach was the
emphasis on audience response, as the intention behind the creation of art was to elicit an emotional
reaction. This definition remains pertinent in contemporary art, where artists continue to aspire to
establish a connection with their audience, aiming to provoke and evoke diverse responses from

3
those who engage with their work. The ongoing pursuit of emotional resonance underscores the
enduring nature of this concept in the realm of artistic expression.

Art as Form. Immanuel Kant, born in 1724 and passing away in 1804, stands as one of
the most influential theorists of the late 18th century. His perspective on art was distinctive,
positing that it should not be tethered to a conceptual framework. According to Kant, the evaluation
of art should be based solely on its formal qualities, as he contended that the content of a work of
art lacks aesthetic interest.

As the 20th century unfolded, witnessing a notable shift towards abstraction in art, Kant's
emphasis on formal qualities gained renewed relevance. During this era, the principles of art and
design, such as balance, rhythm, harmony, and unity, became paramount in defining and assessing
artistic creations. This marked a significant departure from earlier periods, highlighting the
evolving nature of artistic expression and the increasing importance placed on the fundamental
elements that shape visual aesthetics.

In the present day, all three ways of defining art are at play when deciding what is
considered art and how much it's worth. The determination varies based on the specific artwork
under evaluation. Different perspectives on art's definition and value contribute to the ongoing
discourse in the art world.

History of How Art Is Defined

H.W. Janson, the author of the classic art textbook, "The History of Art," emphasizes that
we can't avoid looking at artworks without considering the time and circumstances in which they
were created. This is true for both the past and the present. It makes sense because art is
continuously being made, introducing us to fresh experiences regularly. This constant creation
compels us to adapt our perspectives almost every day, opening our eyes to new things in the world
of art.

In Western culture, starting from the 11th century up until the late 17th century, art was
seen as anything created with skill acquired through knowledge and practice.

Artists during this time dedicated themselves to mastering their craft, striving to replicate
their subjects with precision. This period reached its peak during the Dutch Golden Age, when
artists thrived in a flourishing economic and cultural environment, painting in various styles and
genres to sustain themselves.

The 18th century ushered in the Romantic period, reacting against the Enlightenment's
focus on science and reason. During this era, art was not merely about skill; it became a means to

4
pursue beauty and convey the artist's emotions. Nature was exalted, spirituality revered, and artists
gained recognition, often mingling with the aristocracy.

The Avant-garde movement emerged in the 1850s with artists like Gustave Courbet
pioneering realism. This movement birthed modern art forms like cubism, futurism, and
surrealism, which challenged conventional ideas and pushed artistic boundaries. Originality of
vision became paramount, expanding the definition of art.

Today, the concept of originality persists, fostering a plethora of art genres and forms,
including digital art, performance art, conceptual art, environmental art, and electronic art, among
others. As artists continue to innovate, the landscape of art evolves, reflecting the diversity and
creativity of human expression.
Quotes

Art evokes the mystery without which the world would not exist. – Rebe Magritte

Art is discovery and development of elementary principles of nature into beautiful forms
suitable for human use. – Franks Lloyd Wright

Art enables us to find ourselves and lose ourselves at the same time. – Thomas Merton

The purpose of art is washing the dust of daily life off our souls. – Pablo Picasso

All art is but imitation of nature. – Lucius Annaeus Seneca

Art is not what you see, but what you make others see. – Edgar Degas

Art is the signature of civilizations. – Jean Sibelius

Art is a human activity consisting in this, that one man consciously, by means of certain
external signs, hand on to others feelings he has lived through, and that others are infected by these
feelings and also experience them. – Leo Tolstoy.

Universalities and Importance of Art

A. Timeless of Art

The realm of art stands as one of the earliest and paramount forms of expression crafted by
humanity. Its presence extends beyond specific epochs or national boundaries, transcending time

5
and geography. Regardless of the era or location, art persists as a constant, an enduring facet of
human culture.

The preservation of works of art throughout history can be attributed to their ability to fulfill the
inherent needs of people and, crucially, to be cherished and relished. Art's timeless quality imparts
a sense that it is not bound by age; it resists the aging process, maintaining a perpetual relevance
that defies the passage of time. In essence, art possesses an ageless quality, and its vitality does
not diminish over the years.

B. Art Imitates Life and Reality

Art springs forth from lived experiences; it bears the indelible imprints and fingerprints of
artists, capturing the essence of their real-life encounters. Artists navigate the vibrant tapestry of
their era, situated within a specific time, place, and cultural milieu. Consequently, certain artworks
emerge as profound statements, delving into and scrutinizing the intricate concepts of life and
reality that prevailed during the artist's epoch. In essence, art becomes a dynamic reflection of the
artist's engagement with the world, a manifestation of their exploration of profound ideas within
the context of their time and cultural backdrop.

C. Art has intrinsic worth: the value is in itself

The humanities are commonly seen as domains that celebrate human values and individual
creativity. Each artistic creation is considered to possess a "lifetime enhancing" value, as Berenson
(1957) aptly describes. While art can serve as a conduit for spiritual values, its utility and impact
are boundless and cannot be fully exhausted. Remarkable works of art, often deemed masterpieces,
transcend temporal limitations and continue to amplify their value across the ages and for
generations to come, as highlighted by Maguidad et al. (2005). Their enduring significance
persists, shaping the discourse of present and future issues.

