AUTHORSJERRYK C. ALICO | HAMMIM B.

CASAN
| SHARIFA SITTIE ZEHANIE M. JALI-KABIRUN |
AILANNIE D. MACAGAAN | MOS-AB Z.
MANGURUN | DANIA B. MUNDER | ARMILA M.
PENDUMA | JAHARA A. SOLAIMAN | ANVILLE
SHAMAIGN A. VILLANUEVA | EDITOR FRANCISCO
E. AMARILLO | COVER PAGE BY MOS-AB Z.
MANGURUN

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 UNIT 2
LESSON 6
Elements and Principles of Art

Learning Outcomes: At the end of this lesson, you should be able to:

1. enumerate the different elements of visual and auditory art;

2. differentiate the principles of art;
3. provide examples of the interrelatedness of some of the elements and
principles of art;
4. explain the relevance of the elements and principles of art in the study of
art and its products (artworks).

Introduction
Artistic elements and principles are considered the building blocks for any category of art. When
artists train in the elements of art, they learn to use particular principles or combine the elements to
create visual components into one piece of art, such as the combinations of line and color. Every piece
of art contains at least one element of art, and most art pieces have at least two or more.

Mediums of Art
The fundamental method of classifying the arts is by their mediums. An art medium refers to the
materials which the artist uses to translate his feelings or thoughts. These are the materials or means
which the artist uses to objectify his/her feelings.
Classifications of Arts According to Medium
1. Visual or Space Arts. These are arts with mediums that can be seen and occupy space.
They can be categorized into two-dimensional and three-dimensional arts. All the visual arts
are also spatial arts or arts of space. In spatial arts, the entire work of art is present
simultaneously; attention to the parts of it is up to the viewer which part he shall examine first
(Heller, 2018).
Two-dimensional. These arts appeal first and foremost, though not exclusively, to the
sense of sight such as in painting, drawing, printmaking and photography.

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 https://freecoursesite.com. https://expertphotography.com.
Three-dimensional Art. In three-dimensional art, such as sculpture and architecture, the
entire object is present, but it is impossible to see even all of it at once. The backside of
a statue cannot be viewed at the same moment as the exterior of a museum cannot be
viewed by someone inside it. Other examples include sculpture, architecture, landscape
and crafts.

https://youtu.be/4VV4zOJDByo. https://www.archdaily.com.

2. Auditory or Time Arts. These are arts with mediums that can be heard and
expressed
through time such as music and literary works. In this group, there are no real
objects that can be viewed or touched. The medium of auditory art is sound while
literature is a temporal form of the arts.

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 https://www.freepik.com. https://usm.maine.edu.
3. Mixed/Combined Arts. These are arts with mediums that can be both seen and heard and
which exist in both space and time such as dance, theatre, drama/play, and movies
or cinema. Mixed arts combine the above types of arts.
Other arts variously combine the above three types of arts. This group includes all
the arts of performance. Drama combines the art of literature (verbal art) with the
visual arts of costuming, stage designing, and stage lighting. Opera combines the art
of music (its predominant component) with the art of literature (the libretto) and the
visual arts of stage design. Dance combines the visual spectacle of moving bodies
(the principal component) with musical accompaniment, sometimes with
accompanying words and often with stage design. Song combines words with
music. Film combines the visual component (a series of pictures presented in such
rapid succession that they appear to be moving) with the verbal component (the script)
and usually an intermittent musical background as well (https://www.britannica.com).

https://thepeachreview.com. https://www.pinterest.ph Ang Huling El Bimbo. (2019).

https://news.abs-cbn.com/life

/03/09/19/theater.

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Elements of Visual Arts
The elements of visual arts are line, shape, color, texture, form and perspective which are the
building blocks of compositions in art. When we analyze any drawing, painting, sculpture or design, we
examine these component parts to see how they combine to create the overall effect of the artwork.
1. Line. It is the path to a moving point. It is the simplest, most primitive, and most universal means
for creating visual art, and is the foundation of all drawing. It is also the first and most versatile
of the visual elements of art. Line in an artwork can be used in many different ways. It can be
used to suggest shape, pattern, form, structure, growth, depth, distance, rhythm, movement and
a range of emotions.

Types of Lines
a. Straight. The line maintains in one direction; its continuity is repetition.
A horizontal line creates an impression of serenity and perfect stability. A
vertical line appears poised and stable, and a diagonal line implies action since it
shows movement and, consequently, instability.
Diagonal lines convey a feeling of movement. Objects in a diagonal position
are unstable. Because they are neither vertical nor horizontal, they are either about
to fall or are already in motion (J. Paul Getty Museum, 2011).

Examples of Lines. https://www.allsilhouettes.com.

https://www.pinterest.ph.
https://www.pinterest.ph.

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 b. Curve. It results when there is a gradual change of direction. Since it is gradual,
it shows fluidity. Its continuity forms an arc, and its reverse generates waves or when
there is a continuous curve within itself, then it results to a spiral.

https://www.pinterest.de/pin. https://www.pinterest.ph/pin.
http://wpmsart.weebly.com.

c. Angular. It results when the change in direction is abrupt. It creates tension and an
impression of chaos, confusion, or conflict.

Pablo Picasso. Weeping Stephen Younts. Angular. (2013).

Woman. (1937).
2. Shape. Shapes can give the illusion of weight, volume or flatness. They can be natural or man-
made, regular or irregular, flat (2-dimensional) or solid (3-dimensional), representational or
abstract, geometric or organic, transparent or opaque, positive or negative, decorative or
symbolic, colored, patterned or textured. It can be classified as follows:

a. Natural. These are shapes that we see in nature. They objectively represent the physical
or material world.

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 http://www.theartverve.com/2016/08/shape-form-pattern.html.

b. Abstract. Drawn out of an object’s essence and made into the subject of artwork, these
are fundamental shapes that are objectified coming from an idea, emotion or experience.

Jackson Pollock. Convergence. (1952). Damian Ortega. Controller of the Universe.(2008).

c. Non-Objective/Biomorphic. They show similarity to organic forms. Biomorphic

shapes are irregular in form, and they resemble the freely developed curves found in
organic life.

