REF No.

: DO-WMCG- 035-2020
COLLEGE OF ARTS AND
Status : Initial
SCIENCES
Date Issued : June 2020

MODULE CONTENT GUIDE

Prepared By: ERLIE JANE SUGANOB Noted By: DR. MARILOU H. MELLA -Dean
Week 1 Term: 1st Semester: 1st Academic Year: 2020-2021
Subject Code: GE 106 Course Title: Arts Appreciation
COURSE DESCRIPTION:

I. COURSE INTENDED LEARNING OUTCOMES (CILO)

At the end of the course, the students should be able to:
1. Articulate the SJIT LPVM and Core Values ;
2. Identify, define, and discuss the visual elements and principles of design and their use in art and visual communication
3. Define “art” within the context of the ongoing discussion about its meaning
4. Recognize essential concepts in methods of visual analysis
5. Identify and explain the periods of art history; identify and discuss period artworks;
6. Examine the materials, processes, and techniques used in the making of art;
7. Evaluate and utilize resources to research information about the arts.
II. COURSE GUIDE (course rules/instructions, Coverage inclusion Dates/schedule, grading criteria)
The entire course covers 8 weekly modules with specific content topics. Students are expected to fully learn the lessons and achieve the
intended learning outcomes. Two big examinations; midterm and finals for term classes and 4 big examinations for full term classes;
Prelim, midterm, semi-final and final examinations. Quizzes, class activities, oral participations, speeches, and assignments are given to
supplement students’ learning. Schedule of examinations are posted in the bulletin boards.
1st Term Schedule 2nd Term Schedule
Inclusive Dates Week Details Inclusive Dates Week
August 17-22, 2020 Week 1 October 19-24, 2020 Week 1
August 24-29, 2020 Week 2 October 26-31, 2020 Week 2
September 1-5, 2020 Week 3 November 3-7, 2020 Week 3
September 7-12, 2020 Week 4 Prelim / Midterm Exams November 9-14, 2020 Week 4
September 14-19, 2020 Week 5 November 16-21, 2020 Week 5
September 21-26, 2020 Week 6 November 23-28, 2020 Week 6
September 28-October 3, 2020 Week 7 December 1 – 5, 2020 Week 7
October 5-10, 2020 Week 8 Midterm / Final Exams / Submission December 7 – 12, 2020 Week 8
and/or compliance of Requirements
October 12-17, 2020 - Term Break

The grading criteria for the assessment of student competence or performance includes the following:

Quizzes/Assignments 25%
Class Activities/Laboratory Output 35%
Periodic Examination 40%
Total 100%
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Identify and describe the difference between form and content as used in art;
2. Identify and define the five elements of design;
3. Identify and distinguish how the principles of design are used to visually organize the elements of design; and
4. Distinguish between representational (realistic), abstract, and nonrepresentational (or non-objective) imagery
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
TOPIC I : Form and Content
 Why It Matters
 Reading: Formalism and Content
 Video: Introducing Formal Analysis: Landscape
TOPIC II : Elements of Design
 Reading: Artistic Elements
 Videos: Elements of Art
TOPIC III : Principles of Design
 Reading: Artistic Principles
TOPIC VI : Types of Representation
 Reading: Representational, Abstract, and Nonrepresentational Art
 Putting It Together
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
Interactive class discussion
Oral recitation/ Question and answer
Brainstorming by group
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
Summative Written Quizzes
Big examinations
Graded oral recitation ( available rubrics)
1
This module is a property of Saint Joseph Institute of Technology (SJIT). The term module refers to an instructional material that focuses on a specific course. Details
and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Essays
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
Answer the following:
1. Why art matters?
2. What are the purposes of art?
Read: Defining Art from the Medieval Period to Renaissance
VIII. REFERENCES
 Artistic Elements. Authored by: Christopher Gildow (2018)
 Teens talk about Picasso's Les Demoiselles d'Avignon (2016)

WHY IT MATTERS

Introduction
Whether an artist creates two-dimensional or three-dimensional art, works in a traditional medium like
painting, or makes art using the latest technology, all artists use the same basic visual building blocks of
form (elements) and strategies of visual organization (principles) to achieve visual unity.

In this section you will learn about the differences between form and content and be introduced to the
basic elements and principles of design. You’ll also learn about types of representation in art. All of
these concepts are integral to formalism, which is a method of studying artwork by analyzing and
describing it in purely in terms of visual effects.

Check out this video for a quick introduction to formalism:

Watch this video online: https://youtu.be/72cGGeVwd2g

Take a look at Picasso’s painting, Guernica, completed in 1937. At first glance it’s an incredibly busy and
complex arrangement of forms. How can formalism be used to provide compositional understanding of
this work? How can it be used to analyze and describe the arrangement of forms and how they
contribute to a viewer’s experience and interpretation of the painting? Read on, and you’ll find out.

FORM AND CONTENT

READING: FORMALISM AND CONTENT

This is an overview of some important terms related to writing about and discussing art. The term
formalism comes from critical art theory, which resembles “aesthetics discussion.” Content is one
aspect of the artwork. This will also touch on point of view (POV), which is an important factor as we
look at and discuss artworks.

Viewing Art
Personal Level
When we are looking at art, when we find or “run into” an artwork or exhibition, we typically have an
initial response or impression. This response to what we see (or hear, etc.) is formed by a lifetime of
knowledge and experience and the culture and time in which we live. The expression “Beauty lies in the
eye of the beholder” gets at the subjective and personal nature of perception—and of the “first
impression,” in particular. There’s nothing wrong with one’s first impression or response—it is, after all,
a personal response. It’s your point of view.

Formal Analysis

2
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 Formal analysis is a close and analytical way of looking at and discussing a work of art. It includes
describing the work in terms of various design elements, such as color, shape, texture, line, lighting,
mass, and space, as well as a discussion of how those elements have been used (the design principles).
Formal analysis moves beyond description of the artwork and its content by linking the elements of the
work to the effects that they have on the viewer. This is discussion of the artwork from the point of view
of “here is the artwork, and this is what I see and can make sense of . . .” Formal analysis uses art
terminology to consider the effects of an artwork the viewer (you), and it’s a process that enables us to
think about and consider the overall meaning of the artwork.

NOTE: Formal analysis does not use or require research and is based on your POV. The more informed
you are, the deeper your analysis will go—but that depth depends on experience and knowledge, not on
research.

Content
Content is simply the the subject matter of an artwork. It’s the images you see—like the trees in a
painting of a forest, or the town, the sky, and the moon in Van Gogh’s Starry Night. Content can play a
role in formal analysis, but the content aspect is less important than the “artwork” aspect.

VIDEO: INTRODUCING FORMAL ANALYSIS:

LANDSCAPE

ELEMENTS OF DESIGN

The learning activities for this section include:

• Reading: Artistic Elements
• Videos: Elements of Art

READING: ARTISTIC ELEMENTS

The Point
A is the visual element upon which all others are based. It can be defined as a singularity in space
or, in geometric terms, the area where two coordinates meet. When an artist marks a simple point on a
surface, (also referred to as the ground), they immediately create a figure-ground relationship.
That is, they divide the work between its surface and anything added to it. Our eyes differentiate
between the two, and their arrangement has everything to do with how we see a final composition. The
point itself can be used as a way to create forms. For example, Pointillism is a style of painting made
famous by the French artist Georges Seurat in the late nineteenth century. He and others in the
Pointillist group created paintings by juxtaposing points—or dots—of color that optically mixed to form
lines, shapes and forms within a composition. Look at a detail from Seurat’s La Parade de Cirque to
see how this works. His large canvas Sunday Afternoon on the Grande Jatte is a testament to the
pointillist style and aesthetic. Its creation was a painstaking process but one that generated new ways of
thinking about color and form.

3
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and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Georges Seurat, La Parade de Cirque, detail, 1887-89. The
Metropolitan Museum of Art, New York. CC BY-SA

Definitions and Qualities of Line

Essentially, when you put two or more points together you create a line. A line can be lyrically defined as
a point in motion. There are many different types of lines, all characterized by their length being greater
than their width. Lines can be static or dynamic depending on how the artist chooses to use them. They
help determine the motion, direction and energy in a work of art. We see line all around us in our daily
lives; telephone wires, tree branches, jet contrails and winding roads are just a few examples. Look at
the photograph below to see how line is part of natural and constructed environments.

Photo by NASA. CC BY-NC

In this image of a lightning storm we can see many

different lines. Certainly the jagged, meandering lines of
the lightning itself dominate the image, followed by the
straight lines of the light standards, the pillars holding up the overpass on the right and the guard rails
attached to its side. There are more subtle lines too, like the gently arced line at the top of the image
and the shadows cast by the poles and the standing figure in the middle. Lines are even implied by
falling water droplets in the foreground.

The Nazca lines in the arid coastal plains of Peru date to nearly 500 BCE were scratched into the rocky
soil, depicting animals on an incredible scale, so large that they are best viewed from the air. Let’s look
at how the different kinds of line are made.

Diego Velazquez’s Las Meninas from 1656, ostensibly a portrait of the Infanta Margarita, the daughter
of King Philip IV and Queen Mariana of Spain, offers a sumptuous amount of artistic genius; its shear size
(almost ten feet square), painterly style of naturalism, lighting effects, and the enigmatic figures placed
throughout the canvas–including the artist himself –is one of the great paintings in western art history.
Let’s examine it (below) to uncover how Velazquez uses basic elements and principles of art to achieve
such a masterpiece.

Diego Velazquez, Las Meninas, 1656, oil

on canvas, 125.2” x 108.7”. Prado, Madrid.
CC BY-SA

Are those that are physically present. The edge of the wooden
stretcher bar at the left of Las Meninas is an actual line, as are
the picture frames in the background and the linear decorative
elements on some of the figures’ dresses. How many other
actual lines can you find in the painting?

mplied lines are those created by visually connecting two or

more areas together. The space between the Infanta Margarita—the blonde central figure in the
composition—and the meninas, or maids of honor, to the left and right of her, are implied lines. Both
set up a diagonal relationship that implies movement. By visually connecting the space between the
heads of all the figures in the painting we have a sense of jagged motion that keeps the lower part of the
composition in motion, balanced against the darker, more static upper areas of the painting. Implied
lines can also be created when two areas of different colors or tones come together. Can you identify
more implied lines in the painting? Where? Implied lines are found in three-dimensional artworks, too.
The sculpture of the Laocoon below, a figure from Greek and Roman mythology, is, along with his sons,
being strangled by sea snakes sent by the goddess Athena as wrath against his warnings to the Trojans
not to accept the Trojan horse. The sculpture sets implied lines in motion as the figures writhe in agony
against the snakes.

4
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and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Laocoon Group, Roman copy of
Greek original, Vatican
Museum,
Rome. Photo by Marie-Lan
Nguyen. CC BY-SA

S provide structure to a composition. They can be oriented to the horizontal, vertical, or

diagonal axis of a surface. Straight lines are by nature
visually stable, while still giving direction to a
composition. In Las Meninas, you can see them in
the canvas supports on the left, the wall supports and
doorways on the right, and in the background in
matrices on the wall spaces between the framed
pictures. Moreover, the small horizontal lines created
in the stair edges in the background help anchor the
entire visual design of the painting.

Straight lines, 11 July 2012, Creator: Oliver Harrison. CC

BY

E are curved, adding an organic, more dynamic character

to a work of art. Expressive lines are often rounded and follow
undetermined paths. In Las Meninas you can see them in the
aprons on the girls’ dresses and in the dog’s folded hind leg and
coat pattern. Look again at the Laocoon to see expressive lines
in the figures’ flailing limbs and the sinuous form of the snakes.
Indeed, the sculpture seems to be made up of nothing but
expressive lines, shapes and forms.

Organic lines, 11 July 2012, Creator: Oliver Harrison. CC

BY

There are other kinds of line that encompass the characteristics

of those above yet, taken together, help create additional artistic
elements and richer, more varied compositions. Refer to the
images and examples below to become familiar with these types
of line.

is the simplest of these. They create a path around the edge of

a shape. In fact, outlines
define shapes.

Outline, 11 July 2012, Creator: Oliver Harrison. CC BY

follow paths across a shape to delineate differences in surface

features. They give flat shapes
a sense of form (the illusion of three dimensions), and can also
be used to create shading.

5
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No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Cross Contour, 11 July 2012, Creator: Oliver Harrison. CC
BY

are repeated at short intervals in generally one direction. They

give shading and visual texture to the
surface of an object.