Lourdes Sanchez (UE CAS Horizon, 1992) enumerates art as:

1. Aesthetic value or art for the sake as championed by Oscar Wilde. John Keats expresses
this with poetic lines:
“Beauty is truth, the rules is beauty; That is all you know on earth and all you need to
know”
2. Didactic value advocates that art can be an effective means to show what is moral, that art
can improve the moral fiber of society, this stand of Bernard Shaw who was Oscar wilde's
contemporary and rival in the theater. Wild, however, persisted in the contention that art
has nothing to do with morality. The didactic value prevailed during the medieval age when
the church was mandated fount of knowledge.

6
 3. Religious value of art is supposed to increase awareness of man's relationship with God
and to promote better and stronger bonds between God and man.
4. Historical value is present even art tells us something significant aspects about the past
such as the painting of the first holy mass of Limasawa.
5. Sociopolitical value, such as that can be gleaned from Juan Luna’s painting, “Spolarium”
from Jose Rizal’s novel “Noli Me Tangere” and “El Filibusterismo” which clarify some
problems of society and government.
6. Scientific value is an art if it informs us about the earth, outer space, psychology, numbers,
etc.
7. Commercial value exist if the artwork can sell for a fortune.
8. Pragmatic value of art considers not only aesthetic but also its practical value of artwork.
For instance, a porcelain figure is used as paperweight or painting covers a crack in the
wall or carved copper cup used in to hold your dentures at night.
9. Therapeutic value of art has been explored by Medical Sciences. It is well known, for
instance, that music, “scotches the savage breast.”
10. Personal value is flexible. It can be Socratic and approach. Socrates “know thyself” theory
through art can lead to self-discovery, greater self-awareness, self-development, self-
expression which at the same time is form of communication and ideally self-fulfillment.

On classifying art, the following are some ways of classifying art, they are:

1. Visual Arts and Space Arts are similar because both could be seen on our naked eye;
2. The Arts and Auditory Arts are similar in the sense that both require the use of time or
duration (i.e., reading, dancing and singing)
3. Major Arts. These are fields that have reached their golden years of development, the
highest peak of development, especially in the employment of high technology (i.e.,
architecture, painting, sculpture, literature, and music)
4. Creative Arts. These require man’s/woman’s creation or invention of objects in two or
three-dimensional medium like painting, sculpture, and architecture.
5. Performing Arts. These require man’s/woman’s way of expression (i.e., dancing, singing
and acting).

The Subject of Art: Perspectives, etc.

The subject of art is varied; it may refer to any person, object scene or event represented in
a work of art.

Arts have subjects; others do not the arts that have subject are called representational or
objective arts; those that do not have subjects are non-representational or non-objective arts.

7
Example:

Representative Arts Non-Representational Arts

1. Painting 1. Music
2. Sculpture 2. Architecture Art
3. Graphic Artist Representative Art
4. Literature
5. Theatre Arts

On Creation of Art: The Process Lives On

The process of art creation involves the idea, the material and the organization form

1. Idea. Before an artist starts creating an art piece, he/she should have an idea or a mental
image of something that will be given form out of a subject taken from a particular source).
2. Material. It is also called the medium; this is the means by which an artist communicates
his/her idea; this is the stuff out of which the artist creates a work of art.

3. Organization/Form. The giving of the idea the form out of the selected material; the art
of planning how a composition is to be done and finished beautifully by following a pre-
planned design; it is the orderly piecing-up of various parts of elements to produce one
organic whole.

The basic requirements of organization (art creation):

a. It must make sense.
b. It must be interesting.

Meaning and Nature of Humanities

The term "humanities" finds its roots in the Latin word "humanus," denoting the refined,
cultured, and dignified nature of a human being. Additionally, it draws inspiration from the
philosophical perspective articulated by the Greek Pythagoras, asserting that "Man is the measure
of all things."

The exploration of humanities encompasses the appreciation of the arts, a pursuit that
fortifies our understanding of life and reality. According to the Webster dictionary, "humanities"
encompasses various branches of learning, such as philosophy, literature, language, and art,
excluding theology, natural sciences, and social sciences.

8
 In the realm of artistic expression, be it visual, literary, or performing arts, the artist
becomes a conduit for conveying thoughts, beliefs, values, and emotions. Through engagement
with these artistic forms, we embark on a journey of aesthetic enlightenment, opening our senses
to new dimensions of perception and education.

Aeschylus, a fifth century Greek dramatist aptly observed about human beings:

"Though they had eyes to see, they saw to avail: they had ears, but understood not; but like
the shape in dreams, throughout the lengths of days, without purpose they wrought all things in
confusion."

In order to achieve a complete and authentic sense of humanity, it is imperative for us to

grasp the art of utilizing and reveling in our senses. Failure to do so may result in becoming part
of what the psychologist Rudolph Arnheim astutely observed as a "generation that has lost touch
with its senses." This implies that a genuine and profound human experience involves not only
acknowledging but also embracing the rich tapestry of sensory perceptions that shape our
connection with the world around us. It is through the cultivation and appreciation of our senses
that we unlock a fuller, more enriched understanding of our own existence, contributing to the
preservation of our humanity in a world that can easily lead us astray from the richness of sensory
engagement.

Susan Sontag (1966) has this say about our sensual "recovery" throughout the arts:

"What is important now is to recover our senses. We must learn to see more, to hear more,
to feel more... The aim of all commentary on art now should be able to make works of art-and, by
analogy, our own experience more, rather than less, real than us... his function of criticism should
be to show how it is, even that it is what it is, rather than to how what it means."

"The humanities are the stories, the ideas, and the words that help us make sense of our
lives and our world. The humanities introduce us to people we have never met, places we have
never visited, and ideas that may have never crossed our minds. By showing how others have lived
and thought about life, the humanities help us decide what is important in our own lives and what
we can do to make them better. By connecting us with other people, they point the way to answers
about what is right or wrong, or what is true to our heritage and our history. The humanities help
us address the challenges we face together in our families, our communities, and as a nation."
(Maguigad et al.,2005).