Nancy Griswold. Biomorphic Shapes. (2012). Renzo Piano. California Academy of Sciences. (2008).

d. Geometric. They are identified by any precise or regular shape. They can be classified
as two-dimensional when drawn on a flat surface or three- dimensional as they possess
matter.

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 https://www.ebay.com/itm/39297026268. Louvre Museum, France.

https://aavluxurytravel.com.

Geometric Shapes Poster. (2001).

School Specialty Publishing.

3. Form. Form gives shape to a piece of art. It is the quality of an object which enables us to know
that it has thickness as well as length and breadth. Forms take up space and volume. The form
also is the expression of all the formal elements of art in a piece of work (Gustlin & Gustlin,
2020).

https://cgcookie.com/u/lowestofthekeys/projects/shape-and-form-exercise.

https://www.quora.com/ Marina Bay Sands, Singapore.

What-is-form-in-art. https://www.asgam.com/wp.

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4. Color. The character of surface created by the response of vision to the wavelength of light
reflection. It is derived from light, whether natural or artificial. Color is the most complex artistic
element because of the combinations and variations inherent in its use. Gildow (2020) explains
that humans respond to color combinations differently and artists study and use color in part to
give desired direction to their work. Color is the visual element that has the strongest effect on
our emotions. It is used to create the mood or atmosphere of an artwork.

Color Theory
The study of color in art and design often starts with color theory. Color theory splits
up colors into three categories: primary, secondary, and tertiary.

https://dta0yqvfnusiq.cloudfront.net/integ16636055/2020/02/dream
stime-xxl-48711525-5e39ce0204543.jpg.
The primary colors are red, blue, and yellow. You find them equidistant from each
other on the color wheel. These are the “elemental” colors, not produced by mixing any other
colors, and all other colors are derived from some combination of these three.
The secondary colors are orange (mix of red and yellow), green (mix of blue and
yellow), and violet (mix of blue and red).
The tertiary colors are obtained by mixing one primary color and one secondary
color. Depending on amount of color used, different hues can be obtained such as red-orange
or yellow-green. Neutral colors (browns and grays) can be mixed using the three primary
colors together.

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 White and black lie outside of these categories. They are used to lighten or darken a
color. A lighter color (made by adding white to it) is called a tint, while a darker color (made
by adding black) is called a shade.
Physical Properties of Color
a. Hue. It is the quality by which we distinguish one color from another.

http://www.color-wheel-artist.com.

b. Value. It refers to the quantity of darkness and lightness of a color in a given object.
The values of a color can be found by mixing its tints or shades.
Tints. The light values that are made by mixing a color with white.
Ex: Pink is a tint of red.
Shades. The dark values that are made by mixing a color with black.
Ex: Maroon is a shade of red.

https://codewords.recurse.com/images/six/image-processing-101/hsv.png.

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 c. Intensity/Saturation. It refers to the quality of light in a color. the intensity of color,
and when the color is fully saturated, the color is the purest form or most authentic
version. The primary colors are the three fully saturated colors as they are in the purest
form. As the saturation decreases, the color begins to look washed out when white or
black is added. When a color is bright, it is considered at its highest intensity (Gustlin
& Gustlin, 2020).

d. Neutrals. They are not distinguished as any color. In science, neutrals reflect all the
color waves in a given ray of light.
White. It may be called as the total addition of color since it reflects light in an
equal degree.
Black. It is usually identified with the absence of color because it results to
absorbing all colors in the surface reflecting none.
Grey. It may be considered as impure white because it partially reflects all the
color waves in the spectrum. When a greater quantity of light is reflected,
the grey is light. Correspondingly, if little quantity of light is reflected, there
will be a darker grey.
5. Texture. It is the surface quality of an artwork. This has to do primarily with the sense of touch.
It is the element that appeals to our sense of feeling of things such as the roughness or
smoothness of the material from which it is made. We experience texture in two
ways: optically (through sight) and physically (through touch).

https://www.pinterest.co.uk/ Merret Oppenheim. Luncheon in Fur. (1936) https://www.behance.net

https://www.npr.org.

6. Space. This refers to the area occupied by an object with respect to its surrounding. It is the
element of art that is concerned with how an artwork depicts depth. Space can give the illusion
of objects in an artwork being close, far away, or overlapping one another. It is how artists make

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 a two-dimensional surface look three-dimensional. Physical space can be estimated with the
help of linear measurements.

Types of Space
Bernard (2016) explains that there are two types of space that exist within art:
positive space and negative space. Positive space is the actual objects or shapes within an
artwork and negative space is the space around and between those objects. A good way to
demonstrate positive and negative space is by utilizing the illustration of Rubin’s vase below. As
you can see, the vase occupies what would be referred to as positive space, and the space
surrounding the vase is negative space. Notice how the negative space is forming silhouettes of
the two faces in profile.

Edgar John Rubin. Rubin’s Vase. (1915).

http://teresabernardart.com/tag/positive-space/.
The concept of positive and negative space is very simple to understand. The space occupied
by the primary object (and its shadow) is the positive space while the space surrounding is the negative
space. Gildow (2020) illustrates a way to understand this concept when the hand is open and the fingers
are spread apart. The hand is the positive shape while the space around it becomes the negative
shape.
7. Perspective is the technical means by which we perceive distance in painting or the means by
which we are made to see the position of objects in space.
a. Linear. Linear perspective is the mathematical system by which an artist uses lines
to create the illusion of deep, three-dimensional space on a two-dimensional
surface.

https://cdn2.hubspot.net/hubfs/2757257/Imported_Blog_Media/one-two-

threepoint-perspective.png.

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1. One-point perspective. It is a method that shows how things appear to get
smaller as they get further away, converging towards a single ‘vanishing
point’ on the horizon line (Bernard, 2012).

http://amalric2014.blogspot.com/2014. https://image.shutterstock.com/image-
photo/railway-tracks.

2. Two-point perspective. It is a linear perspective in which parallel lines, along

the width and depth of an object, are represented as meeting at two separate
vanishing points in the horizon.

https://www.pinterest.ph/pin/6663920 https://www.thesprucecrafts.com/
76086573540/. two-point-perspective.