Hatch, 11 July 2012, Creator: Oliver Harrison. CC BY

provide additional tone and texture. They can be oriented in any

direction. Multiple layers of
crosshatch lines can give rich and varied shading to objects by
manipulating the pressure of the drawing tool to create a large
range of values.

Crosshatch, 11 July 2012, Creator: Oliver Harrison. CC BY

is that sense of character embedded in the way a line

presents itself. Certain lines have qualities that
distinguish them from others. Hard-edged, jagged lines
have a staccato visual movement while organic, flowing
lines create a more comfortable feeling. Meandering
lines can be either geometric or expressive, and you can
see in the examples how their indeterminate paths
animate a surface to different degrees.

A Line, 11 July 2012, Creator: Oliver Harrison. CC BY

6
This module is a property of Saint Joseph Institute of Technology (SJIT). The term module refers to an instructional material that focuses on a specific course. Details
and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Although line as a visual element generally plays a supporting role in visual art, there are wonderful
examples in which line carries a strong cultural significance as the primary subject matter.

l use quickness and gesture, more akin to paint strokes, to imbue an artwork with a fluid, lyrical
character. To see this unique line quality, view the work of Chinese poet and artist Dong Qichang’s Du
Fu’s Poem, dating from the Ming dynasty (1555-1637). A more geometric example from the Koran,
created in the Arabic calligraphic style, dates from the 9th century.

Both these examples show how artists use line as both a form of writing and a visual art form. American
artist Mark Tobey (1890–1976) was influenced by Oriental calligraphy, adapting its form to the act of
pure painting within a modern abstract style described as white writing.

Shapes: Positive, Negative and Planar Issues

A shape is defined as an enclosed area in two dimensions. By definition shapes are always implied and
flat in nature. They can be created in many ways, the simplest by enclosing an area with an outline. They
can also be made by surrounding an area with other shapes or the placement of different textures next
to each other—for instance, the shape of an island surrounded by water. Because they are more
complex than lines, shapes do much of the heavy lifting in arranging compositions. The abstract
examples below give us an idea of how shapes are made.
assessment for this section.

Week 2 Term: 1st Semester: 1st Academic Year: 2020-2021

Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Recognize and summarize changing perceptions and definitions of art throughout history.
2. Define aesthetics and some variables in how we perceive and assign value to art.
3. Describe and discuss some contemporary theories in the definition of art.
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
TOPIC I: Art as a kind of communication and expression of culture
 Reading: Defining Art from the Medieval Period to Renaissance
 Reading: Defining Art from the Academy to Avant-Garde
 Reading: Defining Art from Modernity to Globalization
TOPIC II: Purposes of Art
 Purposes of Art
 Reading: Purpose of Art
TOPIC III: Aesthetics
 Aesthetics
 Reading: Art, Aesthetics, and Beauty
TOPIC IV: Perception and Value
 Perception and Value
 Reading: Value Judgment
TOPIC V: The Ongoing Definition of Art
 The Ongoing Definition of Art
 Reading: Defining Art
 Putting It Together
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
Interactive class discussion
Oral recitation/ Question and answer
Brainstorming by group
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
Summative Written Quizzes
Big examinations
Graded oral recitation ( available rubrics)
7
This module is a property of Saint Joseph Institute of Technology (SJIT). The term module refers to an instructional material that focuses on a specific course. Details
and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Essays

VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
Research and do an advance reading on the following:
 Subjective vs. Objective Analysis
 Cultural and World Perspective
VIII. REFERENCES
 Hills, H. (ed.) (2011) Rethinking the Baroque, Farnham, Ashgate.
 Hyde, M. (2006) Making up the Rococo: François Boucher and his Critics, Los Angeles, CA and London, Getty Research Institute.
 Nuttall, G. (2012) Lucchese Patronage and Purveying during the Regime of Paolo Guinigi, 1400–1430: Dino Rapondi, Lorenzo
Trenta and Paolo Guinigi, unpublished PhD Thesis, Courtauld Institute of Art, University of London.

READING: DEFINING ART FROM THE MEDIEVAL PERIOD

TO RENAISSANCE

Medieval to Renaissance
We begin by considering the production and consumption of art from the Crusades through to the
period of the
Catholic Reformation. The focus is on art in medieval and Renaissance Christendom, but this does not
imply that
Europe was insular during this period. The period witnessed the slow erosion of the crusader states in
the Holy
Land, finally relinquished in 1291, and of the Greek Byzantine world until Constantinople fell to the
Ottomans in
1453. Columbus made his voyage to the Americas in 1492. Medieval Christendom was well aware of its
neighbors. Trade, diplomacy, and conquest connected Christendom to the wider world, which in turn
had an impact on art.

Any notion of the humble medieval artist oblivious to anything beyond his own immediate environment
must be dispelled. Artists and patrons were well aware of artistic developments in other countries.
Artists travelled both within and between countries and on occasion even between continents. Such
mobility was facilitated by the network of European courts, which were instrumental in the rapid spread
of Italian Renaissance art. Europe-wide frameworks of philosophical and theological thought, reaching
back to antiquity and governing religious art, applied – albeit with regional variations – throughout
Europe.

Art, Visual Culture, and Skill

The term ‘visual culture’ is used here in preference to ‘art’ for the fundamental reason that the arts
before 1600 were wide-ranging, including media today that we might deem within the realm of craft
and not fine art. The Latin word ‘ars’ signified skilled work; it did not mean art as we might understand it
today, but a craft activity demanding a high level of technical ability, including tapestry weaving,
goldsmith’s work, and embroidery. Literary statements of what constituted the arts during the medieval
period are rare, particularly in northern Europe, but proliferate in the Renaissance. Giorgio Vasari
(1511–74), the biographer of Italian artists, claimed in his famous book Le vite de’ più eccelenti pittori,
scultori e architettori (Lives of the Painters, Sculptors and Architects; first edition 1550 and revised 1568)
that the architect Filippo Brunelleschi (1377–1446) was initially apprenticed to a goldsmith ‘to the end
that he might learn design’ (Vasari, 1996 [1568], vol. 1, p. 326). According to Vasari, several other Italian
Renaissance artists are supposed to have trained initially as goldsmiths, including the sculptors Ghiberti
(1378–1455) and Verrocchio (1435–88), and the painters Botticelli (c.1445–1510) and Ghirlandaio
(1448/49–94). The design skills necessary for goldsmiths’ work were evidently a good foundation for
future artistic success.

Medieval and Renaissance Visual Culture

8
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 The term ‘visual culture’ is also used for a second reason that is less to do with definition than with
method. Including the various arts under the umbrella of ‘visual culture’ implies their inseparability from
the visual rhetoric of power on the one hand, and the material culture of a society on the other. Before
1500 art was primarily part of the persuasive power and cultural identity of the church, ruler, city,
institution, or the wealthy patron commissioning the artwork. In this sense, art might be considered
alongside ceremonies, for example, as strategies conveying social meaning or magnificence, or as a
demonstration of wealth and power by the patron commissioning the artwork to be made.

In later centuries art evolves into purely an aesthetic entity, prompting scrutiny for its own sake alone.
The intent of the varied forms of art produced during the medieval and Renaissance period lie outside
this definition. Objects were made that invited attentive scrutiny for their ingenuity in design, while at
the same time fulfilling a variety of functions. No one in medieval times would have bothered to
commission works of art unless they could assume that their contemporaries were vulnerable to their
communicative power. For example, the wealthy lavished money on rich artifacts or dynastic portraits in
part because these objects were a way of communicating their exclusiveness and social power to their
contemporaries.

Artistic Quality

The fact that a work of art had a function did not mean that artistic quality was a matter of indifference.
Some artists’ guilds, such as the painters’ guild of Tournai, south of Brussels, required candidates to
submit a ‘masterpiece’ for examination by the guild in order to win the status of master. Those
scrutinizing the masterpieces must have had a clear idea of the criteria of quality they were hoping for,
even if these criteria were never set down in writing. The careful selection of artists even from far-flung
locations, and the preference for one practitioner above another, shows that patrons too were quite
capable of discriminating on the basis of artistic prowess. A work of art during the medieval and
Renaissance period was expected to be of high quality as well as purposeful.

Artists and Patrons

Famously, in 1516, the renowned Renaissance artist Leonardo da Vinci (1452–1519) was invited to the
French court of Francis I (ruled 1515–47), perhaps not so much for the work that he might produce at
what was then an advanced age, as out of admiration and presumably for the prestige that the presence
of such a renowned figure might endow on the French court. The advancement of artistic status is often
associated with princely employment, for example by Martin Warnke in his seminal study of the court
artist (Warnke, 1993, pp. 33–45). Given the example of Leonardo da Vinci, this appears to make sense.
Maintained on a salary, a court artist was no longer a jobbing craftsman constantly on the lookout for
work. Potentially, at least, he had access to projects demanding inventiveness and conferring honor, and
time to lavish on his art and on study. Equally, however, court artists might be required to undertake
mundane and routine work which they could not very well refuse. Court salaries were also often in
arrears or not paid at all. In the same letter in which Leone Leoni described Charles V chatting with him
for two to three hours at a time, he complains of his poverty, while carefully qualifying the complaint by
claiming he serves the emperor for honor and cares for studying not moneymaking. The lot of the court
artist might appear to fulfill aspirations for artistic status, but it certainly had its drawbacks.

Patterns of Artistic Employment: Workshop, Guild, and Court Employment

The pattern of artistic employment in the medieval period and the Renaissance varied. Traditionally,
craftsmen working on great churches would be employed in workshops on site, albeit often for some
length of time; during the course of their career, such craftsmen might move several times from one
project to another. Many other artists moved around in search of new opportunities of employment,
even to the extent of accompanying a crusade. Artists working for European courts might travel
extensively as well, not just within a country but from country to country and court to court: El Greco
(1541–1614) moved between three different countries before finding employment not at the royal court
in Spain but in the city of Toledo.

9
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and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 A fixed artist’s workshop depended not only on local institutional and individual patronage, but often
also on the willingness of clients from further afield to come to the artist rather than the artist traveling
to work for clients.

A guild served three main functions: promoting the social welfare of its members, maintaining the
quality of its products and protecting its members from competition. This usually meant defining quite
carefully the materials and tools that a guild member was allowed to use to prevent activities that
infringed the privileges of other guilds and for which they had not been trained, for example a carpenter
producing wood sculpture.

It is the protection from competition that art historians have seen as eliminating artistic freedom, but it
is worth pausing to wonder whether this view owes more to modern free-market economics than to the
realities of fifteenth-century craft practices. In practice, it meant that domestic craftsmen enjoyed
preferential membership rates, but in many artistic centers foreign craftsmen were clearly also
welcomed so long as their work reflected favorably on the reputation of the guild.

As the debate about artistic status grew, the real disadvantage of the guild system for artists was not so
much lack of freedom or profitability or even status so much as the connotations of manual craft
attached to the guild system of apprenticeship as opposed to the ‘liberal’ training offered by the art
academies.

We have here sought to indicate the range and richness of visual culture in medieval Christendom and
the Renaissance.

Week 3 Term: 1st Semester: 1st Academic Year: 2020-2021

Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Define 3 basic types of perspective and how they impact interpretations of an artwork,
2. Recognize different types of context and how contextual information can broaden our understanding of art,
3. Recognize and describe six different critical modalities that art critics use to analyze and interpret artwork,
4. Analyze and discuss artwork in relation to two different cultures; explain how those two cultures are linked from a wider, global
perspective, and
5. Recognize what a symbol is and differentiate how semiotics and iconography are used to decipher symbols in artwork and other types of
visual culture.
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
TOPIC I: Perspective
 Reading: Perspective
TOPIC II: Subjective vs. Objective Analysis
 Reading: How We See: Objective and Subjective Means
TOPIC III: Context
 Reading: Context
TOPIC IV: Critical Modalities
 Reading: Critical Modalities
TOPIC V: Cultural and World Perspective
 Reading: Crossing Cultures, the artwork of Kehinde Wiley
TOPIC VI: Symbolism
 Reading: Analyzing Symbols
 Reading: Iconographic Analysis
 Putting It Together
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading: How We See: Objective and Subjective Means
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Formative Quiz
 Hands-on Quiz
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Study an object that is a part of the renaissance period and explain what’s its importance.
VIII. REFERENCES
10
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  Wolff, J. (1985) ‘The invisible flaneuse: women and the literature of modernity’, Theory, Culture and Society, vol. 2, no. 3, pp. 37–
46. Wölfflin, H. (1950) Principles of Art History: The Problem of the Development of Style in Later Art, New York, Dover.
Wolters, W. (1967) ‘Ein Hauptwerk der neiderländischen Skulptur in Venedig’, Mitteillung des Kunsthistorischen Institutes in
Florenz, vol. 13, nos 1–2, pp. 185–9. Wolters, W. (1976) La scultura Veneziana gotica 1300–1460, 2 vols, Venice, Alfieri.