In the Renaissance period, as elucidated by Dr. Francisco Zulueta in 2003, the term
"Humanities" was characterized by a collection of disciplines imparted in universities. These
disciplines encompassed grammar, rhetoric, history, literature, music, and philosophy, collectively

9
constituting a comprehensive body of knowledge. The primary objective of this educational pursuit
was to mold an individual into a fully cultured, refined, and well-rounded human being. This
concept emanated from a profound recognition of the intrinsic value of man within the societal
framework. The Renaissance thus sought to cultivate individuals who not only possessed academic
knowledge but also embodied essential qualities that contribute to their meaningful participation
in society.

Art Theories

A. Art and Nature

Art is distinct from nature. The talent of an artist is not something naturally present or
automatically given to all individuals. Even though artists find inspiration and use nature as a
medium, nature itself doesn't inherently become art. The way an artist sees and interprets the
natural world may vary from other viewpoints, influenced by social and cultural differences. It is
this unique perspective and creative vision that give rise to artworks.

B. Art as Imitation

The idea that art imitates reality can be traced back to the thoughts of Plato and Aristotle. Plato,
who was an idealist, believed that art is distant from the actual reality that exists in the realm of
Ideals or Universals. According to him, our world is merely an imperfect imitation, and art, in this
context, is just a reflection of that imitation. Plato equates art to shadows and reflections,
considering them as illusions of reality.

On the contrary, Aristotle, an empiricist, dismissed the idea of art existing in the realm of ideals.
He argued that reality is present in the world around us and within us, perceived through our senses.
According to Aristotle, art acts as a "mirror of reality," providing a connection to it.

In summary, Plato asserted that art portrays the universal through imitation, a view Aristotle
largely agreed with, despite some differences in their concepts of universals. However, the theory
of imitation encounters two significant contradictions:

1. It claims that imitation is common to all artworks making it the criterion for their value.
This implies that the more successful the imitation, the better the art (Sheppard 1987); and
2. It is arguable that all works of art are imitative. All visual arts like landscape, painting and
portrait, sculpture may be imitative but some abstract paintings are not. Most musical
works of musical works are created originally, although few are imitations or versions of
the original. This is another argument against the theory of imitation.

10
C. Art as Pleasure

Both Plato and Aristotle acknowledged the importance of pleasure in art. In fact, both
philosophers believed that art, by representing the physical world, brings about pleasure. Aristotle
went on to explain the connection between imitation, learning, and pleasure.

Aristotle asserted that imitation is inherent in humans from childhood. Humans, he argued,
are superior to lower animals because they are the most imitative creatures. Learning initially
occurs through imitation. Despite the fact that the actual objects being imitated may be unpleasant,
we derive pleasure from viewing realistic representations of them in art (Ross, vol. 60) (Maguigad
et al., 2005).

The underlying concept is that imitation and pleasure can coexist. However, this does not
imply that things not imitated cannot provide pleasure. As Fauret (1978) suggests, painting,
sculpture, and music, strictly speaking, serve no other purpose in life than to offer pleasure and
enhance our experiences.

D. Art as Play

Everyone requires a way to release their passions, emotions, and other unbridled
expressions of energy. Artists provide entertainment to their audience or viewers through the
expression of their art. Plato also noted that for the artist, art serves as a form of play.

E. Art as an Expression

Expressionist ideas are evident in the works of Leo Tolstoy, a Russian novelist known for
"War and Peace" and "Anna Karenina," as well as Benedetto Croce, an Italian philosopher
recognized for "Theory of Aesthetic." According to Tolstoy, when a person perceives another
individual's emotions through their senses and undergoes those emotions, they are capable of truly
experiencing the feelings conveyed. The foundation of artistic activity, as per Tolstoy, lies in this
ability of humans to receive and feel another person's emotions.

On the other hand, Benedetto Croce interpreted art as the "intuitive knowledge of mental
states." He emphasized the importance of distinguishing between two types of knowledge:
intuitive and logical. Intuitive knowledge, acquired through imagination, stands in contrast to

11
logical knowledge, obtained through intellect. Croce linked intuitive knowledge, also referred to
as "expressive," with art, asserting that every genuine intuition is simultaneously an expression.

In essence, the appreciation of art transcends mere "casual sensualism," evolving into an
imaginative experience, or in Croce's perspective, an intuitive one. The observer or viewer, in this
context, engages in recreating or reproducing the artist's expression through their interaction with
the artwork.

F. Art as an Emphaty or as an Experience

The Emphatic Theory of art suggests that art allows individuals to feel what they would
experience if they were actually part of the scene being artistically presented or depicted.
Advocating for a broader understanding of empathy-related responses and drawing from four
distinct bodies of literature, we explore the contextual and personal factors that influence empathic
responses to portrayed individuals.

It's widely acknowledged that art is about experience; all forms of art demand and involve
experience. Just as in life, experience is the best teacher, so it is with art. Therefore, it's valuable
for anyone to delve into any artwork, understand what critics have said about it, and grasp the
conditions that influenced its creation or production. Without experiencing the artwork firsthand,
one's knowledge of it may be limited.

According to John Dewey (1934), art should not be separated from experience. The
purpose of art is to elevate common experiences by organizing and unifying them for the mind.
For humans, the aesthetic experience lies in recognizing the interconnectedness among the
elements presented or depicted. Therefore, the artist's intention isn't solely about the meaning of
the artwork, but also about the quality of the experience it evokes. The more widespread and
intense the depicted experience, the more expressive the art becomes.