3. Three-point perspective. It is the most complex form of perspective drawing

since it uses three sets if orthogonal lines and three vanishing points to draw
each object.

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 https://www.pinterest.ph/pin/3773172 https://www.pinterest.ph/pin
75002001790/. /330522060128645981/.

b. Atmospheric/Aerial. Ingram (2018) associates atmospheric or aerial perspective

with the changes in appearance due to the condition of the atmosphere. Objects that
are far away often appear fuzzier or less detailed than objects that are close due to the
contrast between light and dark being increasingly reduced by the effects of
atmosphere. Artists use value and shading to mimic atmospheric perspective and give
their artworks a realistic appearance.

https://gmhsart.weebly.com/atmospheric-perspect Dai Jin. Landscape in the Style

tive. of Yan Wengui. (1368-1644).

c. Diminution in Size. It means that the farther away an object is in space, the smaller
its size in the field of vision.

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 DIMINUTION

http://povera.myartsonline.com/im Pietro Perugino. The Delivery of the Keys to

ages/lessons_05_basics_05.gif. Saint Peter. (c. 1450-1523 CE).

d. Foreshortening. It is the linear perspective applied primarily to the human figure. The
more nearly an arm, limb or body is placed at right angles to the observer, the
shorter it looks (Sanchez, Abad & Jao, 2002).

https://in.pinterest.com https://www.pinterest.ph/pin/71 https://www.pinterest.ph/pi

/pin/477311260511421. 8957527987953287/. n/465981892665350273/.
584/.

Principles of Artistic Composition

When artists create works of art, they organize their works by observing the principles of artistic
design. The organization of their art pieces is influenced by way the parts or elements are combined
and arranged to make a whole. Principles such as unity, rhythm, balance, and emphasis are the means
by which elements in a work of art are arranged and orchestrated.

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 1. Unity and Harmony. Unity is the principle of art that gives an artwork a feeling of “oneness”
(Hurst, 2018). In art, unity conveys a sense of completeness, pleasure when viewing the art,
cohesiveness to the art, and how the patterns work together brings unity to the picture or
object. Harmony is achieved by way of combining similar elements in an artwork to accent
their similarities.
In the painting below, the Japanese painter, Katsushika Hokusai, made use of nearly
every element and principle in his work, including a range of values, colors, and textures in
his depiction of a barrel maker set against a parched rice-field with Mount Fuji in the distance.
The unity of the print is held in place by the large barrel which encloses and unifies the
individual elements of the composition (Gildow, 2020).

Katsushika Hokusai. Fujimi Fuji View Field in the

Owari Province. (1830).
Types of Unity

a. Harmonious Unity. It results from the combination of identical qualities or invariable

patterns.

https://dailyplateofcrazy.com. https://www.acquavellagalleries.com/

exhibitions/wayne-thiebaud/a-press.

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 b. Contrasting Unity. It is the opposition of the various elements and forms within the
balance and unity of the whole work.

https://www.pinterest.de/pi https://visscom.wordpress.com/2013/04/08/prin
n/368169338261526717/. ciple-of-contrast/.
c. Progressive Unity. It is the richness of integration that can be transmitted either
simultaneously as in the visual arts or successively as in the progressive movements of
melodies in songs (Panizo & Rustia, 1969).

https://www.dreamstime.com. https://courses.lumenlearning.com/
sac-artappreciation/chapter/oer-1-8/.

2. Rhythm and Variation

Rhythm in a piece of art denotes a type of repetition used to either to demonstrate

movement or expanse. For instance, in a painting of waves crashing, a viewer will
automatically see the movement as the wave finishes (Gustlin & Gustlin, 2020).
Variety has to do with the way of combining art elements to create intricate and complex
relationships. Variety is the principle of art that adds interest to an artwork (Hurst, 2018).
Rhythm is created by the variety and repetition of elements in a work of art that come together
to create a visual tempo or beat.

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 https://www.pinterest.ph/pin/552 https://artclasscurator.com. https://thevirtualinstructor.com.

465079279532581/.

3. Balance and Proportion

Balance in a piece of art refers to the distribution of weight or the apparent weight of
the piece. Artists combine elements to add a feeling of equilibrium or stability to a work of art.
The richness and vitality of works of art demand that none of the parts, no matter how
insignificant, be ignored. Symmetry and asymmetry are manifestations of balance.

Two Types of Balance

a. Formal/Symmetrical. One side of the composition is equal to, or it is the exact

duplicate of the other side.

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 https://s3.amazonaws.com/media. https://insider.in/taj-mahal-agra-uttar-pr
gardengatemagazine.com. adesh/event.

b. Informal/Asymmetrical. The elements on both sides are not identical, but they are
placed in positions so equated as to produce a ‘felt’ equilibrium.

https://s3.amazonaws.com/media. https://www.hisour.com/still-life-in-nine
gardengatemagazine.com. teenth-century-27403/.

Proportion is the comparison of dimensions or distribution of forms. It is the relationship

in scale between one element and another, or between a whole object and one of its parts.
Differing proportions within a composition can relate to different kinds of balance or
symmetry, and can help establish visual weight and depth (Mirza, 2017).
According to Hurst (2018), artists can use proportion for effect. By manipulating
proportion, the artist can make his/her subject seem strong, weak, funny and mysterious.
We can exaggerate proportions to emphasize a meaning or an element within the scene. For
example, a caricature artist distorts proportion in order to create a stylized image of the
subject.

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 https://image.slidesharecdn.com/ https://thevirtualinstructor.com/blog/wp-c

theprinciplesofdesignshow. ontent/uploads/2018/05/Proportion5.jpg.

4. Emphasis and Subordination. It is the manner of creating one element in an art work
as the strongest or most important part. Emphasis can be color, unity, balance, or any
other principle or element of art used to create a focal point. Artistic variety is practically
unlimited. Artists are aware of the paramount importance of dominance in fine arts and
its dynamic role (Panizo & Rustia, 1969).

Ways of Catching Attention in Visual Arts

a. Size. It is a large object which dominates over a smaller object.

https://www.flickr.com/photos/905140 https://ideasdispenser.com.au/20

86@N00/3434429018. 10/04/12/size-does-matter/.