Reading: Perspective

Is seeing also understanding?

The physiological processes that come together to form our vision, or sight capabilities,
are a component of the larger complex process of how we ‘see’ or comprehend the
world. Consider the statement by Henry Sayre, “Everything you see is filtered through a
long history of fears, prejudices, desires, emotions, customs, and beliefs.” Our
understanding of visual culture, including art, is dynamic, informed by our prior
experiences and identities.

We live in a time of unprecedented saturation of visual culture, exponentially increased

by the ease of digital communication. The term ocularcentrism has been used to
describe the dominance of the visual in contemporary Western life (Rose 3). But does
seeing necessarily equal understanding? Consider Sayre’s example in questioning
visual information, as to what colored stripe is at the top and bottom of the American
flag (16)? As our national symbol, we assume we have a thorough understanding of it
because we’ve seen it so frequently. However- not only seeing, but remembering what
we have seen is often inaccurate, and can be more of a creative interpretive process
than we may recognize.

To be able to engage artwork at a deeper level, beyond passive looking, it is necessary

to develop a breadth of understanding in art history, methods of visual analysis, and
specific descriptive language. To communicate how visual art affects you it is necessary
to understand vocabulary, phrases, and concepts that allow you to think critically about
visual images (Sayre 19). In the prior module you learned the terms and meanings of
the language of form, the elements and principles of design. This module builds on that
by considering perspective, context, and other methods of visual analysis beyond
formalism.

Perspective

Perspective is a point-of-view. In a way it is regarding something through a specific

filter. Each perspective or filter has unique characteristics that direct how something is
considered. For example, if you were analyzing an artwork in regards to gender, an
aspect of identity, you might consider how being male, female, or transgendered might
contribute to the experience of an artwork. Context or contextual knowledge relates to
perspective, in that all perspectives are shaped by the circumstances around them that
constitute a kind of background they form within.

3 Basic Types of Perspective

Cultural Perspective

Culture is a complex concept that encompasses the ways that social life effects and
informs our experiences. To quote Stuart Hall:

“Culture, it is not so much a set of things- novels and paintings, or TV programs

or comics- as a process, a set of practices. Primarily culture is concerned with
the production and exchange of meanings- the ‘giving and taking of meaning’
between members in a society or group… Thus culture depends on its
11
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 participants interpreting meaning- fully what is around them, and ‘making sense’
of the world, in broadly similar ways (Rose 2).”

It could be said that growing up in America contributes to an ‘American worldview’. We

each may have variations to this, but unless you were raised outside of the United
States, you are strongly (consciously or unconsciously) influenced by an American
perspective. This is an example of cultural perspective. Where in the United States you
were raised might also contribute contextually to this, as many regions of the country
are unique and form a specific kind of background.

Representations, in whatever form they take, contribute to ‘made meanings’ of culture,

specifically as visual culture. As Gillian Rose points out- these representations, whether
they are high art or advertisements, are not transparent windows on the world, rather-
they interpret the world (Rose 2). When we select and take in specific kinds of
representations there is an exchange of meaning that goes two ways. We participate in
constructing culture by selecting and elevating certain forms of representations, and that
specific visual culture we experience has the power to influence our personal view on
life.

Historical Perspective

As time passes, scholarship and research occur and many people become aware of a
particular artwork, art form, art style, etc. Recognition may increase (and sometimes
decreases). Vincent Van Gogh is an example here—totally unappreciated while he was
alive, he’s recognized worldwide as a notable painter. Other examples might be the
negative attitudes towards jazz music or hip-hop in the mid-twentieth century. These
currents of recognition often spring from institutions like museums, academic writing
and journals, college art classes, and art history as a field of study.

Personal Perspective

Personal perspectives are formed by the layered aspects that form our individual
identities. This could be any number of defining aspects such as, gender, class, race,
where you were born and raised, education, aspects of family, group affiliations, etc.,
and the list goes on. These aspects form our unique biographical experiences that
constitute our identities and color our personal point of view or the way we interpret our
life experiences.

You may find that your personal response to art and artworks will change as you learn
more about design, art making, and the history of art in general. Knowledge and/or
education about art usually helps us appreciate and understand it.

Sweeping judgments based purely on a personal emotional response can be colored

with bias and often come from having little knowledge of a subject or artwork or the
larger cultural context. These are habits of thinking that inhibit a critical understanding of
things that are new to us like artwork. In general, it’s a good idea to take a generous
stance to art forms or artworks we don’t like or don’t understand or just don’t connect to.

Reading: How We See: Objective and Subjective Means

Up until now we’ve been looking at artworks through the most immediate of visual
effects: what we see in front of our eyes. Now we can begin to break down some
barriers to finding specific meaning in art, including those of different styles and
cultures. To help in this journey we need to learn the difference between looking at
something in an objective way versus subjectively.

To look objectively is to get an unbiased overview of our field of vision. Subjective

seeing speaks more to understanding. When we use the term “I see” we communicate
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 that we understand what something means. There are some areas of learning,
particularly psychology and biology, that help form the basis of understanding how we
see. For example, the fact that humans perceive flat images as having a “reality” to
them is very particular. In contrast, if you show a dog an image of another dog, they
neither growl nor wag their tail, because they are unable to perceive flat images as
containing any meaning. So you and I have actually developed the ability to “see” and
read specific meanings into images.
In essence, there is more to seeing than meets the eye. We need to take into account a
cultural component in how we perceive images and that we do so in subjective ways.
Seeing is partly a result of cultural conditioning and biases. For example, when many of
us from industrialized cultures see a parking lot, we can pick out each car immediately,
while others from remote tribal cultures (who are not familiar with parking lots) cannot.

Reading: Context

Contextual Information

Specific to artwork, context consists of all of the things about the artwork that might
have influenced the artwork or the maker (artist) but which are not actually part of the
artwork. Contextual information can deepen and/or improve our understanding of an
artwork. With some additional contextual information about the time, the culture, and the
maker/artist of an artwork, we can become more informed. All artworks exist in a
context—more accurately, all artworks exist in multiple contexts.

Historical context

Time is the most basic and first context we consider. When we say, “When in time?” the
question is also related to where in time.

Artist Context

Though this kind of context is often ignored in more recent trends of visual research, the
context for the artist or creator includes:

 Their culture (where they grew up; family values; etc.).

 Their place; geography (e.g., city, rural, home, traveling).
 Their personal perspective or “worldview,” aspects unique to their identity.

Viewing context

Context also has to do with the viewing experience.The context of display or where we
encounter an image or artwork is crucial to the meanings it accrues (Rose 127).
Consider, how is the experience viewing a masterwork, like a painting by Caravaggio,
hanging in a museum versus seeing a digital representation of the same painting on a
personal computer in one’s home– different? You go to a museum specifically with the
intention to view artwork. Are their specific social practices you engage in a museum
that impact your experience? For example, we typically comport ourselves quietly in a
museum, looking intently as we move from one artwork to the next. Presumably, this
social practice is intended to encourage contemplation.There are also texts on the walls
of museums like an artwork’s title, and sometimes captions. Reading these may direct
our experience of the artwork. Being in front of the actual work, rather than a copy,
imbues the work with certain aura as the object the artist actually touched and created.
At home, we are in a more casual setting without specific conventions of behavior.
Though we are looking at the same artwork, we know we are looking at a copy. The
context of where and how an image or artwork is received can impact what affect it has
on us.
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 Reading: Critical Modalities

Introduction

From the first forms of art criticism in ancient Greece, the discussion of meaning in art
has taken many directions. The professional art critic is one of the gatekeepers who,
through their writing, endorse or reject particular kinds of art, whether in style, artistic
ability, or message. In fact, a study of the different ways to look at art can tell us much
about changing times and philosophies: the role of aesthetics, economics, and other
cultural issues have a lot to do with the origin of these philosophical positions. Of
course, none of them is completely true—they’re simply different types of discourse.
People approach meaning from different perspectives. The artworks sit silent while all
around them the voices change. We are in a time when there are several, sometimes
greatly conflicting, ways of thinking about meaning in art. Here are six different critical
modalities art critics use as compasses to interpreting meaning:

Structural Criticism
We started this course with a discussion of what art is. That discussion was actually
based on one of the ways to look at art: what is known as structuralism. Structuralism
is based on the notion that our concept of reality is expressed through language and
related systems of communication. On a larger scale, visualize culture as a structure
whose foundation is language, speech and other forms of communication. When this
approach is applied to the visual arts, the world of art becomes a collective human
construction, where a single work needs to be judged within the framework supported
by the whole structure of art. This structure is still based in language and knowledge
and how we communicate ideas. I often use the example of the word “cowboy”.

In your head: visualize a cowboy: then describe what you saw. What gender was your
person? What race was this person? Now let’s apply those answers to historical fact.
The fact is that upwards of 60 percent of the historical cowboys in the United States
were black slaves freed after the Civil War. Did you see your cowboy as white?

Your idea of cowboy might have come from film, which is an extremely different form of
reality. The structural idea manifests itself when we look for meaning in art based on
any preconceived ideas about it we already have in our mind. These preconceptions (or
limitations) are shaped by language, social interaction and other cultural experiences.

Deconstructive Criticism

Deconstruction goes one step further and posits that any work of art can have many
meanings attached to it, none of which is limited by a particular language or experience
outside the work itself. In other words, the critic must reveal (deconstruct) the structured
world in order to knock out any underpinnings of stereotypes, preconceptions, or myths
that get in the way of true meaning. Taking the perspective of a deconstructive critic, we
would view a portrait of Marilyn Monroe by pop artist Andy Warhol as an imaginary
construct of what is real. As a popular culture icon, Marilyn Monroe the movie star was
ubiquitous: in film, magazines, television and photographs. But Marilyn Monroe the
person committed suicide in 1962 at the height of her stardom. In truth, the bright lights
and celebrity of her Hollywood persona eclipsed the real Marilyn, someone who was
troubled, confused and alone. Warhol’s many portraits of her –each one made from the
same publicity photograph –perpetuate the myth and cult of celebrity.

Formalist Criticism

Formalism is what we engaged in when we looked at the elements and principles of art.
Formalism doesn’t really care about what goes on outside the actual space of the work,
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 but finds meaning in its use of materials. One of the champions of the formalist
approach was Clement Greenberg. His writing stresses “medium specificity”: the notion
there is inherent meaning in the way materials are used to create the artwork. As is
relates to painting and works on paper, the result is a focus on the two-dimensional
surface. This is contrary to its traditional use as a platform for the illusion of depth.
Formalism allows a more reasoned discussion of abstract and nonrepresentational art
because we can approach them on their own terms, where the subject matter becomes
the medium instead of something it represents. This is a good way to approach artworks
from cultures we are not familiar with, though it has the tendency to make them purely
decorative and devalue any deeper meaning. It also allows a kind of training in visual
seeing, so it is still used in all studio arts and art appreciation courses.

Greenberg was a strong defender of the Abstract Expressionist style of painting that
developed in the United States after World War 2. He referred to it as “pure painting”
because of its insistence on the act of painting, eventually releasing it from its ties to
representation.

Ideological Criticism
Ideological criticism is most concerned with the relationship between art and structures
of power. It infers that art is embedded in a social, economic, and political structure that
determines its final meaning. Born of the writings of Karl Marx, ideological criticism
translates art and artifacts as symbols that reflect political ideals and reinforce one
version of reality over another. A literal example of this perspective would view
the Lincoln Memorial in Washington, D.C. as a testament to a political system that
oppressed people because of race yet summoned the political will to set them free in
the process of ending a Civil War.

The Lincoln Memorial, Washington, D.C. Photo by Jeff Kubina and licensed through Creative Commons
In contrast, Ernst Ludwig Kirchner’s painting Franzi in Front of a Carved Chair (below)
from 1910 is also considered a symbol of artistic (hence, political) freedom. His
Expressionist art – with its strong, sometimes arbitrary colors and rough approach to
forms, was denounced by Nazi Germany as being “degenerate.” The Degenerate Art
Show of 1937 was a way for the German political establishment to label modern art as
something evil and corrupt. Hitler’s regime was only interested in heroic,
representational and idealistic images, something Kirchner was rebelling against.
Kirchner and other Expressionist artists were marginalized and many of their works
destroyed by the authorities.