Dewey defines art as nature transformed through new relationships that evoke new
emotional responses. He believes that the object shouldn't be viewed in isolation from the process
that created it or from the individual vision that inspired it.

Dimension of Art

A. Social Dimension of Art

The social dimension of art consists of communication or dialogue; this is the art of transmitting
and exchanging information or opinion. This dimension is also found in literary and dramatic

12
works that represent conversation, interaction, mutual or reciprocal action, and influence in a
person's relationship with other men in the community

Relationship have several types:

1. Objective relationship which relates people as an object, existing outside and independent
of the mind and dealing with the fact without distortion. The object relations suggests that
the way people relate to others and situations in their adult lives is shaped by family
experiences during infancy.

2. Manipulative relationship uses other people for vested interest, its influence or at worst to
deceive functional relationship is a purpose-oriented Personal relationship is related to
thing or ideas that are personal; in nature. Basic elements of social dimension of art are the
family, community, age grouping, class phenomena, religion, and a race or ethnicity.

B. Economic Dimension of Art

Human existence is primarily concerned with the satisfaction of material wants. It focused
on the task of making a living- the most absorbing interest of human being. An artist interesting
with an economic experience or subject (planning rice, barter trade, trading caravans, etc.)
translates and conveys it into a medium using its elements and the techniques in order to produce
an artwork.

A painting is not only something to be appreciated; a poem or a musical composition is not

only something to be savored or heard of; an architectural marvel is not only as something to be
built and seen; at has useful or practical function and one of which is its economic value-it can be
sold or exchanged for a piece.

Art is also form of profession. Artist men improve quality of life through sales and mass
production of his opuses. Auctions, art exhibits and galleries are marketing conduits for the
artworks of a painter, sculptor and photographers. Concerts, recitals and movie TV shows
showcase the works of musicians, dancers and actors for a free.

C. Psychological Dimension of Art

An artist gives objective physical form to subjects that have to do with the subconscious or
to what they dream, feel, imagine, or urge. This covers the psychological realm or dimension of
arts such as subjects of arts attempt *to show the inside of the human psyche and to reveal thoughts
and dream A that are not controlled by rational or conscious behavior. In painting, this kind of

13
woks falls under surrealism (beneath the real pioneered by the Spanish painter Salvador Dale "Last
Supper" and the Jewish Marc Chagall "The Green Violinist ".

Plato regards poetry either as "a kind of madness" or an "inspired vision ". Aristotle
considers it as "strain of madness". However, what these two philosophers called "madness" is
equivalent to that many artist now consider as "inspiration" which is directed by forces from within
or within them. D.Politico-military and Ideology Dimension ofArt

Many artist made use to their work to convey their idea, feeling and at some cases their
partisan consciousness and reaction about political or military event. Picasso's anger and revulsion
is felt in his mural Guernica, which shows two days or relentless, barbaric, and senseless Nazi
bombing of the Basque town. The painting is Picasso's political statement of protest against the
barbarity and evils of war.

To some artist who does not adhere to Oscar Wilde "Art for art's "they would rather cater
to the dictum "Art for life sake". Thus, there were artist who made use to their artworks as vehicle
to air their misgiving or grievances against the political or economic system of their times. As
furthermore examples, the two novels of Jose Rizal were scaring indictments of the Spanish
colonial system during his time.

LESSON 2: SOME BASIC ASSUMPTIONS ABOUT ART

Top 10 Questions on Our Assumptions about Art

1. Why do we assume that art is always something intended for public display?
2. Why do we assume that art should be collectible?
3. Why do we assume that our should be intelligent or explainable Or intended to impress?
4. Why should we assume that art has any particular consistent and persistent qualities at all?
5. Why do we assume that art should be interpreted without context?
6. Why do we assume that serious art has more significance or greater value than a doodle
which only you seem to appreciate?
7. Why do we assume that art is something that can be defined?
8. Why do we assume that popularity is the ultimate indicator of good art when it is in conflict
with your own taste in art?
9. Why do we assume that art should be art?
10. Why do you assume that this list of questions about some basic assumptions of art has to
have a coherent message and a sound ending?

14
Lesson 3: Functions of Art

The Greek philosopher Aristotle claimed that every particular substance in the world has
an end, telos in Greek, which translates to “purpose”. Every substance, defined as a formed matter,
according to fixed path toward its aim.

According to Aristotle, the telos, or ultimate purpose, is intricately tied to function. In order
for something to fulfill its purpose, it must also perform a specific function. In Aristotle's
perspective on reality, human beings are destined to attain a life of fulfillment and happiness,
known as eudaimonia in Greek. All individuals strive towards this ultimate goal. Happiness, the
supposed culmination of human existence, is closely linked to the function of being rational.
According to Aristotle, one can only experience happiness when one is rational. This implies that
plants, tables, and chairs, lacking rationality, cannot achieve happiness. Aristotle asserts that the
natural end or telos of humans is connected to their function, which is rooted in rationality.

Furthermore, the telos and function of an object are intricately connected to its identity.
The essence of a table lies in its ability to fulfill its function and consequently, achieve its telos. If
a table lacks a surface on which books, plates, or glasses can be placed, it loses its status as a table.
The parallel holds true for human beings. According to certain philosophical perspectives, the
defining characteristic of a human being is its capacity for thought, its presumed function.

Without this function, the essence of being human diminishes. The telos, function, and
intrinsic nature of an entity are deeply intertwined. In contemporary society, the relationship
between the ultimate goal, the function, and the essence of a thing has grown closer and more
entwined. Sometimes, it is suggested that the end is the function, and vice versa, and they
collectively define the essence of an object. When encountering a new kitchen appliance in a
department store, one typically seeks to understand its functions first. Once these functions are
known, one can discern the purpose of the appliance and begin to grasp its true nature.

