MODULE 1: Unit 3 Subject and Content in Art

Are subject and content in art the same? Some people use these terms interchangeably.
Hence, to clarify the issue on the reference of these terms, this module will provide you with
the necessary tools to distinguish subject from content of art. The activities prepared are
designed to help you get acquainted with various art subjects, classifications as well as the
methods in representing them. You will also be guided in exploring the messages
intertwined with the different levels of meaning found in art. Your journey to art subject and
meaning begins. Have fun!

At the end of the unit, you should be able to:

• Classify artworks based on the kinds/sources of subject and methods used; and
• Analyze the content of an artwork in terms of its factual, conventional, and
subjective meaning

Study the painting by the National Artist Vicente Manansala

then answer the given questions.

1. What does each painting depict?

A B
Luksong-Tinik (Jumping over Thorns) Convergence
by Vicente Manansala by Jackson Pollock
Artwork Dimensions: 31x28 in. (78 x 68 cm.) Artwork Dimensions: 93.5 inches by 155 inches
Medium: oil on canvas Medium: oil on canvas
Creation Date: 1973 Signed Creation Date: 1952
Source: wikiart.org Source: lampsusa.com

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2. Are the images realistic or not? Explain your answer.

A B
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The Luksong Tinik of Vicente Manansala portrays children playing in the familiar
Filipino game of luksong- tinik where the youthful participants use their hands to form a
spine of thorns over which another child has to leap. As you can see, the images are
evident through the concrete appearance of three players. Two are seated on the
ground, their right feet slightly raised to touch the other’s feet. Their raised feet serve to be
the base for the spine of thorns formed by their hands. Leaping to cross over the “spine of
thorns” depicts the action of the third participant in the said game.

In the second painting, do you perceive any object, shape or figure that is
representational of anything found in reality? If the images presented in the first painting
were recognizable, you might have found the Convergence to have no such perceptible
objects. Accordingly, his painting is a collage of colors splattered on a canvas that
created masterful shapes and lines evoking emotions and attacking the eye.

The perceptibility of the images depicted in the two paintings differs because the
types of subject the paintings represent also differ. Luksong Tinik is an example of
representational subject of art and the Convergence exemplifies a non-representational
type of subject. To guide you in understanding further the subject of art, read the notes
provided for you.

Understanding the subject and content in art is one of the

steps to art appreciation. Read further to know more about
the kinds of subjects, the sources of subject, and the content
in art.

What is subject in art?

• Subject in art refers to any person, object, scene or event described or represented
in a work of art.
• The definition of the subject in art refers to the main character, object, or anything
else that is presented as the main focus in the work of art.
• The subject can appear in the center of the piece, or in any other part of it, but it is
always the most recognizable thing in the entire work of art, regardless of its size.
• To a majority of people, the appeal of most works of art lies in the representation of
familiar objects.

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General Types of Subject in Art

Representational art or figurative art represents objects or events in the real

world, usually looking easily recognizable; refers to artworks—particularly
paintings and sculptures–that are clearly derived from real object sources,
and therefore are by definition representing something with strong visual
references to the real world.

Non-representational art is a work that does not depict anything from the
real world; may simply depict shapes, colors, lines, etc., but may also
express things that are not visible– emotions or feelings for example. Non-
representational art is basically about lines, shapes, colors and can even
be splotches, paint drips or paint splatters. It is art that is not trying to
represent reality like an image of a cat, a face or a landscape.

Subjects can also be categorized as representational abstraction and non-

representational abstraction.

Abstraction indicates a departure from reality in the depiction of imagery in art.

Abstraction exists along a continuum; abstract art can formally refer to compositions that
are derived (or abstracted) from a figurative or other natural source. It can also refer to
nonrepresentational art and non-objective art that has no derivation from figures or
objects.

A | Vincent Van Gogh’s Self-portrait, 1889 B | Pablo Picasso’s Self-portrait, 1907

• Both self-portraits A and B are examples of representational abstraction because they do

not depict real representation of the artists’ faces even though they are recognizable.
• Self-portrait A briefly depicts something easily recognized by most people as van Gogh’s
image.
• Portrait (B) may be far from a close resemblance of his facial features, but any viewer can
perceive every part of his face and shoulders even if the whole portrait appears to be
cubist.