15
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 Ernst Ludwig Kirchner, Franzi In Front of A Carved Chair, 1910, oil on canvas, Thyssen-Bornemisza Museum,
Madrid. This work is in the public domain

Psychoanalytic Criticism

Psychoanalytic criticism is the way we should look at artwork if we feel it is only about
personal expression. The purest form of this criticism ranks the work of untrained and
mentally ill artists as being just as important as any other art. It is in this way that the
artist “inside” is more important than any other reason the art happens or the effect the
art has. When discussing Vincent van Gogh you will often hear people allude to his
mental state more than his actual artwork, experience, or career. This is a good
example of psychoanalytic criticism. One of the problems in this type of criticism is that
the critic is usually discussing issues the artist themselves may be totally unaware of (or
deny).

Feminist Criticism
Feminist Criticism began in the 1970s as a response to the neglect of women artists
over time and in historical writings. This form of criticism is specific to viewing art as an
example of gender bias in historical western European culture, and views all work as a
manifestation of this bias. Feminist criticism created whole movements in the art world
(specifically performance based art), and has changed over the last few years to include
all underrepresented groups. Examples of feminist art include Judy Chicago’s large-
scale installation The Dinner Party and the work of Nancy Spero.

In reality, all of these critical modalities hold some truth. Art is a multifaceted medium
that contains influences from most all the characteristics of the culture it was created in,
and some that transcend cultural environments. These modalities, along with the
different levels of meaning we explored in this module, help us to unravel some of the
mysteries inherent in works of art, and bring us closer to seeing how art expresses
feelings, ideas and experiences that we all share. In our search it is important to be
16
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 aware of all the issues involved, take aspects of each critical position depending upon
the work being viewed, the environment (and context) you’re seeing it in, and make up
our own mind.

Week 4 Term: 1st Semester: 1st Academic Year: 2020-2021

Subject Code: GE 106 Course Title: Arts
Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Review the topics from week 1-3
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
TOPIC I: Elements and Principles of Design
 Form and Content
 Elements of Design
 Principles of Design
 Types of Representation
TOPIC II: What Is Art?
 Art as a kind of communication and expression of culture
 Purposes of Art
 Aesthetics
 Perception and Value
 The Ongoing Definition of Art
TOPIC III: Context and Perspective
 Perspective
 Subjective vs. Objective Analysis
 Context
 Critical Modalities
 Cultural and World Perspective
 Symbolism
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading and self-comprehension
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Formative Quiz
 Hands-on Quiz
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Review and reread the topics that we dicussed.
VIII. REFERENCES
 Artistic Elements. Authored by: Christopher Gildow (2018)
 Teens talk about Picasso's Les Demoiselles d'Avignon (2016)

Module 1: Elements and Principles of Design

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 Se a rch
Search for:

Putting It Together

This section began by defining formalism, which is an analytical way of looking at

artwork and describing how its elements and principles of design work together to as a
composition. It’s also a way of discussing how the visual effects of composition can
contribute to our understanding or interpretation of artwork.

Point, line, shape, space, color, and value are all elements of design. These basic
building blocks of form are arranged using the principles of design. Principles act on
elements as the various ways of organizing them in a composition.

Formalism allows anyone a way into an artwork without any prior knowledge of the artist
or knowledge of deeper contexts that impacted how and why it was created.

Take another look at Picasso’s Guernica.

With the knowledge of formalism you gained in this section, let’s reconsider the question
of how formalism can be applied to understanding its composition? First let’s start with
elements. What elements feel like they are strongly represented? Likely your answer is
shape and value, and possibly implied line as well as space.

Which principles of design feel strongly engaged in this composition? It is an

asymmetrical composition with considerable movement created by the repetition of
directional triangular shapes. These bold shapes point and pull the viewer’s eye around
the composition.

What about the type of representation? Picasso at this point is engaged in semi-
abstraction. Now that we have analyzed form through elements, principles, and type of
representation, let’s focus on how these contribute to interpreting meaning or feelings
produced by these compositional choices. Visually the space is very active, almost to
the point of visual discomfort. This combined with the subject matter affects how we
feel, and ultimately the meaning we take away from experiencing the painting.

Visit the Museo Reina Sofia in Spain to learn more about the interpretations of
Guernica and consider how these interpretations correlate with the formalist reading of
its composition above.

Module 2: What Is Art?

Se a rch
Search for:

Putting It Together

During earlier eras, the definition of art was aligned with craftsmanship and guilds, but
as societies changed, so too, did the meaning and purpose of art. Over time, art
evolved beyond practical and religious functions and became an autonomous
expression of the artist’s creative process and of the surrounding culture.

Aesthetics is concerned with how we perceptually engage in the changing and complex
concepts of beauty and the sublime (Ocvirk, 6).

Exploring the definition of art is an act of critical thinking. Critical thinking is creative
thinking, and the critical-thinking process often requires a belief in the question, rather
than an expectation of hard truths or answers. Through active questioning, exploration,
and trial and error, we uncover multiple valid perspectives.
18
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 Consider the example of the nkisi figures introduced at the beginning of this module.
Recall how that misunderstanding of visual culture was representative of the larger
confrontation and oppression of African societies by Europeans. Consider also, in the
final example of video games, how the introduction of new media keeps alive the
ongoing debate about what is art.

Module 3: Context and Perspective

Putting It Together

Christo, The Gates, New York City

All communication, including art as a form of visual culture, takes place in multiple
contexts. In the beginning we discussed Robert Capa’s photograph, The Falling Soldier,
and how the context of its viewing in America might have impacted what American
viewers took away from the photograph. Now let’s use the knowledge of different
contexts to analyze a more recent artwork, the 2005 installation in Central Park, New
York, titled The Gates, by artists Christo and Jeanne-Claude. At the time of
its unveiling, many people pointed out the similarities to the Fushimi Inari shrine in
Kyoto, Japan (Jennifer Lee, “Nostalgia Draped in Orange: Remembering ‘The Gates,'”
nytimes.com).
When questioned about this in 2008, Christo acknowledged knowing about the
Japanese shrine, but quickly pointed out it was not his inspiration for The Gates. His
claim demonstrates the artist’s perspective. However, if Japanese (or other) viewers
had previously experienced the Inari Shrine, their experience of The Gates would have
been much different from most American viewers’ (Sayre, 3). Despite Christo’s
perspective on his own work, there is still a contextual difference for the American
viewer versus the Japanese viewer of the same artwork.

Consider what unique aspects of your life (age, race, gender, geography, economic
status, etc.) form contexts that influence how and where you encounter art and how you
interpret those experiences of art.

19
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 Week 5 Term: 1st Semester: 1st Academic Year: 2020-2021
Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
2. Identify and describe key characteristics and defining events of art from prehistory
3. Identify and describe key characteristics and defining events of art from the twentieth century to the present
4. Compare and contrast two works of art from a similar period
5. Compare and contrast two works of art from different cultures and periods in terms of formal qualities, context, and meaning
6. Analyze a modern work of art and describe how it borrows from or is influenced by an earlier work of art
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
 Key Characteristics of Art: Prehistory
 Key Characteristics of Art: Age of Faith
 Key Characteristics of Art: Renaissance through Baroque
 Key Characteristics of Art: Eighteenth and Nineteenth Centuries
 Key Characteristics of Art: 1900 to the Present
 Historical Influence of Art
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
The learning activities for this section include:
 Reading: Prehistoric Art: Paleolithic Origins
 Reading: The Neolithic Revolution
 Reading: Ancient Near East
 Reading: Ancient Egypt
 Reading: Ancient Greece and Rome
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading and self-comprehension
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Formative Quiz
 Hands-on Quiz
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Compare Artworks—Similar Period
 Compare Artworks—Different Periods and Cultures
VIII. REFERENCES
 Warren G. Moon, ed., Polykleitos, The Doryphoros and Tradition, University of Wisconsin Press, 1995.

Reading: Prehistoric Art: Paleolithic Origins

Humans make art. We do this for many reasons and with whatever technologies are
available to us. Extremely old, non-representational ornamentation has been found
across Africa. The oldest firmly-dated example is a collection of 82,000 year old
Nassarius snail shells found in Morocco that are pierced and covered with red ochre.
Wear patterns suggest that they may have been strung beads. Nassarius shell beads
found in Israel may be more than 100,000 years old and in the Blombos cave in South
Africa, pierced shells and small pieces of ochre (red Haematite) etched with simple
geometric patterns have been found in a 75,000-year-old layer of sediment.

The oldest known representational imagery comes from the Aurignacian culture of the
Upper Paleolithic period. Archeological discoveries across a broad swath of Europe
(especially Southern France, Northern Spain, and Swabia, in Germany) include over
two hundred caves with spectacular Aurignacian paintings, drawings and sculpture that
are among the earliest undisputed examples of representational image-making. The
oldest of these is a 2.4-inch tall female figure carved out of mammoth ivory that was
found in six fragments in the Hohle Fels cave near Schelklingen in southern Germany. It
dates to 35,000 B.C.E.

The caves at Chauvet-Pont-d’Arc (see the image below), Lascaux, Pech Merle,
and Altamira contain the best known examples of prehistoric painting and drawing. Here are
remarkably evocative renderings of animals and some humans that employ a complex mix of
naturalism and abstraction. Archeologists that study Paleolithic (old stone age) era humans,
believe that the paintings discovered in 1994, in the cave at Chauvet-Pont-d’Arc in the Ardèche
valley in France, are more than 30,000 years old. The images found at Lascaux and Altamira
20
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 are more recent, dating to approximately 15,000 B.C.E. The paintings at Pech Merle date to
both 25,000 and 15,000 B.C.E.

What can we really know about the creators of these paintings and what the images
originally meant? These are questions that are difficult enough when we study art made
only 500 years ago. It is much more perilous to assert meaning for the art of people who
shared our anatomy but had not yet developed the cultures or linguistic structures that
shaped who we have become. Do the tools of art history even apply? Here is evidence
of a visual language that collapses the more than 1,000 generations that separate us,
but we must be cautious. This is especially so if we want understand the people that
made this art as a way to understand ourselves. The desire to speculate based on what
we see and the physical evidence of the caves is wildly seductive.

The cave at Chauvet-Pont-d’Arc is over 1,000 feet in length with two large chambers.
Carbon samples date the charcoal used to depict the two head-to-head Rhinoceroses
(see the image above, bottom right) to between 30,340 and 32,410 years before 1995
when the samples were taken. The cave’s drawings depict other large animals including
horses, mammoths, musk ox, ibex, reindeer, aurochs, megaceros deer, panther, and
owl (scholars note that these animals were not then a normal part of people’s diet).
Photographs show that the drawing shown above is very carefully rendered but may be
misleading. We see a group of horses, rhinos and bison and we see them as a group,
overlapping and skewed in scale. But the photograph distorts the way these animal
figures would have been originally seen. The bright electric lights used by the
photographer create a broad flat scope of vision; how different to see each animal
emerge from the dark under the flickering light cast by a flame.

In a 2009 presentation at UC San Diego, Dr. Randell White, Professor of Anthropology

at NYU, suggested that the overlapping horses pictured above might represent the
same horse over time, running, eating, sleeping, etc. Perhaps these are far more
sophisticated representations than we have imagined. There is another drawing at
Chauvet-Pont-d’Arc that cautions us against ready assumptions. It has been interpreted
as depicting the thighs and genitals of a woman but there is also a drawing of a bison
and a lion and the images are nearly intertwined. In addition to the drawings, the cave is
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 littered with the skulls and bones of cave bear and the track of a wolf. There is also a
foot print thought to have been made by an eight-year-old boy.

Reading: The Neolithic Revolution

A Settled Life

When people think of the Neolithic era, they often think of Stonehenge, the iconic image
of this early era. Dating to approximately 3000 B.C.E. and set on Salisbury Plain in
England, it is a structure larger and more complex than anything built before it in
Europe.

Stonehenge is an example of the cultural advances brought about by the Neolithic

revolution—the most important development in human history. The way we live today,
settled in homes, close to other people in towns and cities, protected by laws, eating
food grown on farms, and with leisure time to learn, explore and invent is all a result
of the Neolithic revolution, which occurred approximately 11,500-5,000 years ago. The
revolution which led to our way of life was the development of the technology needed
to plant and harvest crops and to domesticate animals.

Before the Neolithic revolution, it’s likely you would have lived with your extended family
as a nomad, never staying anywhere for more than a few months, always living in
temporary shelters, always searching for food and never owning anything you couldn’t
easily pack in a pocket or a sack. The change to the Neolithic way of life was huge and
led to many of the pleasures (lots of food, friends and a comfortable home) that we
still enjoy today.