When discussing function, one is essentially considering the practical use of the object
under scrutiny. Investigating the function of art, for instance, entails probing into the purpose of
art. Alternatively, the response to the question "what is it for" defines the function of whatever the
"it" in the question refers to. For example, if one asks about the purpose of the Rizal monument
and why it was erected in Luneta (formerly Bagumbayan), the inquiry is seeking to understand its
function. Is it solely for sentimental value? In this sequence of questions, the interrogator seeks to
unveil the purpose or function of the artistic piece in Luneta.

15
 When it comes to function, various art forms serve distinct purposes, and there is no direct
one-to-one relationship between an art form and its function. Different art forms exhibit varying
degrees of functionality. For instance, architecture, as an art form, is highly functional, akin to
most applied arts. Buildings, as works of art, are evidently created for specific purposes. Consider
the Taj Mahal, a monumental mausoleum in Agra constructed in memory of the emperor Shah
Jahan's favorite wife. Conversely, the art of jewelry-making is identified by its end product, and
the name of this applied art often reflects its specific function.

In applied arts like architecture and jewelry-making, function holds such significance that
it often becomes the defining feature, overshadowing the name of the art itself in the identification
of individual works (Dudley, Faricy, and Company, 1960). This emphasis on function is also
observed in other functional arts, such as paintings, poems, and statues, where the name of the art
typically alludes to the nature of the product or its intended purpose.

On the opposite side of the spectrum, one can only consider painting and literature as forms
of art that are least concerned with purely practical values. When contemplating a painting or a
literary work such as a poem or a novel, the evaluation centers around the intrinsic value of the art
itself, not solely based on its utility or benefits to us. Unlike practical arts, where the value of the
art (as seen in pottery, jewelry-making, architecture, among others) lies in the practical advantages
one derives from it (a pot, a piece of jewelry, or a house/building), in the case of painting and
literature, one can only appreciate the value of the artistic product for its own sake. A poem is
considered beautiful irrespective of its potential impact on society. For instance, Joyce Kilmer's
"Trees" has sustained its popularity over the years, independent of any practical application or
tangible benefits it might offer.

This definitely is not to say that paintings and literary works can never have any function.
The two masterpieces of our national hero, Dr. Jose P. Rizal, the Noli Me Tangere and
El Filibusterismo served as a catechist for Filipino revolutionaries to gather strength in rejecting
the oppressive of the Spaniards in the Philippines in the nineteenth century. The novels accrued
value and as consequence, function, that is over and beyond its literary worth. They are
functional “in so far as they are designed to accomplish some definite end” (Dudley, Faricy, and
Company 1960). In the case of Rizal’s novels, they spelled out country’s independence. They
continue to be treasured even a hundred years after their supposed functions.

Roughly and broadly, the functions of art are classified into three: personal (public
display, expression), social (celebration, to, affect collective behavior), and physical
(utilitarian).

The personal functions of art are varied and are highly subjective. This variability
underscores the influence of the individual—the artist—behind the creation of art. An artist might

16
conceive art as a means of self-expression, driven by the necessity to convey ideas to their
audience. Alternatively, it could serve as pure entertainment for the intended viewers, with the
artist not necessarily intending to convey any specific meaning through their work.

Moreover, art can serve therapeutic purposes. In certain environments, such as orphanages
and homes for abandoned elders, art is employed to assist residents in processing their emotions
or simply passing the time. A contemporary manifestation of this therapeutic function is the use
of adult coloring books for stress relief, a trend reflected in the multitude of designs available in
bookstores nationwide. All these aspects fall within the realm of the personal functions of art.

Social Functions of Art

Art assumes a social function when it addresses collective interests rather than personal ones.
Political art stands out as a common example of art with a social function, often conveying
messages of protest, contestation, or other intentions the artist wishes to impart. Art frequently
portrays social conditions, and photography, as an art form, excels in this role by capturing subjects
in situations often overlooked or disregarded. Images depicting poverty, for instance, may evoke
emotional responses, prompting action or raising awareness among viewers.
Performance art, including plays and satires, also has the capacity to stir emotions and
mobilize people toward a specific objective. In these instances, the social function of art becomes
evident, as it engages with and addresses broader societal concerns.

Physical Function of Art

The physical functions of art are readily observable and comprehensible. These functions
manifest in artworks deliberately created to fulfill specific physical purposes. An illustration of
this is a Japanese raku bowl designed to serve a physical function within a tea ceremony.
Furthermore, architecture, jewelry-making, and even interior design are all artistic forms that
inherently serve physical functions.

Other Functions of Art

Music, considered as a form of artistic expression, presents an intriguing subject when

examining its historical functionality. Originally, music played a crucial role in serving specific
functional purposes, primarily being employed in the context of dance and religious ceremonies.
Unlike the modern era, where individuals often engage with music purely for its intrinsic value,
ancient societies viewed music exclusively as a means to facilitate worship and invoke deities. In
those earlier times, music played an integral role in dance, ensuring a synchronized and
harmonious performance among dancers. Moreover, it served a functional purpose in guaranteeing
simultaneous marches, especially within the context of warriors and military activities. The

17
evolution of music's purpose from its original functional roles to its current diverse and
multifaceted expressions adds depth to the exploration of its cultural and historical significance.
Over time, the role and reach of music have undergone substantial expansion. In the
contemporary era, people engage with and produce music for purposes beyond the traditional
domains of dance or religious ceremonies. Serenades, for instance, are crafted as melodic
expressions of love, serving as hymns to convey deep emotions. Furthermore, music has found its
place as a compelling accompaniment in various artistic mediums, such as stage plays and motion
pictures. It is noteworthy that a single piece of music can evoke a myriad of meanings for different
individuals, highlighting the dynamic evolution of music as an art form.