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• Self-portrait C has almost no direct resemblance to a

face, a head, or really any literal subject matter. It
represents him somehow, but it is not
representational of him. Thus, his work is an example
of non-representational abstraction.

Kinds/Sources of Subjects

If you need some ideas and inspiration,

remember that subjects in art can be anything you
want them to be - whatever your imagination conjures
up. The most important thing is to choose a subject
matter that interests you - something that you can
happily immerse yourself in while working on your
piece.
C | Lajos Vajda Self-portrait, 1937

• Still Lifes
− These are groups of inanimate objects arranged in
an indoor setting (flower and fruit arrangements,
dishes food, pots and pans, musical instruments
and music sheets). The arrangement is like that to
show particular human interests and activities.

− The still lifes of Chinese and Japanese painters

usually show flowers, fruits and leaves still in their
natural setting, unplucked from the branches.

− Today, focus is on the exciting arrangement and

combinations of the object’s shapes and colors. Source: amazon.com

• Animals
− 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.

− The carabao has been a favorite subject of

Filipino artists.

− The Maranaws have an animal form of sarimanok

as their proudest prestige symbol.

− Animals have been used as symbols in Source: facebook.com/Lopez.Museum

.Library
conventional religious art.

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• Portraits/Portraitures
− People have always been intrigued by the
human face as an index of the owner’s
character. As an instrument of expression, it is
capable of showing a variety of moods and
feelings.

− It is a realistic likeness of a person in sculpture,

painting, drawing or print but it need to be a
photographic likeness. A great portrait is a
product of a selective process, the artist
highlighting certain features and de-
emphasizing others.

− Besides the face, other things are worth noticing

in portraits are the subject’s hands, which can
be very expressive, his attire and accessories for
it reveals much about the subject’s time.

− Statues and busts of leaders and heroes were

Source: circlelo.com
quite common among the Romans but it was
not until the Renaissance that portrait painting became popular in Europe.

− Many artists did self portraits. Their own faces provided them unlimited opportunities
for character study.

• Figures
− The sculptor’s chief subject has traditionally
been the human body, nude or clothed. The
body’s form, structure and flexibility offer the
artist a big challenge to depict it in a variety of
ways, ranging from the idealistic as in the
classical Greek sculptures to the most abstract.

− The grace and ideal proportions of the human

form were captured in religious sculpture by the
ancient Greeks. To them, physical beauty was
the symbol of moral and spiritual perfection; thus
they portrayed their gods and goddesses as
possessing perfect human shapes.

Source: philippefaraut.com

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• Everyday Life
− Artists have always shown a deep concern
about life around them. Many of them have
recorded in paintings their observation of
people going about their usual ways and
performing their usual tasks.

− Genre Paintings depicting everyday life

representations of rice threshers, cockfighters,
candle vendors, street musicians and children at
play.

Saatchi art by Nadia Tsakova

• History and Legend

− History consists of verifiable facts,

legends of unverifiable ones, although
many of them are often accepted as true
because tradition has held them so far.
Insofar as ancient past is concerned, it is
difficult to tell how much of what we know
now is history and how much is legend.
Bonifacio Monument Designed by Guillermo Tolentino
Source: faq.ph
− History and Legend are popular
subjects of art.

− While many works may not be consciously done historicalrecords, certain

information about history can be pieced from them. The costumes and accessories,
the status symbols, the kinds of dwellings or the means of transportation.

− Malakas and Maganda and Mariang Makiling are among the legendary subjects
which have been rendered in painting and sculpture by not a few Filipino artists.

• Religion and Mythology

− Art has always been a handmaiden of Religion.
Most of the world’s religions have used the arts to
aid in worship, to instruct, to inspire feelings of
devotion and to impress and convert
nonbelievers.