Stonehenge, c. 3,000 B.C.E., Salisbury Plain, England

Neolithic Art
The massive changes in the way people lived also changed the types of art they made.
Neolithic sculpture became bigger, in part, because people didn’t have to carry it
around anymore; pottery became more widespread and was used to store
food harvested from farms. This is when alcohol was invented and when architecture,
and its interior and exterior decoration, first appears. In short, people settle down and
begin to live in one place, year after year.

It seems very unlikely that Stonehenge could have been made by earlier, Paleolithic,
nomads. It would have been a waste to invest so much time and energy building a
monument in a place to which they might never return or might only return
infrequently. After all, the effort to build it was extraordinary. Stonehenge is
approximately 320 feet in circumference and the stones which compose the outer ring
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 weigh as much as 50 tons; the small stones, weighing as much as 6 tons, were quarried
from as far away as 450 miles. The use or meaning of Stonehenge is not clear, but
the design, planning and execution could have only been carried out by a culture in
which
authority was unquestioned. Here is a culture that was able to rally hundreds of
people to
perform very hard work for extended periods of time. This is another characteristic of
the
Neolithic era.

Skulls with plaster and shell from the Pre-Pottery Neolithic B, 6,000-7,000 B.C.E., found at the Yiftah’el
archeological site in the Lower Galilee, Israel

Plastered Skulls

The Neolithic period is also important because it is when we first find good evidence
for religious practice, a perpetual inspiration for the fine arts. Perhaps most fascinating
are the plaster skulls found around the area of the Levant, at six sites, including Jericho
in Israel. At this time in the Neolithic, c. 7000-6,000 B.C.E., people were often buried
under the floors of homes, and in some cases their skulls were removed and covered
with plaster in order to create very life-like faces, complete with shells inset for eyes
and paint to imitate hair and moustaches.

The traditional interpretation of these the skulls has been that they offered a means of
preserving and worshiping male ancestors. However, recent research has shown that
among the sixty-one plastered skulls that have been found, there is a generous number
that come from the bodies of women and children. Perhaps the skulls are not so much
religious objects but rather powerful images made to aid in mourning lost loved ones.
Neolithic peoples didn’t have written language, so we may never know.1
1
The earliest example of writing develops in Sumer in Mesopotamia in the late 4th
millennium B.C.E. However, there are scholars that believe that earlier proto-writing
developed during the Neolithic period.

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 Reading: Ancient Near East

The Cradle of Civilization

Mesopotamia, the area between the Tigris and Euphrates Rivers (in modern day Iraq),
is often referred to as the cradle of civilization because it is the first place where
complex urban centers grew. The history of Mesopotamia, however, is inextricably tied
to the greater region, which is comprised of the modern nations of Egypt, Iran, Syria,
Jordan, Israel, Lebanon, the Gulf states and Turkey. We often refer to this region as the
Near or Middle East.

What’s in a Name?
Why is this region named this way? What is it in the middle of or near to? It is the
proximity of these countries to the West (to Europe) that led this area to be termed
“the near east.” Ancient Near Eastern Art has long been part of the history of Western
art, but history didn’t have to be written this way. It is largely because of the West’s
interests in the Biblical “Holy Land” that ancient Near Eastern materials have been be
regarded as part of the Western canon of the history of art.

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 The Land of the Bible
An interest in finding the locations of cities mentioned in the Bible (such as Nineveh and
Babylon) inspired the original English and French nineteenth century archaeological expeditions
to the Near East. These sites were discovered and their excavations revealed to the world a
style of art which had been lost.

Illustrations from: Sir Austen Henry Layard, The Ninevah Court in the Crystal Palace, 1854
The excavations inspired The Nineveh Court at the 1851 World’s Fair in London and a
style of decorative art and architecture called Assyrian Revival. Ancient Near Eastern
art remains popular today; in 2007 a 2.25 inch high, early 3rd millennium limestone
sculpture, the Guennol Lioness, was sold for 57.2 million dollars, the second most
expensive piece of sculpture sold at that time.

A Complex History

The history of the Ancient Near East is complex and the names of rulers and locations
are often difficult to read, pronounce and spell. Moreover, this is a part of the world
which today remains remote from the West culturally while political tensions have
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 impeded mutual understanding. However, once you get a handle on the general
geography of the area and its history, the art reveals itself as uniquely beautiful, intimate
and fascinating in its complexity.

The Euphrates River in 2005

Geography and the Growth of Cities

Mesopotamia remains a region of stark geographical contrasts: vast deserts rimmed by

rugged mountain ranges, punctuated by lush oases. Flowing through this topography
are rivers and it was the irrigation systems that drew off the water from these rivers,
specifically in southern Mesopotamia, that provided the support for the very early urban
centers here.

The region lacks stone (for building) and precious metals and timber. Historically, it has
relied on the long-distance trade of its agricultural products to secure these materials.
The large-scale irrigation systems and labor required for extensive farming was
managed by a centralized authority. The early development of this authority, over large
numbers of people in an urban center, is really what distinguishes Mesopotamia and
gives it a special position in the history of Western culture. Here, for the first time,
thanks to ample food and a strong administrative class, the West develops a very high
level of craft specialization and artistic production.

Sumerian Art

The region of southern Mesopotamia is known as Sumer, and it is in Sumer that we find
some of the oldest known cities, including Ur and Uruk.

Uruk

Prehistory ends with Uruk, where we find some of the earliest written records. This large
city-state (and it environs) was largely dedicated to agriculture and eventually
dominated southern Mesopotamia. Uruk perfected Mesopotamian irrigation and
administration systems.

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 Uruk is circled in the region of Sumer.

An Agricultural Theocracy

Cuneiform tablet (above), still in its clay case: legal case from Niqmepuh, King of Iamhad (Aleppo), 1720
B.C.E., 3.94 x 2″ (British Museum)

Within the city of Uruk, there was a large temple complex dedicated to Innana, the
patron goddess of the city. The City-State’s agricultural production would be “given” to
her and stored at her temple. Harvested crops would then be processed (grain ground
into flour, barley fermented into beer) and given back to the citizens of Uruk in equal
share at regular intervals.

The head of the temple administration, the chief priest of Innana, also served as political
leader, making Uruk the first known theocracy.

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 We know many details about this theocratic administration because the Sumarians left
numerous documents in cuneiform script.

These tablets made of dried mud and many were sealed in clay envelopes and signed
using cylinder seals. A cylinder seals is a small pierced object like a long bead that is
carved in reverse (intaglio) with a unique image and sometimes the name of the owner.

The seal was rolled over the soft clay of a tablet and functioned as a signature. The
minute images on these seals use a system of symbolic representation that identifies
the political status of the owner.

Lapis Lazuli Cylinder Seal with a modern impression, From Ur, southern Iraq, c. 2600 B.C.E. (British Museum)

Reading: Ancient Egypt

Pyramid of Khafre at Giza, c. 2520-2494 (right). Photo: Dr Amy Calvert, CC BY-NC

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 Egypt’s impact on later cultures was immense. You could say that Egypt provided the
building blocks for Greek and Roman culture, and, through them, influenced all of the
Western tradition.

Today, Egyptian imagery, concepts, and perspectives are found everywhere; you will
find them in architectural forms, on money, and in our day to day lives. Many cosmetic
surgeons, for example, use the silhouette of Queen Nefertiti (whose name means “the
beautiful one has come”) in their advertisements.

This introduction will provide you with the primary filters to view and understand ancient
Egypt.

Longevity

Ancient Egyptian civilization lasted for more than 3000 years and showed an incredible
amount of continuity. That is more than 15 times the age of the United States, and
consider how often our culture shifts; less than 10 years ago, there was no Facebook,
Twitter, or Youtube.

While today we consider the Greco-Roman period to be in the distant past, it should be
noted that Cleopatra VII’s reign (which ended in 30 BCE) is closer to our own time than
it was to that of the construction of the pyramids of Giza. It took humans nearly 4000
years to build something–anything–taller than the Great Pyramids. Contrast that span to
the modern era; we get excited when a record lasts longer than a decade.

Consistency and Stability

Egypt’s stability is in stark contrast to the Ancient Near East of the same period, which
endured an overlapping series of cultures and upheavals with amazing regularity.

The earliest royal monuments, such as the Narmer Palette carved around 3100 B.C.E.,
display identical royal costumes and poses as those seen on later rulers, even
Ptolemaic kings on their temples 3000 years later.

Palette of Narmer, c. 3000-2920 B.C.E. (left) and Ramses III smiting at Medinet Habu (1160 B.C.E.) (right)

A vast amount of Egyptian imagery, especially royal imagery that was governed by
decorum (a sense of what was ‘appropriate’), remained stupefyingly consistent
throughout its history. This is why, especially to the untrained eye, their art appears
extremely static—and in terms of symbols, gestures, and the way the body is rendered,
it was. It was intentional. The Egyptians were aware of their consistency, which they
viewed as stability, divine balance, and clear evidence of the correctness of their
culture.

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 Painted raised relief offering table in the Temple of Seti I at Abydos (New Kingdom). Photo: Dr Amy Calvert,
CC BY-NC

This consistency was closely related to a fundamental belief that depictions had an
impact beyond the image itself—tomb scenes of the deceased receiving food, or temple
scenes of the king performing perfect rituals for the gods—were functionally causing
those things to occur in the divine realm. If the image of the bread loaf was omitted from
the deceased’s table, they had no bread in the Afterlife; if the king was depicted with the
incorrect ritual implement, the ritual was incorrect and this could have dire
consequences. This belief led to an active resistance to change in codified depictions.

The earliest recorded tourist graffiti on the planet came from a visitor from the time of
Ramses II who left their appreciative mark at the already 1300-year-old site of the Step
Pyramid at Saqqara, the earliest of the massive royal stone monuments. They were
understandably impressed by the works of their ancestors and endeavored to continue
that ancient legacy.

Geography

Egypt is a land of duality and cycles, both in topography and culture. The geography is
almost entirely rugged, barren desert, except for an explosion of green that straddles
either side of the Nile as it flows the length of the country. The river emerges from far to
the south, deep in Africa, and empties into the Mediterranean sea in the north after
spreading from a single channel into a fan-shaped system, known as a delta, at its
northernmost section.

The influence of this river on Egyptian culture and development cannot be overstated—
without its presence, the civilization would have been entirely different, and most likely
entirely elsewhere. The Nile provided not only a constant source of life-giving water, but
created the fertile lands that fed the growth of this unique (and uniquely resilient)
culture.

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 View from the high peak of the Theban hills showing the sharp delineation between the lush Valley and the
barren desert. Photo: Dr Amy Calvert, CC BY-NC
Each year, fed by melting snows in the far-off headlands, the river overflowed its banks
in an annual flood that covered the ground with a rich, black silt and produced incredibly
fertile fields. The Egyptians referred to this as Kemet, the “black lands”, and contrasted
this dense, dark soil against the Deshret, the “red lands” of the sterile desert; the line
between these zones was (and in most cases still is) a literal line. The visual effect is
stark, appearing almost artificial in its precision.

Time—Cyclical and Linear

The annual inundation of the Nile was also a reliable, and measurable, cycle that helped
form their concept of the passage of time. In fact, the calendar we use today is derived
from one developed by the ancient Egyptians.

They divided the year into 3 seasons: akhet ‘inundation’, peret ‘growing/emergence’,
andshemw ‘harvest.’ Each season was, in turn, divided into four 30-day months.
Although this annual cycle, paired with the daily solar cycle that is so evident in the
desert, led to a powerful drive to see the universe in cyclical time, this idea existed
simultaneously with the reality of linear time.

These two concepts—the cyclical and the linear—came to be associated with two of
their primary deities: Osiris, the eternal lord of the dead, and Re, the sun god who was
reborn with each dawn.

Early Development: The Predynastic Period

The civilization of Egypt obviously did not spring fully formed from the Nile mud;
although the massive pyramids at Giza may appear to the uninitiated to have appeared
out of nowhere, they were founded on thousands of years of cultural and technological
development and experimentation. ‘Dynastic’ Egypt—sometimes referred to as
‘Pharaonic’ (after ‘pharaoh’, the Greek title of the Egyptian kings derived from the
Egyptian title per aA, ‘Great House’) which was the time when the country was largely
unified under a single ruler, begins around 3100 B.C.E.