Sculpture, being another form of functional art, has played diverse roles throughout the
course of history. Much like music, sculptures have been created with a significant emphasis on
religious purposes since the earliest days of human civilization. Statues have been erected to honor
and represent divine entities, and within the Roman Catholic world, sculptures maintain a crucial,
meaningful, and symbolic relevance in religious practices. The tangible and enduring nature of
sculptures provides a visual and tactile connection to the spiritual, shaping and enriching the
religious experiences of individuals and communities.
Sculptures also serve as commemorative tributes to significant historical figures.
Monuments like those of Jose Rizal in Luneta and Andres Bonifacio in Caloocan stand as
prominent examples of this practice. Additionally, the iconic statue "Oblation" by Guillermo E.
Tolentino at the University of the Philippines stands as a powerful symbol of selfless dedication
to the country. These sculptures not only honor the individuals they represent but also serve as
enduring reminders of their contributions to society, inspiring future generations with their legacy
of courage, sacrifice, and patriotism.
Coins offer yet another manifestation of sculpture's functional role, often featuring intricate
reliefs of renowned heroes or personalities. The Central Bank of the Philippines, in particular, goes
a step further by producing special commemorative coins dedicated to notable figures, such as
Pope Francis and Jesuit priest Horacio de la Costa. These numismatic creations not only serve as
a medium of exchange but also double as miniature sculptural works, encapsulating the essence
and significance of the individuals they portray, adding a layer of cultural and historical value to
the currency.

Architecture, often considered the most prominent functional art form, inherently
accommodates various functions. In contrast to other art forms that may be easily replaced or
modified, buildings represent substantial, costly, and time-consuming endeavors. Significant
investments are dedicated to the construction of monumental structures such as the pyramids of
Giza, the Acropolis, or the grand cathedrals of the medieval world. The multifaceted nature of
functionality plays a pivotal role in the architectural process, requiring meticulous consideration
and planning before the commencement of construction. The enduring impact of architecture on

18
the physical and cultural landscape underscores its significance as a multifunctional and lasting
form of artistic expression.

Architecture serves as a poignant example of the intimate interplay between function and
form. In the planning of architectural structures, serious consideration must be given to factors
such as topography, climate, and social conditions. In the Philippines, for instance, house designs
are significantly influenced by the climate, with Spanish colonial houses incorporating features
that facilitate adequate air circulation. Social conditions also wield a crucial influence on
architectural decisions, particularly in the case of churches. For Christians, these structures
primarily function as places of worship and assembly, necessitating spacious designs to
accommodate regular ceremonies. This underscores the principle that whenever art is designed to
serve a specific function, the form of that art must be intricately determined by the requirements
of its intended purpose.

Does Art Always Have to Be Functional?

While it has been demonstrated that many forms of art serve a function, there are still some
that do not. The value of a work of art is not contingent on its function but rather on the inherent
qualities of the work itself. The plays of Aeschylus and the poetry of Robert Frost and Edgar Allan
Poe, for example, are regarded as exemplary works of art despite not having a specific, known
function. On the other hand, in cases where functions are established, it is a different story. A
functional object cannot be deemed beautiful unless it effectively performs its intended function.
For instance, a house that fails to protect its residents from harsh weather or a spoon that spills
food cannot be considered beautiful. The satisfactory execution of function contributes to the
aesthetic appeal of these functional art forms.
However, it is important to note that efficiency should not be confused with beauty. While
efficiency may contribute to the beauty of certain works of art, an efficient functional object is not
necessarily beautiful. Art demands more than mere efficiency. The questions then arise: What truly
comprises beauty and art? What makes something genuinely beautiful? What constitutes a work
of art? What is the essence of art? The following section aims to explore various perspectives on
the nature of art.

Lesson 4: Subject and Content of Art

Subject

In nearly all forms of art—whether painting, sculpture, photography, music, literature,

theater, or dance—a subject serves as the foundation for the creation of the work. The subject
matter is the most apparent aspect of an artwork, representing what the work depicts or portrays.

19
It could be a person, an object, a scene, or an event, providing the answer to the question: What is
the work of art about?

However, the subject matter of art should not be the sole basis for judging artworks. The
presence or absence of representation does not determine the superiority of one form of art over
another. While some art forms have discernible subjects, others do not. Furthermore, works
portraying pleasant subjects are not inherently superior to those depicting unpleasant ones. What
matters most in art is not the subject matter itself, but rather how effectively the artist handles or
presents it in their work.

Differentiating between Subject and Content

The subject matter constitutes the literal, visible image in a work, such as still life, portrait,
or landscape, while content encompasses the connotative, symbolic, and suggestive aspects of the
image. While subject matter pertains to the tangible elements within the artwork, content extends
beyond mere depiction to convey ideas, emotions, and reactions associated with the subject. When
viewing artwork, the content is what is felt and experienced rather than what can be dissected or
analyzed. It represents the deeper meaning and purpose behind the creation of art.

Types of Visual Art According to Subject

There are two basic types of Visual Art according to the subject matter. These types are
representational or figurative art and non- representational or non-objective art.

Representational/Figurative Art

Representational artwork is created with the primary aim of depicting actual objects or
subjects from reality. These artworks are rooted in images found in the objective world or, at times,
in the artist's imagination—images that can be named or recognized. Subcategories within
representational art encompass various styles, including Realism, Impressionism, Idealism, and
Stylization. Despite some forms taking steps toward abstraction, they remain within the
overarching category of representation.