− The Christian Church commissioned craftsmen to

tell the stories about Christ and the saints in
pictures, usually in mosaics, murals and stained
glass windows in churches. It also resorted to the
presentation of tableaux and plays to preach and
teach. Birth of Venus Tempera on canvas
by Italian artist Sandro Boticell

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− Some religions however, forbid the

representation of divinity as human beings or
animal forms, although they allow the use of
some signs or symbols in their place. Pictures of
God, human beings, or animals are forbidden in
Judaism and Islam because people might
worship the images themselves

− Other religions have taught that a god

Egyptian god, Anubis depicted as a jackal
may sometimes assume human or other visible
forms. Thus he is distinguished from human
beings by a halo, wing, or a darker complexion, or by the use of some attributes:

• The ancient Egyptians portrayed their gods as part human and part animal
• The ancient African tribes distorted their god’s features
• Among the Hindus, Shiva is shown as a four-armed god
• Buddha, is symbolized by his footprints or a wheel

• Dreams and Fantasies

− Dreams are usually vague and illogical. Artists
especially the surrealists have tried to depict
dreams as well as the grotesque terrors and
apprehensions that lurk in the depths of the
subsconscious.

− A dream may be lifelike situation. Therefore, we

would not know if an artwork is based on a dream
unless the artist explicitly mentions it. But if the
picture suggests the strange, the irrational and the Fantasy art by Jeremiah Morelli

absurd, we can classify it right away as a fantasy or dream although the artist may
not have gotten from the idea of a dream at all but the workings of his imagination.

− No limits can be imposed on an artist’s imagination.

• Landscapes or Seascapes
− Landscapes feature natural
scenery such as mountains, cliffs, rivers,
etc.
− Seascapes present the horizon or
underwater environments.

Sunflower and Lavender Field by Mona Edulesco

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Because of art’s continuous expansion in terms of genre and kinds, other types of
subject have been recognized.

Source: artranked.com Source: guardian.com

Visionary art involves simplification and/or Cityscape are images found in the city such
rearrangement of natural objects to meet as buildings, transportation, and other
the needs of artistic expression structures

Methods of Presenting Art Subject

In the previous discussions, you were presented what subject of art is and the
difference between representational and non-representational art. You were also
provided the list of the different kinds of subjects with the examples. Now, you are ready to
deepen your understanding of the subject of art by delving into the ways by which a
subject in art is presented.

The manner of representing subjects varies according to the intent and

inventiveness of each artist. Familiarize yourselves with the different characteristics of the
methods. Then determine how the methods are applied on the sample art works.

• Realism – when things are depicted in the way they would normally appear.
It depicts what the eyes can see, what the
ear can hear, what the sense faculty may
receive. Example was the painting of Zeuxis,
5th century painter. The subject of his
painting was a grape. When he unveiled his
painting of grapes, they appeared so real,
luscious and inviting that the birds flew down
from the sky to peck at them.
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Still life with Four Bunches of Grapes, Juan Fernandez’ el
Labrador, ca 1936, Museo Del Prado

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• Abstraction – the process of simplifying and/or reorganizing objects and elements

according to thedemands of the artistic expression
The artist does not show the subject at all as
an objectivel reality,but only his idea, or his
feeling about it (exaggerated emotionalism).
It is all about what the artists feel and what
mood they might want to portray.

Abstract art is all shapes, no real-life images,

scenery, or objects.
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Abstract on the Go 006 18x24 Acrylic on Canvas by
Filipino artist, Buboy Dinapo

• Symbolism – Artists systematically use symbols to concentrate or intensify meaning,

making the work of art more subjective (rather than objective) and conventional.
For example, a flag is a symbol of a country
and it depicts the value of nationalism; a lion
to represent courage and a lamb to
represent meekness. The logos and emblems
of business firms and the coat of arms of
bishops are also examples of symbolism.

In archiecture, the most consistent symbolic

forms have been the dome, the tower, the
stairway, the portal, and the colonnade.
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US Capitol Building, Washington DC,Britannica.com/
architecture

• Fauvism – derived from the French “les fauves,” which means “the wild beasts.”
It is an artistic movement of the last part of
the 19th century which emphasized
spontaneity and use of extremely bright
colors. To a fauvist, for example, a tree trunk
need not be brown. It could be bright red,
purple or any other color.
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Les toits de Collioure of Henri Matisse, 1905
Oil on Canvas 59.5 cm × 73 cm (23.4 in × 29 in)

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• Dadaism – a system of art which is per se “nonsensical.” )