The period before this, lasting from about 5000 B.C.E. until unification, is referred to as
Predynastic by modern scholars. Prior to this were thriving Paleolithic and Neolithic
groups, stretching back hundreds of thousands of years, descended from northward 31
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 migrating homo erectus who settled along the Nile Valley. During the Predynastic
period, ceramics, figurines, mace heads, and other artifacts such as slate palettes used
for grinding pigments, begin to appear, as does imagery that will become iconic during
the Pharaonic era—we can see the first hints of what is to come.

Dynasties

It is important to recognize that the dynastic divisions modern scholars use were not
used by the ancients themselves. These divisions were created in the first Western-
style history of Egypt, written by an Egyptian priest named Manetho in the 3rd century
BCE. Each of the 33 dynasties included a series of rulers usually related by kinship or
the location of their seat of power. Egyptian history is also divided into larger chunks,
known as ‘kingdoms’ and ‘periods’, to distinguish times of strength and unity from those
of change, foreign rule, or disunity.

The Egyptians themselves referred to their history in relation to the ruler of the time.
Years were generally recorded as the regnal dates (from the Latin regnum, meaning
kingdom or rule) of the ruling king, so that with each new reign, the numbers began
anew.

Later kings recorded the names of their predecessors in vast ‘king-lists’ on the walls of
their temples and depicted themselves offering to the rulers who came before them—
one of the best known examples is in the temple of Seti I at Abydos.

These lists were often condensed, with some rulers (such as the contentious and
disruptive Akhenaten) and even entire dynasties omitted from the record; they are not
truly history, rather they are a form of ancestor worship, a celebration of the consistency
of kingship of which the current ruler was a part.

Horus in the tomb of Khaemwaset. Photo: Dr Amy Calvert, CC BY-NC

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 The Pharaoh—Not Just a King

Kings in Egypt were complex intermediaries that straddled the terrestrial and divine
realms. They were, obviously, living humans, but upon accession to the throne, they
also embodied the eternal office of kingship itself.

The ka, or spirit, of kingship was often depicted as a separate entity standing behind the
human ruler. This divine aspect of the office of kingship was what gave authority to the
human ruler.

The living king was associated with the god Horus, the powerful, virile falcon-headed
god who was believed to bestow the throne to the first human king.

Horus is regularly shown guarding and guiding the living ruler; as in this image of a falcon (Horus) wrapped
behind the head of Ramses III in the tomb of Khaemwaset (above). Photo: Dr Amy Calvert, CC BY-NC

Horus’s immensely important father, Osiris, was the lord of the underworld. One of the
original divine rulers of Egypt, this deity embodied the promise of regeneration. Cruelly
murdered by his brother Seth, the god of the chaotic desert, Osiris was revived through
the potent magic of his wife Isis.

Through her knowledge and skill, Osiris was able to sire the miraculous Horus, who
avenged his father and threw his criminal uncle off the throne to take his rightful place.

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 Osiris (above; from QV44 in the Valley of the Queens). Photo: Dr Amy Calvert, CC BY-NC

Osiris became ruler of the realm of the dead, the eternal source of regeneration in the
Afterlife. Deceased kings were identified with this god, creating a cycle where the dead
king fused with the divine king of the dead and his successor ‘defeated’ death to take
his place on the throne as Horus.

Reading: Ancient Greece and Rome

Introduction
Classical Antiquity (or Ancient Greece and Rome) is a period of about 900 years, when
ancient Greece and then ancient Rome (first as a Republic and then as an Empire)
dominated the Mediterranean area, from about 500 B.C.E. – 400 C.E. We tend to lump
ancient Greece and Rome together because the Romans adopted many aspects of
Greek culture when they conquered the areas of Europe under Greek control (circa 145
– 30 B.C.E.).

Gods and Goddesses

For example, the Romans adopted the Greek pantheon of Gods and Godesses but
changed their names—the Greek god of war was Ares, whereas the Roman god of war
was Mars. The ancient Romans also copied ancient Greek art. However, the Romans
often used marble to create copies of sculptures that the Greeks had originally made in
bronze.

A Rational Approach

The ancient Greeks were the first Western culture that believed in finding rational
answers to the great questions of earthly life. They assumed that there were consistent
laws which governed the universe—how the stars move; the materials that compose the
universe; mathematical laws that govern harmony and beauty, geometry and physics.

Both the Ancient Greeks and the Ancient Romans had enormous respect for human
beings, and what they could accomplish with their minds and bodies. They were
Humanists (a frame of mind which was re-born in the Renaissance). This was very
different from the period following Classical Antiquity—the Middle Ages, when
Christianity (with its sense of the body as sinful) came to dominate Western Europe.
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 When you imagine Ancient Greek or Roman sculpture, you might think of a figure that is
nude, athletic, young, idealized, and with perfect proportions—and this would be true of
Ancient Greek art of the Classical period (5th century B.C.E.) as well as much of
Ancient Roman art.

Roman Copies of Ancient Greek Art

When we study ancient Greek art, so often we are really looking at ancient Roman art,
or at least their copies of ancient Greek sculpture (or paintings and architecture for that
matter).

Basically, just about every Roman wanted ancient Greek art. For the Romans, Greek
culture symbolized a desirable way of life—of leisure, the arts, luxury and learning.

The Popularity of Ancient Greek Art for the Romans

Greek art became the rage when Roman generals began conquering Greek cities
(beginning in 211 B.C.E.), and returned triumphantly to Rome not with the usual booty
of gold and silver coins, but with works of art. This work so impressed the Roman elite
that studios were set up to meet the growing demand for copies destined for the villas of
wealthy Romans. The Doryphoros was one of the most sought after, and most copied
Greek sculptures.

Bronze vs. Marble

For the most part, the Greeks created their free-standing sculpture in bronze, but
because bronze is valuable and can be melted down and reused, sculpture was often
recast into weapons. This is why so few ancient Greek bronze originals survive, and
why we often have to look at ancient Roman copies in marble (of varying quality) to try
to understand what the Greeks achieved.

Why Sculptures Are Often Incomplete or Reconstructed

To make matter worse, Roman marble sculptures were buried for centuries, and very
often we recover only fragments of a sculpture that have to be reassembled. This is the
reason you will often see that sculptures in museums include an arm or hand that are
modern recreations, or that ancient sculptures are simply displayed incomplete.

The Doryphoros (Spear-Bearer) in the Naples museum is a Roman copy of a lost

Greek original that we think was found, largely intact, in the provincial Roman city of
Pompeii.

The Canon

The idea of a canon, a rule for a standard of beauty developed for artists to follow, was
not new to the ancient Greeks. The ancient Egyptians also developed a canon.
Centuries later, during the Renaissance, Leonardo da Vinci investigated the ideal
proportions of the human body with his Vitruvian Man. The ideal male nude has
remained a staple of Western art and culture to this day, see, for example, of the work
of Robert Mapplethorpe.

Polykleitos’s idea of relating beauty to ratio was later summarized by Galen, writing in
the second century,

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 Week 6 Term: 1st Semester: 1st Academic Year: 2020-2021
Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Describe the basic techniques of drawing, painting, photography, and printmaking
2. Distinguish between additive and subtractive sculpture techniques
3. Describe traditional methods and materials of building design
4. Explain the techniques of film and video art
5. Discuss and describe the growing impact of computers and digital tools on art making of the 21st century
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
 Two-Dimensional Arts
 Three-Dimensional Techniques
 Architecture
 Time-Based Art
 Digital Technology
V. TEACHING LEARNING ACTIVITES (TLA’s) (with TLA guides, must be doable thru online)
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading and self-comprehension
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Formative Quiz
 Hands-on Quiz
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Make a 3D art output.
VIII. REFERENCES
 Henry. A World of Art, Sixth edition. Boston: Prentice Hall, 2010.

Reading: Drawing

Introduction
Drawing is the simplest and most efficient way to communicate visual ideas, and for
centuries charcoal, chalk, graphite and paper have been adequate enough tools to
launch some of the most profound images in art. Leonardo da Vinci’s The Virgin and
Child with Saint Anne and Saint John the Baptist wraps all four figures together in what
is essentially an extended family portrait. Da Vinci draws the figures in a spectacularly
realistic style, one that emphasizes individual identities and surrounds the figures in a
grand, unfinished landscape. He animates the scene with the Christ child pulling himself
forward, trying to release himself from Mary’s grasp to get closer to a young John the
Baptist on the right, who himself is turning toward the Christ child with a look of curious
interest in his younger cousin.

The traditional role of drawing was to make sketches for larger compositions to be
manifest as paintings, sculpture or even architecture. Because of its relative immediacy,
this function for drawing continues today. A preliminary sketch by the contemporary
architect Frank Gehry captures the complex organic forms of the buildings he designs.

Types of Drawing Media

Dry Media includes charcoal, graphite, chalks and pastels. Each of these mediums
gives the artist a wide range of mark making capabilities and effects, from thin lines to
large areas of color and tone. The artist can manipulate a drawing to achieve desired
effects in many ways, including exerting different pressures on the medium against the
drawing’s surface, or by erasure, blotting or rubbing.
This process of drawing can instantly transfer the sense of character to an image. From
energetic to subtle, these qualities are apparent in the simplest works: the immediate
and unalloyed spirit of the artist’s idea. You can see this in the self-portraits of two
German artists; Kathe Kollwitz and Ernst Ludwig Kirchner. Wounded during the first
world war, his Self-Portrait Under the Influence of Morphine from about 1916 presents
us with a nightmarish vision of himself wrapped in the fog of opiate drugs. His hollow
eyes and the graphic dysfunction of his marks attest to the power of his drawing.

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 Ernst Ludwig Kirchner, Self Portrait Under the Influence of Morphine, around 1916. Ink on paper. Licensed
under Creative Commons.
Graphite media includes pencils, powder or compressed sticks. Each one creates a
range of values depending on the hardness or softness inherent in the material. Hard
graphite tones range from light to dark gray, while softer graphite allows a range from
light gray to nearly black. French sculptor Gaston Lachaise’s Standing Nude with
Drapery is a pencil drawing that fixes the energy and sense of movement of the figure to
the paper in just a few strokes. And Steven Talasnik’s contemporary large-scale
drawings in graphite, with their swirling, organic forms and architectural structures are
testament to the power of pencil (and eraser) on paper.

Gaston Lachiase, Standing Nude with Drapery, 1891. Graphite and ink on paper. Honolulu Academy of Arts.
Licensed under Creative Commons.
Charcoal, perhaps the oldest form of drawing media, is made by simply charring
wooden sticks or small branches, called vine charcoal, but is also available in a
mechanically compressed form. Vine charcoal comes in three densities: soft, medium
and hard, each one handling a little different than the other. Soft charcoals give a more
velvety feel to a drawing. The artist doesn’t have to apply as much pressure to the stick
in order to get a solid mark. Hard vine charcoal offers more control but generally doesn’t
give the darkest tones. Compressed charcoals give deeper blacks than vine charcoal,
but are more difficult to manipulate once they are applied to paper.
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 Left: vine charcoal sticks. Right: compressed charcoal squares. Vine Charcoal examples, via Wikipedia
Commons. Licensed under Creative Commons.

Charcoal drawings can range in value from light grays to rich, velvety blacks. A charcoal
drawing by American artist Georgia O’Keeffe is a good example.

Pastels are essentially colored chalks usually compressed into stick form for better
handling. They are characterized by soft, subtle changes in tone or color. Pastel
pigments allow for a resonant quality that is more difficult to obtain with graphite or
charcoal. Picasso’s Portrait of the Artist’s Mother from 1896 emphasizes these
qualities.

Pastels, digital image licensed through Creative Commons.

More recent developments in dry media are oil pastels, pigment mixed with an organic
oil binder that deliver a heavier mark and lend themselves to more graphic and vibrant
results. The drawings of Beverly Buchanan reflect this. Her work celebrates rural life
of the south centered in the forms of old houses and shacks. The buildings stir
memories and provide a sense of place, and are usually surrounded by people, flowers
and bright landscapes. She also creates sculptures of the shacks, giving them an
identity beyond their physical presence.

Wet Media
Ink: Wet drawing media traditionally refers to ink but really includes any substance that
can be put into solution and applied to a drawing’s surface. Because wet media is
manipulated much like paint – through thinning and the use of a brush – it blurs the line
between drawing and painting. Ink can be applied with a stick for linear effects and by
brush to cover large areas with tone. It can also be diluted with water to create values of
gray. The Return of the Prodigal Son by Rembrandt shows an expressive use of
brown ink in both the line qualities and the larger brushed areas that create the illusion
of light and shade.

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 Felt tip pens are considered a form of wet media. The ink is saturated into felt strips
inside the pen then released onto the paper or other support through the tip. The ink
quickly dries, leaving a permanent mark. The colored marker drawings of Donnabelle
Casis have a flowing, organic character to them. The abstract quality of the subject
matter infers body parts and viscera.

