ART

SOUL  The immaterial

Artworks
essenceinorthis period principle of an individual life
animating
 A person’s
 Oceanic
totalArt
self(Pacific Islands)
 African Art (Sub-Saharan)
 The cultural consciousness or pride of a person
SPACE  Anarea;
The Aboriginal
a distance Artother
from (Australia)
people or things that a person needs in order
 Rock Art from
to remain comfortable; South-East Asia and the
Americasfor privacy or time for oneself
 An opportunity
BAHAY KUBO  Means country house
 From the Spanish work cubo –signifying the square or rectangular shape of
the house
 Termed nipa hut and was introduced during the American colonial era
BAHAY KUBO AS A REFLECTION OF THE FILIPINO SOUL
 This dwelling is typical for the Filipino concept of shared and limited privacy
 Follows the centuries-old Asian rural archetype of the single room dwelling
 Filipinos prefer a living space that is communal
 Friendly and accommodating
ART HISTORY

PRIMITIVE ART  Focused on creating both practical and beautiful artworks

 Often represents scenes of hunting and deities
 Often referred to the cultural artifacts of primitive people

EGYPTIAN ART Produced by the civilization in the lower Nile Valley

5000 BCE to 300 BCE
Sophistication in sculpture and painting was reached during this period
Goals of this period: life after death and preservation of knowledge
GREEK ART 1000 BC TO 323 BC
It’s all about the images of gods, humans, and heroes
Mirror themselves and the world, both real and imaginary
GREEK ART PERIODS
GEOMETRIC ART  Characterized by geometric
motifs in vase paintings
 Also known as the Greek Dark
Ages
 1100 to 800 BCE
ARCHAIC ART  Known for large-scale marble
kouros and kore sculptures
 Greek art became less rigidly
stylized and more naturalistic
HELLENISTIC ART  Generally taken to begin with
the death of Alexander the
Great
  Expansion of Greek influence
and dissemination
ROMAN ART  Greatly influenced by the Greeks
 Artworks include painting, marble, silver and bronze, terracottas, and gems
CHINESE ART  traced to 5000 B.C when Stone Age people made decorated objects of bones,
stones, and pottery
 In early times Chinese art often served as a means to submit to the will of
heaven through ritual and sacrifice
 The purpose of Chinese art turned from propitiation and sacrifice to the
expression of human understanding of these forces, in the form of painting
of landscapes, bamboo, birds, and flowers.
JAPANESE ART  Japanese art is considered as one of the greatest treasures of the world. The
period starts from the beginning of human settlements, in about 10,000 BC,
to the present
 Japanese art not unexpectedly bore the prejudices and tastes of the times. 
 Another pervasive characteristic of Japanese art is an understanding of
the natural world as a source of spiritual insight and an instructive mirror of
human emotion
 The range of Japanese visual art is extensive, and some elements seem truly
antithetical.
 Japanese art evolved unique techniques, traditions, and aesthetics as the
country’s artist were isolated from the rest of the world for centuries
 Japanese art was one of the inspirations for the Impressionist movement in
Europe and America
MEDEIVAL  Spans from 300 AD
PERIOD  Beginning of the renaissance
 Biblical subjects, Christian dogmas, and classical mythology
RENAISSANCE  Origins can be traced from 13th and 14th century
PERIOD  Influences of an increased awareness in nature, revival of classical learning,
and a more individualistic view of man
 Derived from the French word, renaissance, and the Italian word rinascità,
both meaning rebirth
 It was a period when scholars and artists began to investigate what they
believed to be a revival of classical learning, literature and art
MANNERISM  Predominated in Italy from the end of High Renaissance in the 1520s to the
beginnings of the Baroque style around 1590
 Derived from the Italian word manierismo from maniera which means style
or manner
 Originated in Florence and Rome
BAROQUE  An art history that began from 17th to the 18th century
 Origin was in Italy
 Flourished in the visual arts (painting, sculpture, architecture)
RACOCO  A style in interior design
 Includes decorative arts
 Began in Paris in the 18th century
 Derived from the French word rocaille –denoted the shell-covered rock that
was used to decorate artificial grottoes
NEO-CLASSICISM  First developed in Rome in the 18th century
 Revival of the classical past
  There was increased fascination and curiosity for antiquity
ROMANTICISM  This form of art is an attitude or intellectual orientation
 Observed as a precepts of order, calm, harmony, balance, idealization, and
rationality
REALISM  An artistic movement
 Rejected the dominated French literature and art of Romanticism
 Real contemporary people and situation is what realists sought to portray
IMPRESSIONISM  Derived from French impressionnisms
 A French 19th century art movement which marked a momentous break from
tradition in European painting.
 a style in which the artist captures the image of an object as someone would
see it if they just caught a glimpse of it
 They paint the pictures with a lot of color and most of their pictures are
outdoor scenes
 Edouard Manet, influenced the development of impressionism
POST-  As an art movement, it concentrated on the artists’ subjective vision
IMPRESSIONISM  Artists’ opted to evolve emotions rather than realism
 Became a window into the artists’ mind and soul
SYMBOLISM  Also known as synthetism
 Showed a preference for feeling over intellectualism
 both an artistic and a literary movement that suggested ideas through
symbols and emphasized the meaning behind the forms, lines, shapes, and
colors
 Symbolist subject matter is typically characterized by an interest in the
occult, the morbid, the dream world, melancholy, evil, and death.
NOUVEAU  an artistic movement which peaked in popularity between 1890 and 1905
 practiced in the fields of art, architecture and applied art
 French term meaning new art
 Characterized by organic and plant motifs as well as other highly stylized
forms.
FAUVISM  style of painting that flourished in France around the turn of the 20th century
 Fauve artists used pure, brilliant color aggressively applied straight from the
paint tubes to create a sense of an explosion on the canvas
 valued individual expression
EXPRESSIONISM  emerged in Germany as a reaction to the more passive style of
Impressionism
 artistic style in which the artist seeks to depict not objective reality but rather
the subjective emotions and responses that objects and events arouse within a
person
 highly subjective, personal, spontaneous self-expressionism
 distortion and exaggeration for emotional effect was used during this period
CUBISM  Dated from 1907-1912.
 It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque
(French, 1882–1963) in Paris between 1907 and 1914.
 A movement that used techniques and ideas.
 Perspective which was used to depict space since the renaissance was
abandoned.
 Turned away from the realistic modeling of figures.
 Rejects the concept of nature.
  Wanted to emphasize two dimensional canvases, mainly composed of
geometric forms mostly lines.