It is a reaction to what people believed were
outworn traditions in art, and the evils they
saw in society. It tried to shock and provoke
the public with outrageous pieces of writing,
poetry recitals and art exhibitions.
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Giuseppe Arimboldo and his piece, "Vertumnus" (1590 -
1591)

• Futurism – presented as a modernist movement celebrating the technological, future

era.
The car, the plane, the industrial town were
representing the motion in modern life and
the technological triumph of
man over nature.
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Donald Davis’ Shaped Space Coony, 1970

• Surrealism – known as “super realism,” which revolves on the method of making

ordinary things look extraordinary.
It focuses on real things found in the
imagination or fantasy or it has realistic
subjects that are found in the unconscious
mind; depicting dreamlike images of the
inner mind.
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Beatriz Susana Zobel de Ayala by Filipino artist,
AndresBarri-oquinto

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• Impressionism – also sometimes referred to as optical realism due to its interest in the
actual viewing experience,
including such things as the effect of color,
light and movement on the appearance of
the objects depicted in the artworks.

Impressionism focused on directly describing

the visual sensations derived from nature.
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Poppies of Claude Monet, 1873

Forms of Abstraction

There are several ways to present art subjects through abstraction. Below is a list of
these forms and a short description of each. A more detailed discussion about abstract art
is provided in the next module.

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In order to allow the viewer to easily understand an artwork

beyond what is perceived as subject, there are components or
clues that mediate between him and the artwork. The subject of
art you recently learned contributes in drawing the message
conveyed by any piece of art. This time, you will use your
understanding of the kinds of subject in extracting meaning or making meaningful
connections with art.

Art is everywhere. We can see them in the park, street, walls, buildings, and the
like. We can simply look at it and say “I like it”. or Ï don’t like it”. We have
predetermined notions about it, but if we try to stop for a moment and take a deep
breath, we might see some details that we haven’t noticed before. We might be able
to absorb those details if we try to slow down a bit and see how these works of art are
connected to our personal lives.

Having the skills of seeing, perceiving, asking, reflecting, and knowing (SPARK),
you would be able to understand the meaning of any work of art. Content in art refers
to the meaning or message that is expressed or communicated by the artwork. These
may be communicated feelings, reactions, and ideas connected with the subject
(Ryall, 2009).

In understanding the content of art, it is important to note the various levels of

meaning (Ortiz, 1978).

Factual Meaning is the literal statement of the work because of

the recognizable figures or images.

Conventional Meaning refers to a special meaning that a figure,

color, line or image has to a specific group or culture.

Subjective Meaning stems from the viewer’s or audience’s

circumstance that comes into play when engaging with art (what
we know, what we learned, what we experienced, and what
values we stand for). When subjectivities are consulted, a variety
of meanings may arise when a particular work of art is read. Thus,
meaning may not be singular, rather multiple and varied.

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To illustrate this, let’s take a look at the painting, Creation of Adam of

Michelangelo in 1814.

Source: smithsonianmag.com

This narrates a story in the Bible, thus, its subject is biblical art. In terms of its
factual meaning, literally it shows a creation story or the creation of man. This idea is
extracted from the identifiable and recognizable forms, elements, or images (naked
Adam reclining, background, God surrounded angels and floating, etc.) In terms of
conventional meaning, man is created in the image and likeness of God. This kind of
interpretation has been acknowledged by many viewers and scholars. The likeness of
the actors in the painting, leveling and other symbols contribute to this type of
meaning. Lastly, the subjective meaning is the endowment of intellect to man from
God. Michelangelo’s painting shows God is bestowing Adam with the gift of the intellect
and that it is by using this great gift that man may reach his highest potential and bring all
things his mind develops into creation.

In identifying content, elements and form play important roles in bringing out what the
viewers should feel and how they experience these works of art. The conveyed messages
of these artworks come from the analysis of all their compositions.

In order to understand and apply this concept in the next part

of the lesson, watch the analysis done by Dr. Steven Zucker and
Dr. Beth Harris in Goya’s Third of May in 1808. Visit this link below
and pay attention to how they interpret the compositions of
the painting leading to its conveyed message.

https://www.youtube.com/watch?v=_QM-DfhrNv8

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After watching the video, write down three (3) images that contribute to the subjective
meaning of the painting and what these images stand for.