Representational art is arguably the oldest of the three main types of art, and its
identification is relatively straightforward for viewers. This form of art constitutes the largest
collection of artworks created throughout history, navigating through numerous phases and
movements. Despite these shifts, the fundamental principle of presenting viewers with
recognizable subject matter has endured, making representational art a cornerstone in the evolution
of artistic expression.

20
 Painting, sculpture, graphic arts, literature, and theater arts are commonly classified as
representational forms of art. However, it's important to note that within these categories, there
can be instances where some paintings and sculptures deviate from representing recognizable
subjects. In such cases, the line between representational and non-representational or abstract art
may blur, as artists may choose to explore various degrees of abstraction within these traditional
forms.

Non-Representational/ Non-Objective Art

Non-objective art, also known as non-representational art, is a term used interchangeably to

describe artworks that do not aim to represent or depict any person, place, or thing in the natural
world. In essence, the focus of non-objective art is not on portraying recognizable subjects. Instead,
the content of the artwork is often centered around elements such as color, shapes, brushstrokes,
size, scale, and, in some instances, the artistic process itself. This form of art allows for a more
abstract and subjective exploration of visual elements, emphasizing the expressive qualities of the
medium.

Distinguishing between abstract art and non-objective art can be challenging for many
people, but the key distinction lies in the chosen subject matter. When an artist begins with a
subject from reality, the resulting artwork is categorized as abstract. In this case, the artist takes a
real-world subject and interprets, modifies, or simplifies it, retaining some connection to the
original source.

On the other hand, if an artist creates without any reference to reality, producing work that
does not aim to represent or depict anything from the natural world, then that artwork is considered
non-objective. Non-objective art takes a more purely abstract and subjective approach,
emphasizing visual elements such as color, form, and composition without tethering them to
identifiable real-world subjects.

KINDS AND SOURCES OF SUBJECT

The subject of art is the central theme or matter that an artist seeks to describe or represent
in their work. As discussed in previous lessons, it forms the essence of the piece, encompassing
what is depicted visually or the message the artist intends to convey to the audience. The subject
in art serves as the core focus, shaping the narrative or expression within the artwork.

Artists draw inspiration from various sources in their environment. What they see, feel,
and hear can all serve as potential subjects for their artistic endeavors. This broad spectrum of
influences allows artists to capture the richness and diversity of their surroundings, infusing their
work with personal experiences, emotions, and perspectives.

21
In general, the kinds and sources of a subject can be categorized into seven:

1. Still life refers to the depiction of groups of inanimate objects arranged in an indoor
setting, encompassing a variety of subjects such as flower and fruit arrangements,
food items, kitchen utensils, and musical instruments. As MacArdle (2020) notes,
the themes explored in still life paintings can span a wide spectrum, ranging from
personal and cultural to religious, philosophical, or existential. In historical
contexts, still life compositions often carried profound religious and mythological
significance. However, contemporary practices in still life have expanded the
thematic possibilities to include explorations of material qualities like color, shape,
and texture, showcasing a shift towards more abstract and visually focused
interpretations.
2. Landscapes, cityscapes, and seascapes are categories of artworks that primarily
center around depicting natural scenery. These compositions often feature elements
of the environment, including mountains, valleys, rivers, and skyscrapers, to
capture the beauty and essence of the outdoors. Whether portraying vast open
landscapes, bustling urban cityscapes, or the tranquility of seascapes, these
artworks aim to convey the visual and emotional experience of the natural world,
showcasing the diverse and awe-inspiring elements of our surroundings.
3. Animals have been a subject of artistic representation across nearly every age and
culture. In fact, it can be observed that some of the earliest known paintings
discovered on the walls and caves depict animals. These ancient artworks serve as
a testament to the enduring fascination and connection between humans and the
animal kingdom throughout history. From prehistoric cave paintings to
contemporary art forms, artists have sought to capture the essence and beauty of
animals, reflecting cultural beliefs, symbolic meanings, and the intrinsic
relationship between humans and the natural world.
4. A portrait is an art form that aims to provide a realistic likeness of a person,
achieved through various mediums such as sculpture, painting, drawing, or print.
The emphasis is not on creating a strictly photographic representation, but rather
on a selective process that involves highlighting certain features while de-
emphasizing others. One of the most renowned examples of a portrait is "The Mona
Lisa" by Leonardo da Vinci, painted sometime between 1503 and 1519. This iconic
artwork captures the likeness of Lisa Gherardini and stands as a pinnacle in the
realm of portraiture, showcasing the artist's mastery in conveying the subject's
presence and personality through subtle and nuanced techniques.
5. Everyday life in art involves the artist's keen observation of people engaged in their
routine activities, capturing these moments in paintings. An exemplary work in this
genre is Fernando Amorsolo's "Rice Planting" (1922), a favorite during the

22
 Commonwealth era in the Philippines. This painting gained prominence and was
prominently featured on posters and tourist brochures
([email protected], 2020). Notably, Fernando Amorsolo holds the
distinction of being the Philippines' first National Artist in Painting, receiving this
prestigious title in 1972.
6. History paintings are characterized by their high-minded or heroic narratives, often
depicting exemplary deeds of prominent figures. Originally dominated by religious
themes, this category has expanded to encompass subjects from mythology,
literature, and history. Subcategories within history paintings include religious
history paintings, mythological history paintings, allegorical history paintings,
literary history paintings, and historical history paintings (visual-arts-cork.com,
2020).