FUTURISM  Originated in Italy.

 Italian word Futurismo
 Artistic and social movement in the early 20th Century
 Focused on the progress and modernity
 Sweep away modern traditional artistic notions
 Replaced with an energetic celebration of the machine age
 Emphasized speed, technology, youth, violence, and objects such as the car,
the airplane, and the industrial city

DADAISM  Invented by refugee artist and intellectuals from European capitals

 Started in mid-1910s in Switzerland and across Europe and into United
States
 Safe haven for many writers during WWI
 Influenced by Cubism, Futurism and Expression
 Proponents of unjust and senseless war
 Made its way to the world through art manifestoes, literature, poetry and
graphic designs and the visual arts
 Anti-bourgeois and anti-politics art movement
 Hugo Ball – a writer and founder of dada
SURREALISM  Emphasis on positive expression
 Formed in 1917 in Europe between WWI and WWII
 Cultural movement
 Reaction against destruction brought about by rationalism
 Best known for its visual artworks and writings
 Characterized by dream-like visuals, the use of symbolism, and collage
images
CONSTRUCTIVISM  Last and most influential modern art movement to flourish in Russia in the
20th century.
 Founded by Alexander Rodchenko, Vladimir Tatlin and 25 other artists
 Rejected the idea of autonomous art
 Artistic and architectural philosophy that originated in Russia beginning in
1913
 It evolved just as the Bolsheviks came to power in the October Revolution of
1917
 Acted as a lightning rod for the hopes and ideas of many of the most
advanced Russian artists who supported the revolution's goals.
 Its goal is to "construct" thereby emphasizing on building and science, rather
than artistic expression
DE STIJL  Originated in Holland in 1917
 Sought law of equilibrium and harmony applicable both to art and to life
 Worked on abstract style
 the Dutch developed a style with proposed ultimately simplicity and
abstraction through which they could express a Utopian idea of harmony and
order
ABSTRACT  An art movement developed in New York
EXPRESSIONISM  developed by American painters such as Jackson Pollock, Mark Rothko and
 Willem de Kooning in the 1940s and 1950s
 inspired by the surrealist  idea that art should come from the unconscious
mind
OPTICAL ART  Comprised of illusion and often appears to the human eye to be moving
 mid-20th-century
 Geometric Abstract art
 Achieved through the systematic and precise manipulation of shapes and
colours
POP ART  A reaction to the seriousness of Abstract Experiment Art
 Primarily characterized by an interest in popular culture and imaginative
interpretations of commercial products, the movement ushered in a new and
accessible approach to art
DA VINCIAN PRINCIPLES
CURIOSITA  An insatiably curious approach to life and an unrelenting quest for
continuous learning
 asking questions, seeking information
 2 QUESTIONS:
 How come?
 What if?
 WAYS TO CAPTURE CURIOSITA:
 A hundred questions
 Ten power questions
 Daily themes
DIMOSTRAZIONE  A commitment to test knowledge through experience, persistence, and a
willingness to learn from mistakes
 scientific experimentation; learning by trial and error; sports or arts practice
 experience is the best teacher
 WAYS TO CAPTURE:
 Find your greats
 Be the devil’s advocate -a person who advocates an opposing or
unpopular cause for the sake of argument or to expose it to a
thorough examination
SENSAZIONE  The continual refinement of the senses, especially sight as a means to enliven
experience
 Observation, visual exercises
SFUMATO  “Going up in Smoke”
 A willingness to embrace ambiguity, paradox, and uncertainty
 enjoying uncertain book or film ending; research
 WAYS TO CAPTURE:
 Stop googling.
 Embrace your ambiguity.
 Cultivate confusion endurance
ARTE/SCIENZA  The development of the balance between science and art, logic and
imagination; whole-brain thinking
 liberal arts education; scientific research about arts; graphic arts
 WAYS TO APPLY:
 Learn the rules of mind-mapping
 Practice your mind-mapping skills
CORPORALITA  The cultivation of grace, ambidexterity, fitness, and poise
 physical practices: sports, yoga, dance
  WAYS TO CAPTURE:
 Develop a fitness program.
 Develop body awareness.
 Get on a sleep schedule.
 Cultivate ambidexterity –the ability to use both hands
CONNESSIONE  A recognition of and appreciation for the interconnectedness of all things and
phenomena
 systems networks, spiritual/meditative practices
 WAYS TO APPLY:
 Look at things that at first glance seem unrelated and find different
ways to link them
 Imaginary dialogues
 Origin-all thinking
 WAYS TO CAPTURE:
 Book outline
 3 objects