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 b. Color. It is the striking colors that are easily noticed.

https://www.deviantart.com Henri Matisse. Woman

/aramisfraino/art/. with a Hat. (1905).

c. Contrast and Diversity. Attention can be focused on something unusual or different.

https://www.giantsteps.org/div Royal Ontario Museum. Daniel Libeskind.

ersity2cjannah/.

d. Position and Arrangement. The way or manner in which the objects are arranged or
placed can be used for greater emphasis.

https://www.idealhome.co.uk/diy-and-decorating/
picture-perfect.

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 ACTIVITIES
Activity 1: Personal Logo Designs
Materials needed:
Pen and paper
Smartphone/Tablet/Laptop/Personal Computer
Instruction:

Tiktok is one of the most popular pastimes of many Filipinos during the global health crisis
when most people are advised to stay in the safety of their homes. Its rich and entertaining contents
showcase a plethora of talented artists who share their creative outputs for the world to see. One young
local artist is Ms. Nessie Marie Honculada whose Tiktok account is @createdbyNessie. She creates
custom logos based on the names of her clients. Below are some of her artistic works:

https://www.tiktok.com/@createdbynessie?lang=en.

Check out any post from her account to see the demonstration of how she creates these name
logos digitally. Drawing inspiration from her creativity, make a personalized logo based on your own
first name or nickname. You may create the logo using pen and paper or use a software to render a
digital output. Complete the logo by adding your own background design. This activity will help you tap
your creative nature while utilizing lines as the most basic element of artistic design. You may submit
the scanned copy or digital image of your personal logo in the platform that is chosen by your instructor.

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 For this activity, you will be graded based on the following criteria:
4 3 2 1 Total
Score
Criterion Outstanding Very Good Needs
(Total
Good improvement
score
divided by
12
multiplied
by 20)
Concept
Creativity/Originality
Aesthetic Quality

Activity 2: Shade with Me.

Materials needed:
Pencil
White eraser
Any coloring material (crayons, colored pencils, watercolor or oil pastel)
2 pcs. short bond papers
Instruction:
Watch Rapid Fire Art’s video tutorial on “How to Shade with Pencil for Beginners” in
Youtube to learn and practice how to transform a shape into a form through the study of light
and the use of shading techniques. You can watch the video at https://youtu.be/-WR-FyUQc6I.
After watching the video, follow the steps in the tutorial and start working on your own version of
a shaded apple using a pencil, an eraser and a short bond paper. Use the photo below as the
reference for your own work. This will be your monochromatic output.

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 Once done, make a colored version of a shaded apple using any available coloring
material that you have in a short bond paper. You may choose the hue of your colored apple.
This will be your colored output.
Take pictures or scan your final outputs (monochromatic and colored) and place them
side by side in one single image. The monochromatic apple should be positioned on the left side
while the colored apple should be placed on the right side of the final image (See student sample
output below). Don’t forget to place your signature beside every output. Submit your work in the
platform that your instructor will identify (Google Classroom, Google Slides, Facebook Social
Learning Group/Messenger).

You will be graded based on the following criteria:

4 3 2 1 Total
Score
Criterion Outstanding Very Good Needs
Good improvement (Total
score
divided
by 12
multiplied
by 40)
Artistic Composition
Creativity/Uniqueness
Aesthetic Quality

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Activity 3: Self-Portrait Collage
Materials needed:
Printed photo
Cardboard
Glue/Adhesive
Pencil
Ink pens

https://juliannakunstler.com/art2_self2.html.
Instruction:
Use your printed photograph as a base for a collage. It can be any picture of you - full
body, partial body or just the face. Then add free-flowing shapes and fill them in with creative
patterns to create a movement in the composition. Additional cut-outs can be used for extra
interest. Upload your final output at the learning platform your instructor will identify.
For guidance on how to craft your Self-Portrait Collage, follow these steps:
1. Choose a printed photo that you want to use for the collage and cut it out
accurately. You can cut out the entire head, or just a face, or parts of the face.
You are free to choose from any of the choices.
2. Position it on the board. Cut out more images if you want to add them to your self-
portrait.
3. Apply glue to the back of the cut-out and glue pieces to the board.
4. Divide the negative space into shapes.
5. Tie the background design with your face and the extra objects. The background
can be abstract or be an "extension" of your images.
6. Plan out the structure of the patterns with a pencil. Divide larger areas into smaller
areas, then into even smaller areas.
7. Add patterns and textures to the shapes. Use your creativity and craftsmanship.
8. The designs should incorporate repeating units, adjusted to the overall shape of
the area.
9. Use fine-point pens to draw the patterns. Use variety of patterns and designs.
10. Feel free to add small patterned areas over your photograph.

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 11. Use darker and lighter shapes and patterns to create a nice variety of values.
12. Erase pencil lines when you are done.

You will be graded based on the following criteria:

4 3 2 1 Total Score

Criterion Outstanding Very Good Needs (Total score

divided by 9
Good improvement multiplied by
50)

Organization
(Elements/Principles of
Design)

Craftsmanship &
Creativity

Aesthetic Quality

Lesson Assignment:
Take a house/room tour, and study how you can observe the application of the elements
and principles of artistic design in your areas of exploration. Present an example of each element
and principle of art and design using original photography. For each example, provide a detailed
description of how each photograph presents the element or principle. A different original
photograph must be used for each element (no repetition). There must be ten (10) original photos
in the submission. Compile your photos in one PDF file and submit it in your Google Classroom.
You will be graded based on the following criteria:

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 4 3 2 1 Total Score

Criterion Outstanding Very Good Needs (Total score

Good improvement divided by 9
multiplied by 50)

Element/Principle of Design

Originality & Creativity

Aesthetic Quality

References

Bernard, T. (2012). Principles of good design—Space. Available: http://teresabernardart.com/tag/positive-

space/.

Bernard, T. (2016). Basic art element—Space. Available: http://teresabernardart.com/tag/positive-space/.

Color wheel. Available: https://encrypted-tbn0.gstatic.com/images?q=tbn%3AANd9GcSWh0P83mAy87Yq

ZuP_hlmB5rUIIPlADJ8Opg&usqp=CAU.