Other liquids can be added to drawing media to enhance effects – or create new ones.
Artist Jim Dine has splashed soda onto charcoal drawings to make the surface bubble
with effervescence. The result is a visual texture unlike anything he could create with
charcoal alone, although his work is known for its strong manipulation. Dine’s drawings
often use both dry and liquid media. His subject matter includes animals, plants, figures
and tools, many times crowded together in dense, darkly romantic images.

Traditional Chinese painting uses water-based inks and pigments. In fact, it is one of the
oldest continuous artistic traditions in the world. Painted on supports of paper or silk, the
subject matter includes landscapes, animals, figures and calligraphy, an art form that
uses letters and script in fluid, lyrical gestures.

Two examples of traditional Chinese painting are seen below. The first, a wall scroll
painted by Ma Lin in 1246, demonstrates how adept the artist is in using ink in an
expressive form to denote figures, robes and landscape elements, especially the strong,
gnarled forms of the pine trees. There is sensitivity and boldness in the work. The
second example is the opening detail of a copy of “Preface to the Poems Composed
at the Orchid Pavilion” made before the thirteenth century. Using ink and brush, the
artist makes language into art through the sure, gestural strokes and marks of the
characters.

Ma Lin, Wall Scroll, ink on silk. 1246 Used under GNU Free Documentation License

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 Opening detail of a copy of Preface to the Poems Composed at the Orchid Pavilion. Before the
thirteenth century. Hand scroll, ink on paper. The Palace Museum, Beijing. Licensed through Creative
Commons.

Drawing is a foundation for other two and three-dimensional works of art, even being
incorporated with digital media that expands the idea of its formal expression. The art
of Matthew Ritchie starts with small abstract drawings. He digitally scans and projects
them to large scales, taking up entire walls. Ritchie also uses the scans to produce
large, thin three-dimensional templates to create sculptures out of the original drawings.

Reading: Painting

Painting is the application of pigments to a support surface that establishes an image,

design or decoration. In art the term “painting” describes both the act and the result.
Most painting is created with pigment in liquid form and applied with a brush. Exceptions
to this are found in Navajo sand painting and Tibetan mandala painting, where
powdered pigments are used. Painting as a medium has survived for thousands of
years and is, along with drawing and sculpture, one of the oldest creative media. It’s
used in some form by cultures around the world.
Three of the most recognizable images in Western art history are paintings: Leonardo
da Vinci’s Mona Lisa, Edvard Munch’s The Scream and Vincent van Gogh’s The
Starry Night. These three art works are examples of how painting can go beyond a
simple mimetic function, that is, to only imitate what is seen. The power in great painting
is that it transcends perceptions to reflect emotional, psychological, even spiritual levels
of the human condition.
Painting media are extremely versatile because they can be applied to many different
surfaces (called supports) including paper, wood, canvas, plaster, clay, lacquer and
concrete. Because paint is usually applied in a liquid or semi-liquid state it has the ability
to soak into porous support material, which can, over time, weaken and damage the it.
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 To prevent this a support is usually first covered with a ground, a mixture of binder and
chalk that, when dry, creates a non-porous layer between the support and the painted
surface. A typical ground is gesso.

There are six major painting media, each with specific individual characteristics:

 Encaustic
 Tempera
 Fresco
 Oil
 Acrylic
 Watercolor

All of them use the following three basic ingredients:

 Pigment
 Binder
 Solvent
Pigments are granular solids incorporated into the paint to contribute color. The binder,
commonly referred to as the vehicle, is the actual film-forming component of paint. The
binder holds the pigment in solution until it’s ready to be dispersed onto the surface.
The solvent controls the flow and application of the paint. It’s mixed into the paint,
usually with a brush, to dilute it to the proper viscosity, or thickness, before it’s applied
to the surface. Once the solvent has evaporated from the surface the remaining paint is
fixed there. Solvents range from water to oil-based products like linseed oil and mineral
spirits.

Let’s look at each of the six main painting media:

1. Encaustic paint mixes dry pigment with a heated beeswax binder. The mixture is
then brushed or spread across a support surface. Reheating allows for longer
manipulation of the paint. Encaustic dates back to the first century C.E. and was used
extensively in funerary mummy portraits from Fayum in Egypt. The characteristics of
encaustic painting include strong, resonant colors and extremely durable paintings.
Because of the beeswax binder, when encaustic cools it forms a tough skin on the
surface of the painting. Modern electric and gas tools allow for extended periods of
heating and paint manipulation.

Below is an example of encaustic painting by José María Cano.

José María Cano, detail of painting made in encaustic, 2010

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 2. Tempera paint combines pigment with an egg yolk binder, then thinned and released
with water. Like encaustic, tempera has been used for thousands of years. It dries
quickly to a durable matte finish. Tempera paintings are traditionally applied in
successive thin layers, called glazes, painstakingly built up using networks of cross
hatched lines. Because of this technique tempera paintings are known for their detail.

Duccio, The Crevole Madonna, c. 1280. Tempera on board Museo dell’Opera del Duomo, Siena, Italy. Image is
in the public domain
In early Christianity, tempera was used extensively to paint images of religious icons.
The pre-Renaissance Italian artist Duccio (c. 1255 – 1318), one of the most influential
artists of the time, used tempera paint in the creation of The Crevole Madonna (above).
You can see the sharpness of line and shape in this well-preserved work, and the detail
he renders in the face and skin tones of the Madonna (see the detail below).

Duccio, The Crevole Madonna (detail), c. 1280. Tempera on board. Museo dell’Opera del Duomo, Siena, Italy.
Image is in the public domain

Contemporary painters still use tempera as a medium. American painter Andrew Wyeth
(1917-2009) used tempera to create Christina’s World, a masterpiece of detail,
composition and mystery. 42
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 3. Fresco painting is used exclusively on plaster walls and ceilings. The medium of
fresco has been used for thousands of years, but is most associated with its use in
Christian images during the Renaissance period in Europe.
There are two forms of fresco: Buon or “wet,”and secco, meaning “dry.”

Buon fresco technique consists of painting in pigment mixed with water on a thin layer
of wet, fresh lime mortar or plaster. The pigment is applied to and absorbed by the wet
plaster; after a number of hours, the plaster dries and reacts with the air: it is this
chemical reaction that fixes the pigment particles in the plaster. Because of the
chemical makeup of the plaster, a binder is not required. Buon fresco is more stable
because the pigment becomes part of the wall itself.

Domenico di Michelino’s Dante and the Divine Comedy from 1465 (below) is a superb
example of buon fresco. The colors and details are preserved in the dried plaster wall.
Michelino shows the Italian author and poet Dante Aleghieri standing with a copy of
the Divine Comedy open in his left hand, gesturing to the illustration of the story
depicted around him. The artist shows us four different realms associated with the
narrative: the mortal realm on the right depicting Florence, Italy; the heavenly realm
indicated by the stepped mountain at the left center – you can see an angel greeting the
saved souls as they enter from the base of the mountain; the realm of the damned to
the left – with Satan surrounded by flames greeting them at the bottom of the painting;
and the realm of the cosmos arching over the entire scene.

Domenico di Michelino, Dante’s Divine Comedy, 1465, buon fresco, the Duomo, Florence, Italy. This image is
in the public domain

Secco fresco refers to painting an image on the surface of a dry plaster wall. This
medium requires a binder since the pigment is not mixed into the wet plaster. Egg
tempera is the most common binder used for this purpose. It was common to use secco
fresco over buon fresco murals in order to repair damage or make changes to the
original.

Leonardo Da Vinci’s painting of The Last Supper (below) was done using secco fresco.

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 Leonardo Da Vinci, The Last Supper, 1495–98, dry fresco on plaster. Church of Santa Maria delle Grazie,
Milan. This image is in the public domain
4. Oil paint is the most versatile of all the painting media. It uses pigment mixed with a
binder of linseed oil. Linseed oil can also be used as the vehicle, along with mineral
spirits or turpentine. Oil painting was thought to have developed in Europe during the
fifteenth century, but recent research on murals found in Afghanistan caves show oil
based paints were used there as early as the seventh century.
Some of the qualities of oil paint include a wide range of pigment choices, its ability to
be thinned down and applied in almost transparent glazes as well as used straight from
the tube (without the use of a vehicle), built up in thick layers called impasto (you can
see this in many works by Vincent van Gogh). One drawback to the use of impasto is
that over time the body of the paint can split, leaving networks of cracks along the
thickest parts of the painting. Because oil paint dries slower than other media, it can be
blended on the support surface with meticulous detail. This extended working time also
allows for adjustments and changes to be made without having to scrape off sections of
dried paint.

In Jan Brueghel the Elder’s still life oil painting you can see many of the qualities
mentioned above. The richness of the paint itself is evident in both the resonant lights
and inky dark colors of the work. The working of the paint allows for many different
effects to be created, from the softness of the flower petals to the reflection on the vase
and the many visual textures in between.

Richard Diebenkorn’s Cityscape #1 from 1963 shows how the artist uses oil paint in a
more fluid, expressive manner. He thins down the medium to obtain a quality and
gesture that reflects the sunny, breezy atmosphere of a California morning. Diebenkorn
used layers of oil paint, one over the other, to let the under painting show through and a
flat, more geometric space that blurs the line between realism and abstraction.

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 Jan Brueghel the Elder, Flowers in a Vase, 1599. Oil on wood. Kunsthistorisches Museum, Wien, Germany.
Used under GNU Documentation Licensing

Georgia O’Keeffe’s oil paintings show a range of handling between soft and austere to
very detailed and evocative. You rarely see her brushstrokes, but she has a summary
command of the medium of oil paint.

The abstract expressionist painters pushed the limits of what oil paint could do. Their
focus was in the act of painting as much as it was about the subject matter. Indeed, for
many of them there was no distinction between the two. The work of Willem de Kooning
leaves a record of oil paint being brushed, dripped, scraped and wiped away all in a
frenzy of creative activity. This idea stays contemporary in the paintings of Celia
Brown.
5. Acrylic paint was developed in the 1950’s and became an alternative to oils. Pigment
is suspended in an acrylic polymer emulsion binder and uses water as the vehicle. The
acrylic polymer has characteristics like rubber or plastic. Acrylic paints offer the body,
color resonance and durability of oils without the expense, mess and toxicity issues of
using heavy solvents to mix them. One major difference is the relatively fast drying time
of acrylics. They are water soluble, but once dry become impervious to water or other
solvents. Moreover, acrylic paints adhere to many different surfaces and are extremely
durable. Acrylic impastos will not crack or yellow over time.

The American artist Robert Colescott (1925-2009) used acrylics on large-scale

paintings. He uses thin layers of underpainting, scumbling, high-contrast colors, and
luscious surfaces to bring out the full range of effects that acrylics offer.

6. Watercolor is the most sensitive of the painting media. It reacts to the lightest touch
of the artist and can become an over worked mess in a moment. There are two kinds of
watercolor media: transparent and opaque. Transparent watercolor operates in a
reverse relationship to the other painting media. It is traditionally applied to a paper
support, and relies on the whiteness of the paper to reflect light back through the
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 applied color (see below), whereas opaque paints (including opaque watercolors) reflect
light off the skin of the paint itself. Watercolor consists of pigment and a binder of gum
arabic, a water-soluble compound made from the sap of the acacia tree. It dissolves
easily in water.

Image by Christopher Gildow. Used here with permission.

Watercolor paintings hold a sense of immediacy. The medium is extremely portable and
excellent for small format paintings. The paper used for watercolor is generally of two
types: hot pressed, which gives a smoother texture, and cold pressed, which results in a
rougher texture. Transparent watercolor techniques include the use of wash; an area of
color applied with a brush and diluted with water to let it flow across the paper. Wet-in-
wet painting allows colors to flow and drift into each other, creating soft transitions
between them. Dry brush painting uses little water and lets the brush run across the
top ridges of the paper, resulting in a broken line of color and lots of visual texture.

Examples of watercolor painting techniques: on the left, a wash. On the right, dry brush effects. Image by
Christopher Gildow. Used here with permission.

John Marin’s Brooklyn Bridge (1912) shows extensive use of wash. He renders the
massive bridge almost invisible except for the support towers at both sides of the
painting. Even the Manhattan skyline becomes enveloped in the misty, abstract shapes
created by washes of color.

Boy in a Red Vest by French painter Paul Cezanne builds form through nuanced colors
and tones. The way the watercolor is laid onto the paper reflects a sensitivity and
deliberation common in Cezanne’s paintings.