Images Meanings
1. ___________________________ ________________________________________________________
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2. ___________________________ ________________________________________________________
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3. ___________________________ ________________________________________________________
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You are now equipped with the vital information you will need
for the task of studying an artwork that is appealing to you. Be
mindful that this task will be a preliminary one for the next
evaluative task in Module 2.

Guidelines:
1. Choose an artwork (painting, drawing, sculpture or photograph) that interests you. It
may be an art piece that you see around you or something that you have seen on the
internet. Make sure that you choose an art piece that presents one (1) of the following
art subjects:
● portrait/portraiture
● figures
● everyday life
● history and legend
● religion and mythology

Also, choose an art piece that you can photo appropriate in which you become
the subject or part of the subject of the artwork (this is the next task in Module 2).

2. Take a photo of the art piece if you see it around you OR download the image of the
artwork if you have seen it on the internet but do not forget to give credit and note
your source.

3. Determine what method is used in presenting the art subject.

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4. Provide the factual, conventional, subjective meanings of the artwork. Explain the
meanings in two to three (2-3) sentences. Use the factual meaning as the foundation
for the conventional and subjective meanings.

5. Make sure to state the images/objects, symbols, colors, and other visual elements that
help you come up with those meanings.

*** Output will be integrated on the next EVALUATE task in MODULE 2.

References:
Antliff, M. & Leighten (2008) P. Sur quelques peintre, Les Marches du Sud-Ouest, June 1911,
pp. 57-64 in A Cubism Reader, Documents and Criticism, 1906-1914, The University of
Chicago Press. Arsology. Retrived from https://artsology.com/emotion-in-art.php
"Constructivism". Tate Modern. Retrieved 9 April 2020. https://www.tate.org.uk/art/art-
terms/c/constructivism
Dela Cruz, M. (2014). Functions of Art (PPT) Retrieved from
https://www.slideshare.net/dennismarkdelacruz/functions-of-art
Hasso, J. Social Protest in Art History, Harold Washington College, Triton College
Ingram, C. (2019). Art criticism steps for inspired art connections and conversations.
Retrieved from SPARK Distance Learning Art Curriculum Website:
https://artclasscurator.com/art-criticism-steps/
Kuczynski, P. (2004). Satirical painting [Painting]. Retrieved from
https://digitalsynopsis.com/inspiration/36-thought-provoking-paintings- pawel-
kuczynski
Luna, J. (1884). Spolarium [Painting]. Retrieved from
https://commons.wikimedia.org/wiki/File:Spolarium.jpg
Michelangelo. (1814).The Creation of Adam [Painting]. Retrieved from
https://www.thinglink.com/scene/652185222174998529
Purposes and Functions of Art. Retrieved from https://slideplayer.com/slide/7273383/
Rayans, R. (2005). Art Talk (4th Ed.) Glencoe, Mc Graw Hill. CA. ISBN 0-07830599-3
Reading: Purpose of Art. OER Services. Retrieved from
https://courses.lumenlearning.com/suny-masteryart1/chapter/oer-1-2/
Sachant, P. (Ed). Introduction to Art: Design, Context and Meaning. University of North
Georgia Press, Georgia. ISBN 978-1-940771-29-8
Zucker S.and Harris, B. (2015, July 26). Art historical analysis using Goya’s Third of
May. Retrieved from https://www.youtube.com/watch?v=_QM-DfhrNv8
The Old Filipino Tradition of Tribal Tattoos by Ethnic Groups Philippines
Zulueta, L. (2016). Top 4 contemporary art works for your Easter reflection. Philippine Daily
Inquirer. Retrieved from https://lifestyle.inquirer.net/225595/top-4-contemporary-art-
works-for-your-easter-reflection/
https://differencebtwn.com/what-is-the-difference-between-subject-and-content
https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-4/
https://www.youtube.com/watch?v=0P7E01VdPYk
https://arthearty.com/understanding-nonrepresentational-art-with-examples
https://kirstenleithviscom.wordpress.com/2013/03/01/comparing-old-and-original-art-
movements-surrealism/
https://mix106radio.com/he-says-his-ex-is-art-opp/

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