Dumaual, M. (2019). Theater review: Wonderful and jarring, ‘Ang Huling El Bimbo’ is a punch to the gut.

Available:https://news.abs-cbn.com/life/03/09/19/theater-review-wonderful-and-jarring-ang-huling-el-bimbo-is-a-

punch-to-the-gut.

Duran, V. (2012). Biomorphic architecture: 10 stunning examples. Available: https://virginiaduran.com/201

2/12/27/curiosities-10-examples-of-biomorphic-architecture/.

Duron, M. (2019). Damián Ortega wins ICA Miami’s inaugural sculpture prize. Available: https://www.artn

ews.com/art-news/news/damian-ortega-ica-miami-sculpture-prize-13037/.

Elements and principles of design. Available: https://courses.lumenlearning.com/masteryart1/chapter.

Gildow, C. (2020). ARTH101: Art appreciation. Available: https://learn.saylor.org/mod/page/view.php?.

Gustlin, D. & G. Gustlin. (2020). A world perspective of art appreciation. Available:https://human.libretexts

.org/Bookshelves/Art/A_World_Perspective_of_Art_Appreciation_(Gustlin_and_Gustlin).

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Griswold, N. (2012). Biomorphic shapes. Available: https://fineartamerica.com/featured/biomorphic-shape

s-nancy-griswold.html.

Heller, D. (2018). Mediums of art. Available: https://artgreet.com/mediums-of-art/.

Honculada, N. M. (2020). Created by Nessie. Available: https://www.tiktok.com/@createdbynessie.

Hurst, A. (2018). Unity, harmony, and variety – Principles of art. Available: https://thevirtualinstructor.com/

blog/unity-harmony-and-variety-principles-of-art.

Ingram, C. (2018). The ultimate collection of elements of art examples and definitions. Available: https://ar

tclasscurator.com/elements-of-art-examples/.

Ivanova, T. & D. Jokel. 22 best fine art photographers you should know. Available: https://expertphotogra

phy.com/best-fine-art-photographers/.

Jon, J. (2017). The phantom of the opera review. Available: https://thepeachreview.com/2017/02/27/the-p

hantom-of-the-opera-review/.

Landscape in the Style of Yan Wengui. Available: http://www.chinaonlinemuseum.com/.

Martyris, N. (2016). 'Luncheon In Fur': The surrealist teacup that stirred the art world. Available: https://ww

ww.npr.org/sections/thesalt/2016/02/09/466061492/luncheon-in-fur-the-surrealist-tea-cup-thatstirr ed-the-art-

world.

Mirza, I. (2017). Principle of art. Available:https://irfanmirzasite.wordpress.com/2017/05/23/principle-of-art.

Panizo, A. and E. Rustia. (1969). Introduction to Art appreciation and Aesthetics: An Approach to the

Humanities. Manila: Rex Printing Company, Inc.

Perugino, P. (2020). Delivery of the keys to St. Peter by Perugino. World History Encyclopedia. Available:

https://www.worldhistory.org/image/12761/delivery-of-the-keys-to-st-peter-by-perugino/.

Philosophy of Art. Available: https://www.britannica.com/topic/philosophy-of-art/Differences-in-the-arts-re

lated-to-mediums.

Rahbek, P. (2013). DIY - book art. Available: https://youtu.be/4VV4zOJDByo.

Ribbon Chapel / Hiroshi Nakamura & NAP. Available: https://www.archdaily.com/594947/ribbon-chapel-

nap-architects.

Rubin vase. Available: https://www.newworldencyclopedia.org/entry/Rubin_vase.

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Sanchez, C., Abad, P. & Jao, L. (2002). Introduction to the Humanities. (Revised Ed.). Manila: Rex Book

store, Inc.

Sargento, M. (2015). Elements & principles of design and art. Available: https://www. slideshare.net/marci

osargento/lesson-1-elements-principles-of-design-and-art.

School Specialty Publishing. (2001). Geometric shapes cheap chart poster. Available: https://www.amazo

n.com/Geometric-Shapes-School-SpecialtyPublishing/dp/0768212715.

Self- portrait collage. Available: https://juliannakunstler.com/art2_self2.html.

Shape, form & pattern. (2016). Available: http://www.theartverve.com/2016/08/shape-form-pattern.html.

The J. Paul Getty Museum. (2011). Elements of art. Available: https://www.getty.edu/education/teachers/

building_lessons/formal_analysis.html.

The ultimate drawing course – beginner to advanced. Available: https://freecoursesite.com/1-the-ultimate-

drawing-course-beginner-to-advanced/.

Weeping woman. Available: https://www.tate.org.uk/art/artworks/picasso-weeping-woman-t05010.

WPMS art classes. Available: http://wpmsart.weebly.com/straight-line-drawings.html.

Younts, S. (2013). Angular. Available: https://fineartamerica.com/featured/angular-stephen-younts.html.

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 LESSON 7
European Art (Medieval Period to World War I)

Learning Outcomes: At the end of the lesson, you are expected to:

1. identify the major periods in Western art history;

2. trace the development of art in the European Countries from different
generations;
3. compare and contrast the artworks produced during the different periods; and
4. discuss the importance of art to the development of Western culture.

According to Dudley, et. al., (1978), one of the three basic assumptions in the study of
Humanities is, “Art has been created by all people at all times. It lives because it is liked and enjoyed.”
Art has no expiration, for it is created based on the experiences of mankind in whatever time, place, or
situation he is in. To fully appreciate and understand arts one must go back to the time when and where
art had developed. In this lesson, learners will see the development of Western arts from different
periods.

Major Periods in Western Art History

According to Dudley et al., (1960), art involves experience meaning “actual doing of something,”
and it also affirmed that art depends on experience. Below are the major periods of the development of
the Western Art history that influenced Art in the whole world.

Prehistoric Art (-40,000 – 4,000 BC)

The earliest artifacts come from the Paleolithic era, or the Old Stone Age, in the form of rock
carvings, engravings, pictorial imagery, sculptures, and stone arrangements. Art from this period relied
on the use of natural pigments and stone carvings to create representations of objects, animals, and
rituals that governed a civilization’s existence. One of the most famous examples is that of the
Paleolithic cave paintings found in the complex caves of Lascaux in France. Though discovered in
1940, they’re estimated to be up to 20,000 years old and depict large animals and vegetation from the
area (https://bit.ly/3bLkOHs).