One notable example is "The Spoliarium" (1884) by Juan Luna, considered the
most valuable oil-on-canvas painting by the Filipino artist. This masterpiece delves
into Roman history, offering a glimpse into the carnage resulting from gladiatorial
matches. The title "Spoliarium" originates from the Latin word referring to the
basement of the Roman Colosseum, where fallen and dying gladiators were
discarded. Luna's painting captures the gravity of this historical context and stands
as a powerful representation within the realm of historical paintings.
7. Figurative art centers around the depiction of the human figure, whether in a
clothed or nude state. The primary focus for artists engaged in figurative art lies in
capturing the form of the body, including its structural intricacies and flexibility.
The aim is often to convey the grace and ideal proportions of the human figure
through paintings or sculptures.

One of the most iconic examples of figurative art is Michelangelo's "David,"

considered one of the most famous statues globally. Crafted between 1501 and
1504, this monumental work stands at a height of 14.0 feet and portrays the Biblical
hero, David. Michelangelo's "David" is celebrated for its exceptional representation
of the human form, showcasing the artist's mastery in capturing both the physical
and emotional essence of the subject.

Sources of Subject

23
 1. Nature – Alongside depictions of animals, people, and their activities, landscapes
portraying nature have emerged as a prevalent subject in art. Nature, in its various forms
and settings, has consistently served as a primary source of inspiration and subject matter
for artists across different periods and styles.
2. History - The creation of art is inevitably shaped by the historical context in which it
emerges. Rulers, desiring to immortalize both themselves and the significant
accomplishments of their era, often commission artworks that perpetuate their legacy. As
a result, statues and paintings portraying influential figures and their notable deeds are
prevalent in every civilization. These artistic expressions not only serve as a form of
historical documentation but also reflect the societal values, power structures, and cultural
narratives of the respective time periods in which they are created.
3. Greek and Roman Mythology - The depiction of rulers and their achievements has been a
crucial source of artistic subjects throughout history. These artworks have gained such
widespread recognition that they are considered an integral part of our cultural heritage.
Notably, during the Renaissance period, poets, painters, and sculptors extensively drew
inspiration from Greek and Roman sources for their subjects. This classical influence
played a pivotal role in shaping the artistic landscape of the time and has left an enduring
mark on the collective artistic inheritance of subsequent generations.
4. Religion – The classical tradition has played a monumental role in inspiring works across
various artistic disciplines, including visual arts, music, architecture, and literature,
throughout the ages. A transformative moment occurred during the Renaissance when
European artisans evolved into "artists" and became conscious of their role in a manner
that had never been true before. This period marked a significant shift in artistic
consciousness, where creators began to view themselves as more than mere craftsmen,
embracing a heightened sense of individual artistic expression and innovation. The
classical influence, with its emphasis on aesthetics, form, and intellectual exploration,
profoundly shaped the Renaissance and continues to resonate as a foundational source of
inspiration in the world of art.
5. Sacred oriental texts – The sacred texts of Hinduism, Buddhism, Confucianism,
Zoroastrianism, Jainism, and Islam have been influential subjects in various forms of art.
Artists have drawn inspiration from these profound scriptures to create visual
representations, sculptures, paintings, and other artistic expressions that capture the
spiritual essence and teachings contained within these texts. Whether depicting scenes from
the epics like the Ramayana and Mahabharata in Hinduism, illustrating the wisdom of the
Tripitaka in Buddhism, or embodying the ethical principles of Confucianism through visual
art, these sacred texts serve as a rich source of inspiration, guiding artists to convey the
depth and significance of these religious traditions in their creative endeavors.

Content in Art

24
 Content in art refers to the meaning or message that an artwork seeks to express or
communicate. It encapsulates the intended significance or emotional impact that the artist conveys
through the visual, auditory, or tactile elements of the artwork. The content serves as the underlying
narrative, theme, or concept that the artist wishes to share with the audience, inviting interpretation,
reflection, or emotional response. Whether it be a painting, sculpture, music, literature, or any
other form of artistic expression, the content is the essence that imbues the artwork with depth and
purpose.
In understanding the content of art, it is important to note that there are various levels of
meaning:

 Factual Meaning – pertains to the most fundamental level of interpretation, derived from
the identifiable or recognizable forms within the artwork. It involves comprehending and
making sense of the elements present in the artwork, as well as understanding the
relationships and connections between these components. At this level, the viewer extracts
meaning directly from the observable and concrete aspects of the artwork, such as
recognizable objects, shapes, colors, and their spatial arrangement. Factual meaning
provides a foundational understanding that forms the basis for more nuanced
interpretations of the artistic creation.
 Conventional Meaning – refers to the accepted interpretation of an artwork, relying on
motifs, signs, symbols, and other ciphers as the foundational elements of its significance.
These conventions are established through repetitive use and widespread acceptance
among both the general audience and scholars who engage in the study of art. Artists often
incorporate culturally recognized symbols or employ conventional visual language to
convey specific meanings in their works. The conventional meaning adds a layer of shared
understanding, allowing viewers to interpret the artwork within the context of established
artistic and cultural norms. This shared symbolism contributes to the collective
appreciation and comprehension of the artwork.
 Subjective Meaning – emerges when individual subjectivities are considered, leading to a
range of interpretations when engaging with a particular work. These meanings are shaped
by the viewer's or audience's personal circumstances, encompassing their knowledge,
learned experiences, and values. Unlike a singular, definitive meaning, subjective
interpretations of art can be multiple and varied. Each viewer brings their unique
perspective, emotions, and background to the artistic encounter, influencing the way they
perceive and derive meaning from the artwork. This subjective aspect of interpretation adds
richness and diversity to the overall understanding of a piece of art, acknowledging the
unique lens through which each person engages with the creative expression.

25