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 Paul Cezanne, Boy in a Red Vest, c. 1890. Watercolor on paper. This image is licensed under the GNU Free
Documentation License

The watercolors of Andrew Wyeth indicate the landscape with earth tones and localized
color, often with dramatic areas of white paper left untouched. Brandywine Valley is a
good example.

Opaque watercolor, also called gouache, differs from transparent watercolor in that the
particles are larger, the ratio of pigment to water is much higher, and an additional, inert,
white pigment such as chalk is also present. Because of this, gouache paint gives
stronger color than transparent watercolor, although it tends to dry to a slightly lighter
tone than when it is applied. Gouache paint doesn’t hold up well as impasto, tending to
crack and fall away from the surface. It holds up well in thinner applications and often is
used to cover large areas with color. Like transparent watercolor, dried gouache paint
will become soluble again in water.

Jacob Lawrence’s paintings use gouache to set the design of the composition. Large
areas of color – including the complements blue and orange, dominate the figurative
shapes in the foreground, while olive greens and neutral tones animate the background
with smaller shapes depicting tools, benches and tables. The characteristics of gouache
make it difficult to be used in areas of detail.

Gouache is a medium in traditional painting from other cultures, too. Zal Consults the
Magi, part of an illuminated manuscript form sixteenth-century Iran, uses bright colors of
gouache along with ink, silver and gold to construct a vibrant composition full of intricate
patterns and contrasts. Ink is used to create lyrical calligraphic passages at the top and
bottom of the work.

Other painting media used by artists include the following:

Enamel paints form hard skins typically with a high-gloss finish. They use heavy
solvents and are extremely durable.
Powder coat paints differ from conventional paints in that they do not require a solvent
to keep the pigment and binder parts in suspension. They are applied to a surface as a
powder then cured with heat to form a tough skin that is stronger than most other paints.
Powder coats are applied mostly to metal surfaces.

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 Epoxy paints are polymers, created mixing pigment with two different chemicals: a resin
and a hardener. The chemical reaction between the two creates heat that bonds them
together. Epoxy paints, like powder coats and enamel, are extremely durable in both
indoor and outdoor conditions.

These industrial grade paints are used in sign painting, marine environments, and
aircraft painting.

Week 7 Term: 1st Semester: 1st Academic Year: 2020-2021

Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Identify and evaluate relevant source materials for arts
2. Document research sources appropriately using MLA format
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 IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)
TOPIC I: Research, Communicate, and Evaluate Arts Information
 Evaluate Source Materials
 Document Sources
V. TEACHING LEARNING ACTIVITES (TLA’s ) (with TLA guides, must be doable thru online)
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading and self-comprehension
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Formative Quiz
 Hands-on Quiz
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Listening Activity
VIII. REFERENCES
 Schlackman, Steve. The Story Behind the “Women in Gold”. Art Law Journal. 2015. Web. 7 June 2015.

Reading: Research, Supplements, Definitions, Work Hints, and More

Here are some things to take into consideration when doing research (discussed in
terms of “levels”):

Third Level of Research:

 You might speak to an instructor and they make recommendations for you to follow up on
 You might meet/know someone in the field you need to learn about and they get you
started
 Or these days, you might do a general search using your favorite search engine. I would
call this a “shotgun search” to get started (by “shotgun” I mean that it’s a wide-open,
general search that will include a wide range of sources from Encyclopedias to
Wikipedia). This kind of search can give you a lot of directions to go further, but can be
confusing and may include unreliable, inaccurate, or just plain wrong information.

Second Level of Research:

 Looking at/taking information found in the third level research and going into it deeper.
This means finding the sources: like the author, and checking their “works cited” or
bibliography and then corroborating, checking the provenance, and credentials of
source(s).We need to check and confirm that our research is accurate and correct. This is
a place where your instructor should be able to help. REMINDER: Your instructor is one
of your resources.
 Corroboration means finding 2 or more sources that say the same thing and have good
credentials for reliability that the information is from someone who has
training/expertise/experience and/or is knowledgeable in the subject. Corroborating also
means checking these credentials – “Why should I listen to this person or source?” 2nd
level sources are also when someone is writing or discussing a subject; an artwork; a
book or subject, etc. but they are not the person who wrote the text or painted the painting
or whatever. In the art world, many of these sources are art historians, historians or
theorists or art critics (knowledgeable people who write about art).
 Provenance is the history of something, for example who made the artwork, who owned it
after that and where has it been all these years. Provenance is important to confirming
that a given artwork is not a fake or a copy or stolen. These days the Provenance of an
artwork may be checked by chemical and/or scientific analysis.
 NOTE: corroboration and provenance are important aspects and issues in the art world.

First Level of Research:

 Information is referred to as original sources and sometimes called primary sources. This
might be the actual painting, sculpture or artwork being considered. It might be the book,
the poem, the drama written; music; dance – it might be an artist’s own writings about
their work. In the Arts – it is frequently hard to get to the source materials, as those are
the original artworks (or the artist’s writings). Original artworks like you might find in a
museum. If one is looking at a reproduction of an artwork (photos, videos, recordings)–
that is a second-level source because it is not the actual original and there can be all
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 kinds of color/quality/image degradations in the process of reproduction (these aspects
are inherent in the process of reproduction, in fact)
An example:
1. Let’s say we find a video on YouTube fromBob47 about medical illustration, which talks
about Leonardo DaVinci’s drawings (this is a third-level source). I watch that and then
look for his bibliography or cited sources (probably none).
2. So I do a search for DaVinci and medical illustration. Among other things, I find an article
in the Washington Academy of Science journal by Joanne Snow-Smith. This is a good
article and I can use it for my project, but it is still only a second-level source because she
is talking/writing about DaVinci. She will probably have a bibliography and works cited
(her research). I can follow up on that.
3. My first-level source for this example would be to go to DaVinci’s diaries and sketchbooks
related to medical illustration. There, I could look at his writings about medical illustration
and his drawings – that would be 1st level source material. Now the problem here is that I
would only be able to look at reproductions of his sketchbooks, unless I travel to Italy or
wherever his original notebooks are preserved. So, in this case, if I studied those
reproductions, we might call that advanced 2nd level sourcing.

Audio/Reading: Nazi-Era Art Cache Brings Provenance Issues To Swiss

Museum

Audie Cornish talks to Jonathan Petropolous, professor of European History at

Claremont McKenna College, about the acceptance of Nazi-era art by the Museum of
Fine Arts Bern in Switzerland. Listen to the audio version or read the transcript.

https://www.npr.org/2014/11/24/366379292/nazi-era-art-cache-brings-provenance-issues-to-swiss-
museum

Week 8 Term: 1st Semester: 1st Academic Year: 2020-2021

Subject Code: GE 106 Course Title: Arts Appreciation
III. MODULE LEARNING OUTCOMES (PERFORMANCE INDICATORS)
1. Review the lessons from week 5-7.
IV. CONTENT TOPIC DISCUSSION (attach detailed content theories/applications and specific learning objectives)

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 TOPIC 1: Module 4: Periods in Art History
Key Characteristics of Art: Prehistory
Key Characteristics of Art: Age of Faith
Key Characteristics of Art: Renaissance through Baroque
Key Characteristics of Art: Eighteenth and Nineteenth Centuries
Key Characteristics of Art: 1900 to the Present
Compare Artworks—Similar Period
Compare Artworks—Different Periods and Cultures
Historical Influence of Art
TOPIC II:Fine Art Media and Technique
Two-Dimensional Arts
Three-Dimensional Techniques
Architecture
Time-Based Art
Digital Technology
TOPIC 1II: Research, Communicate, and Evaluate Arts Information
Evaluate Source Materials
Document Sources
V. TEACHING LEARNING ACTIVITES (TLA’s ) (with TLA guides, must be doable thru online)
 Face-to-face lecture discussion, autodidactic learning, online research for further ideas relevant to the topic and lastly, assessment.
 Reading and self-comprehension
VI. ASSESSMENT TASK (AT’s) / EVALUATION/RUBRICS (WITH ASSESSMENT guides)
 Examination
VII. ASSIGNMENT (include here the target module for the preceding MODULE guides )
 Read and review for the final exam.
 VIII. REFERENCES
 Schlackman, Steve. The Story Behind the “Women in Gold”. Art Law Journal. 2015. Web. 7 June 2015.
 Sayre, Henry. A World of Art, Sixth edition. Boston: Prentice Hall, 2010.

Module 5: Periods in Art History

Putting It Together

While it may not seem like it, the prior content was only a brief survey that places the
visual record within the trajectory of the historical context. The history of humanity can
be seen through art history, from early prehistoric cave paintings to the artwork we will
return to now by Felix Gonzalez-Torres.

 How do artworks build on what came before them?

 How was Marcel Duchamp’s ‘readymades’ a kind of seismic shift in the world of art, that
impacted what kinds of things are considered art today?
 How is this installation by Gonzalez-Torres a product of the time it was created in?

Artwork from one era to the next is rarely an outright rejection of what came before,
rather the breaks between periods and stylistic movements is more a fuzzy transition
than a hard one. Without doubt every artwork is impacted by what came before it.
Consider the invention of photography. Until photography, drawing and painting were
the primary mediums for realistic representational imagery. Photography quickly
assumes this role, and after its invention in late 19th century, painting enters a dramatic
period of experimentation from impressionism, to cubism, to abstraction expressionism.

Marcel Duchamp’s readymades destabilized what could be considered legitimate art

objects, boldly paving the way for conceptual installations like Felix Gonzalez-Torres
Candies. Gonzalez-Torres was a gay man making art in America during the AIDS
epidemic of the 1980’s and 90’s. At the time there was an erroneous stigma that the
disease was a gay epidemic. This encouraged already bigoted attitudes towards gay
men, in particular, and further discrimination. Candies is a product of this time, not only
a memorial to the love of his life, Ross, dying of AIDS, but a product of people’s
attitudes towards those suffering with AIDS.

Module 6: Fine Art Media and Technique

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No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.
 Putting It Together

In this module we discussed the following:

 the basic techniques of drawing, painting, photography, and printmaking;

 additive and subtractive sculpture techniques;
 methods and materials in building design;
 techniques and challenges of film and video;
 and the growing impact of computers and digital tools on art making.

The creative process is a kind of critical thinking (Sayre, 3). It involves visual research,
trial and error, being open to new information, evaluating results, and being self-critical.
The medium or mixed-media are the raw materials that an artist uses to make their idea
come to life.

Each medium has its own unique visual effects or characteristics. In the viewer context
we read these unique visual effects and draw specific meanings from them.
Photography, for example, has the ability to render a selection of life in such realistic
detail that it is used in non-artistic practices for evidence collection. Even though
Photoshop has become part of our vernacular in the Western world, and we know
photographs can be manipulated, if we were to see a photograph of a courtroom scene
our first inclination would be that it is a factual record of that moment, as opposed to an
artist’s drawn rendering, which has a very different set of visual effects.

Module 7: Research, Communicate, and Evaluate Arts Information

Putting It Together

This course is particularly focused on helping you develop visual literacy skills, but all
the college courses you take are to some degree about information literacy. Visual
literacy is really just a specialized type of information literacy. The skills you acquire in
this course will help you become an effective researcher in other fields, as well.

MLA style is important because it gives you—and all those engaged in scholarly
activities on topics within the humanities—a conventional way to cite resources so that
they can be corroborated. It takes the guesswork out of demonstrating you did thorough
research, and it lends integrity to your work.

Provenance is also about a kind of integrity. It refers to the history of an object—in

particular, the object’s origin and chain of ownership—and, in art, it can be used to
identify and authenticate real (as opposed to fake) works of art. Knowing a work’s
provenance can also help in the recovery of stolen works of art. Today, there are many
new methods of establishing provenance that use chemical analysis. As you heard in
the podcast, matters of provenance still haunt Nazi-era artworks suspected of being
looted during World War Two. The recent movie Woman in Gold is a story about the
return of artwork stolen by the Nazis from Jewish families during the war. The case was
a shocking victory for Adele Bloch-Bauer’s family, who sued the Austrian government
and won. As Steve Schlackman of Art Law Journal explained, “At the very least, it will
make foreign states think twice when receiving works without the proper provenance.”
You can read more about the court case here.

52
This module is a property of Saint Joseph Institute of Technology (SJIT). The term module refers to an instructional material that focuses on a specific course. Details
and activities vary according to specific content and focus on student-centered learning activities.
No part of this module may be reproduced or transmitted in any form or any means without approval of the CEO/President.