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 Lascaux Cave Paintings. Paleolithic Era.
Source: https://bit.ly/3bLkOHs.

Egyptian Art (3,000 BC – 395 AD)

Egyptian art was originally created for religious and magical purposes. Its symbols and functions
show the Egyptians’ beliefs about their world and the promise of an afterlife. Statues placed in tombs
and temples served as physical repositories for the spirit and were to receive offerings and prayers.
There were many images of kings making offerings to the gods and defeating Egypt’s enemies. The
Egyptians believed that these images helped make these triumphs come true (https://bit.ly/3yrcPsN).

Bust of Akhenaten's wife, Nefertiti.

Source: (https://bit.ly/3oFOTNC).

Egyptian art ranges from delicate jewelry and grave goods to monumental sculpture of the
pharaohs. The human form is often shown in rigid frontal poses. The artists used overlapping

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perspective and richly colored patterns. Even over thousands of years, basic forms and symbols
remained constant (https://bit.ly/3yrcPsN).

Menna and his Family Fishing and Fowling.

Source: (https://bit.ly/3ucG9zV).

Ancient Greece (510-323 BC)

The Greeks have been described as idealistic, imaginative and spiritual. The Greeks produced
the Olympics and great works of art which is evident in the Ode on a Grecian Urn by John Keats who
wrote: "Beauty is truth, truth beauty, “that is all/ Ye know on earth, and all ye need to know."
Greece reached its zenith during the Golden Age of Athens (457 B.C. to 430 B.C.) when great
temples were built in Athens and Olympia, and they were decorated with wonderful sculptures and
reliefs. Hellenistic arts imitated life realistically, especially in sculpture and literature.
Greek artists identified themselves for the first time in the eight century B.C., when pottery
painting contained statements such as Ergotimos made me, and Kletis painted me
(https://bit.ly/2RCI8jD).

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 Altar of Zeus from Pergamon.
Source: (https://bit.ly/3vdOiqK).

Ancient Rome (509 B.C.E. – 330 C.E)

Roman art is generally associated with the overthrow of the Etruscan kings and the
establishment of the Republic in 509 BC. Roman art is traditionally divided into two main period: art of
the Republic and art of the Roman Empire (from 27 BC on), with subdivisions corresponding to the
major emperors or imperial dynasties.
Roman art includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-
work, gem engraving, ivory carvings and glass are sometimes considered in, modern terms, to be minor
forms of Roman art, although this would not necessarily have been the case for contemporaries.
Stylistic eclecticism and practical application are the hallmarks of much Roman art
(https://bit.ly/3hLUtfW).

Ludovisi Battle Sarcophagus: Battle of Romans and Barbarians. (c 250 – 260 C.E.).
Source: (https://bit.ly/3vcghp7).

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 Discobolus by Myron. (5th century BC). Roman copy from the 2nd century CE.

Medieval Art (500–1400 AD)

The Middle Ages, often referred to as the “Dark Ages,” marked a period of economic and cultural
deterioration following the fall of the Roman Empire in 476 A.D. Much of the artwork produced in the
early years of the period reflected that darkness, characterized by grotesque imagery and brutal
scenery. Art produced during this time was centered around the Church. As the first millennium passed,
more sophisticated and elaborately decorated churches emerged; windows and silhouettes were
adorned with Biblical subjects and scenes from classical mythology.

This period was also responsible for the emergence of the illuminated manuscript and Gothic
architecture style. Definitive examples of influential art from this period include the catacombs in Rome,
Hagia Sophia in Istanbul, the Lindisfarne Gospels, one of the best-known examples of the illuminated
manuscript, and Notre Dame, a Parisian cathedral and prominent example of Gothic architecture
(https://bit.ly/3bLkOHs).

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 Icon with the Triumph of Orthodoxy. (ca 1400). British Museum.

Duccio Cimabue. Crucifix. (1288).

Source: https://bit.ly/3bLkOHs.

Renaissance Art (1400–1600 BC)

The Renaissance reached its height in Florence, Italy, due in large part to the Medici, a wealthy
merchant family who adamantly supported the arts and humanism, a variety of beliefs and
philosophies that places emphasis on the human realm. Italian designer Filippo Brunelleschi and
sculptor Donatello were key innovators during this period.

The High Renaissance, which lasted from 1490 to 1527, produced influential artists such as da
Vinci, Michelangelo, and Raphael, each of whom brought creative power and spearheaded ideals of
emotional expression. Artwork throughout the Renaissance was characterized by realism, attention to
detail, and precise study of human anatomy. Artists used linear perspective and created depth through
intense lighting and shading. Art began to change stylistically shortly after the High Renaissance, when
clashes between the Christian faith and humanism gave way to Mannerism (https://bit.ly/3bLkOHs).
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 Raphael. The School of Athens. (1511).
Source: https://bit.ly/3bLkOHs.

Mannerism (1527–1580 BC)

Mannerist artists emerged from the ideals of Michelangelo, Raphael, and other Late
Renaissance artists, but their focus on style and technique outweighed the meaning of the subject
matter. Often, figures had graceful, elongated limbs, small heads, stylized features and exaggerated
details. This yielded more complex, stylized compositions rather than relying on the classical ideals of
harmonious composition and linear perspective used by their Renaissance predecessors.
Some of the most celebrated Mannerist artists include Giorgio Vasari, Francesco Salviati,
Domenico Beccafumi, and Bronzino, who was widely considered to be the most important Mannerist
painter in Florence during his time (https://bit.ly/3bLkOHs).

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 Madonna and Child with Angels by Parmigianino, also known as Madonna with the Long Neck. (1534-40), Uffizi
Galleries, Florence.

Baroque (1600–1750 BC)

The Baroque period that followed Mannerism yielded ornate, over-the-top visual arts and
architecture. It was characterized by grandeur and richness, punctuated by an interest in broadening
human intellect and global discovery. Baroque artists were stylistically complex.

Baroque paintings were characterized by drama, as seen in the iconic works of Italian painter
Caravaggio and Dutch painter Rembrandt. Painters used an intense contrast between light and dark
(chiaroscuro) and had energetic compositions matched by rich color palettes (https://bit.ly/3bLkOHs).

Caravaggio. The Calling of St Matthew. (1600).

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Rococo (1699–1780 BC)

Rococo originated in Paris, encompassing decorative art, painting, architecture, and sculpture.
The aesthetic offered a softer style of decorative art compared to Baroque’s exuberance. Rococo is
characterized by lightness and elegance, focusing on the use of natural forms, asymmetrical design,
and subtle colors.

Painters like Antoine Watteau and Francois Boucher used lighthearted treatments, rich
brushwork, and fresh colors. The Rococo style also easily translated to silver, porcelain, and French
furniture. Many chairs and armoires featured curving forms, floral designs, and an expressive use of
gilt (https://bit.ly/3bLkOHs).

Rembrandt. The Night Watch. (1642). Rijksmuseum, Amsterdam.

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 Antoine Watteau. Embarkation for Cythera. (1718).

Neoclassicism (1750–1850 BC)

As its name suggests, the Neoclassical period drew upon elements from classical antiquity.
Archaeological ruins of ancient civilizations in Athens and Naples that were discovered at the time
reignited a passion for all things past, and artists strove to recreate the great works of ancient art. This
translated to a renewed interest in classical ideals of harmony, simplicity, and proportion.

Neoclassical artists were influenced by classical elements; in particular, a focus on idealism.

Inevitably, they also included modern, historically relevant depictions in their works. For example, Italian
sculptor Antonio Canova drew upon classical elements in his marble sculptures, but avoided the cold
artificiality that was represented in many of these early creations (https://bit.ly/3bLkOHs).

Jacques-Louis David. Napoleon Crossing the Alps. (1801).

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Romanticism (1780–1850 BC)

Romanticism embodies a broad range of disciplines, from painting to music to literature. The
ideals present in each of these art forms reject order, harmony, and rationality, which were embraced
in both classical art and Neoclassicism. Instead, Romantic artists emphasized the individual and
imagination. Another defining Romantic ideal was an appreciation for nature, with many turning to plein
air painting, which brought artists out of dark interiors and enabled them to paint outside. Artists also
focused on passion, emotion, and sensation over intellect and reason.
Prominent Romantic painters include Henry Fuseli, who created strange, macabre paintings that
explored the dark recesses of human psychology, and William Blake, whose mysterious poems and
images conveyed mystical visions and his disappointment in societal constraints
(https://bit.ly/3bLkOHs).

Eugene Delacroix. Liberty Leading the People. (1830). The Louvre, Paris

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Mesopotamian Arts

A Mesopotamian carved relief depicting hunting a lion.

Source: https://bit.ly/3hM1Rbq.

Mesopotamia, referred to as the “cradle of civilization,” led an important series of contributions

to the history of art, especially in ancient pottery, sculpture and metalwork. The ancient art of
Mesopotamia incorporates that of Sumeria, Akkad, Babylonia and Assyria, until the sixth century BCE,
when Babylon fell to the Persians. Mesopotamian Sculpture (c. 3000-500 BCE) includes a host
of ceramic art, varieties of stone sculpture, in the form of both statues and reliefs, steles, mosaic art,
carved cylinder seals and monumental architecture exemplified by Ziggurats built in Ur, Babylon, Uruk,
Sialk, Nimrud and elsewhere (3200-500 BCE), and the legendary Hanging Gardens of Babylon, built in
the ancient city-state of Babylon, by King Nebuchadnezzar II. Mesopotamia was also home
to megalithic art like that of Catalhoyuk in Asia Minor (https://bit.ly/3bJUA7S).

Early Period (c. 4500-3000)

In the early period (c. 4500-3000), the major medium of Neolithic art in Mesopotomia was
ceramic pottery, a type and quality which was far superior to any type of Greek pottery produced up to
that point. The finest examples of which typically featured geometric designs or plant and animal
motifs. Moreover, various artifacts and artworks began to be ornamented with precious metals. In 3200

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BCE in Babylonia, the earliest known nail art occurred, when men coloured their nails with kohl, an
ancient cosmetic containing lead sulfide (https://bit.ly/3bJUA7S).

The Urfa Man, from Upper Mesopotamia circa 9000 BC, the "oldest naturalistic life-sized sculpture of a
human.” Şanlıurfa Museum.
Source: https://bit.ly/3wrQWHK.

Third Millennium (c. 3,000-2,000)

In the 3rd Millennium, free standing sculpture, in stone and wood made an appearance, along
with early bronze statuettes, primitive personal jewellery and decorative designs on a variety of
artifacts. Sequences of shrines, excavated in the Diyala Valley, contained examples of sculpture in the
round and evidence of advanced copper and bronze casting techniques, some bronze sculpture being
made by the complicated cire-perdue process. The copper high relief decoration of the temple facade
at Al'Ubaid also survived. At Ur, many rich burials, some of them in vaulted tombs, contained beautiful
gold, silver, lapis lazuli, coloured limestone and shell objects, jewellery, gaming-boards, harps,
weapons and cylinder seals. For instance, the exquisite Ram in a Thicket (c. 2500 BCE, excavated
from the Great Death Pit at Ur), was one of the most arresting compositions in the history of sculpture.
Clay reliefs or steles, used by the educated classes to narrate stories, were another popular art form,
as were cylindrical or cubical statues.

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 Ram in a Thicket. (2600–2400 BC). Royal Cemetery at Ur. British Museum.
Source: https://bit.ly/3wrQWHK.

Gold Helmet of Meskalamdug, ruler of the First Dynasty of Ur. (2500 BC). Early Dynastic
period III.
Source: https://bit.ly/3wrQWHK.

In this rich early dynastic period, Mesopotamia was united for a period (2334-2154) under the
Semitic kings of the dynasty of Akkad, whose art is illustrated by some interesting reliefs, very fine
fragmentary life-size figures in stone and copper, and some of the most beautiful cylinder seals ever
cut - works that indicate the presence of the region's best sculptors and metalworkers. After a period of
chaos, there was a Neo-Sumerian revival led by Ur. Innumerable statues of Gudea of Lagash survived.
For instance, there was the statuette of Gudea of Lagash (2141-2122 BCE, Detroit Institute of Arts),
but few of the temples he built. Many of the buildings set up by the rulers of the 3rd dynasty of Ur have
been excavated, however, and the first true ziggurat or stepped temple pyramid dates from this period
(https://bit.ly/3bJUA7S).
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 Cylinder Seal from the Old Babylonian Period.
Source: https://bit.ly/3hM1Rbq.

Second Millennium (c. 2000-1000)

In the 3rd dynasty, Ur fell in 2003 BCE before the Amorites and moved from the desert and set
up a series of Semitic dynasties. By about 1750, Northern Mesopotamia was under the influence of
Assyria, while the south was controlled by Babylon. The Kassites from Iran gradually gained influence
in the south, but maintained the traditional architectural forms, even if some paintings at Aqar Quf and
a brick facade decorated with life-size figures at Uruk, showed some originality. The great innovation
of the 15th century BCE was the use of glass and glazing; there were several examples of
multicoloured, opaque glass from Tell el-Rimah and Middle Assyrian examples of glazed bricks.
This was the period during which the Assyrians consolidated their kingdom and developed their
stone sculpture, as demonstrated by the monumental statues and reliefs that decorated the palaces of
the Assyrian kings. Particularly memorable was their carved stone relief sculpture, a frequent
decorative element on imperial monuments and palaces. These reliefs contained details of royal
hunting parties and battle scenes. Special attention is paid to animal forms, like horses and lions. By
comparison, human figures are equally detailed but relatively rigid and wooden-looking. Among the
most famous examples of Assyrian Art are the lion-hunt alabaster carvings depicting Assurnasirpal II
(9th century BCE) and Assurbanipal (7th century BCE), now in the British Museum.The Babylonian
relief is entitled The Code of Hammurabi (c. 1750 BCE, Louvre, Paris). Influences on Mesopotamian
carving of this period would no doubt have included Egyptian sculpture as well as works of Ancient
Persian art, while it itself would have influenced the various strands of Aegean Art, including Minoan
Art (Crete) and Mycenean Art (Peloponnese) as well as early Etruscan Art (Italy) and other eastern
Mediterranean cultures of the Bronze Age (https://bit.ly/3bJUA7S).

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 Law Code of Hammurabi.
Source: flickr.com.

Hammurabi (standing), Hammurabi's code of Laws.

Source: https://bit.ly/3hM1Rbq.

The Hittites created art objects of metal and made pottery items like rhytons, a type of drinking
vessel. They also carved tiny cylinder seals from precious stones that when printed served as official
signatures for documents (https://bit.ly/2RyKDUe).

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Hittite clay rhyton in the shape of gazelle.
Source: https://bit.ly/2RyKDUe.

The ancient Hittites at the Louvre.

Source: apollo-magazine.com.

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The Burney Relief, a likely representation of either Ereshkigal or Ishtar, from the Isin-Larsa or First Babylonian Dynasty.
(19th–18th century BC). Babylonia. British Museum (London).

Source: https://bit.ly/3wrQWHK.

King Iddin-Sin of the Kingdom of Simurrum, holding an axe and a bow, trampling a foe, in front of
Goddess Ishtar. (2000 BCE).
Source: https://bit.ly/3wrQWHK.

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Home Task. Collect pictures of art works from the different periods of medieval time to World
War I showing the development of Western art. Then, create your own diorama (provide a title), and
explain it by video recording yourself. Submit your video and a picture of your output to your
instructor. Your diorama will be graded according to the given the rubrics below.

Title ___________________

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 RUBRICS
POINTS Basis Remarks
8-10 points The development of the art is well Excellent
presented by choosing the appropriate
picture, and the video explanation is
very clear.
5-7 points Pictures are well chosen, but the Satisfactory
explanation is too limited.
1-4 points Too limited pictures, and there is no Poor
explanation about the output.

References
Davis, Charlotte. (2020). The Top 30 Art Movements in Western History:
Characteristics and Styles. https://bit.ly/3vbPwRn.
Dudley, F. (1960). The Humanities (5th ed.). New York: McGraw-Hill Book Company Hill.
https://bit.ly/3vbPwRn.

https://bit.ly/3hLS5WD.

https://bit.ly/2RCI8jD.

https://bit.ly/3bLkOHs.

https://bit.ly/3hM1Rbq.

https://bit.ly/3yrcPsN.

https://bit.ly/3bJUA7S.

https://bit.ly/3wrQWHK.
https://bit.ly/3vcghp7.

https://bit.ly/3vdOiqK.
https://bit.ly/3oFOTNC.

https://bit.ly/3ucG9zV.

https://flickr.com.

https://apollo-magazine.com.

https://bit.ly/2RyKDUe.

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 LESSON 8
Modern Art and Contemporary Art

Learning Outcomes: By the end of this lesson, you should be able to:
1. distinguish modern art from contemporary art;
2. analyze the interrelatedness of the art movements from modern to
contemporary;
3. discuss and criticize the historical timeline, influential factors, and
consequences of modern art movements resulting to what is now
contemporary art; and
4. judge sample art works of modern and contemporary art pieces.

Introduction
This lesson is a continuation of art history in terms of progression from the classical arts to
modern and contemporary art forms, styles, philosophies, movements, experiments, personalities, and
artworks. It presents how collective individuals have defined various art styles and movements. Most
importantly, this section reveals how the artists have influenced the learning cultures of societies and
challenged the inner psyches of their contemporary audiences.

What is modern? What is contemporary?

People have often used the terms, modern and contemporary interchangeably, and, sometimes
inaccurately in conversations and situations, but in the strict sense of discussing art, these two concepts
are interrelated yet distinguishable, as the latter is the immediate consequence of the former (Caslib
Jr. et al., 2018).
To most artists and scholars, modern art started from 1860s until the 1970s, not only in Europe,
but also in the United States of America and Latin America. It was the period of recognizing
individualism, reacting to elite status quos, contending questionable conventions, advocating social
inclusivity in education, struggling in the industrial revolution, and representing collective consciousness
of societies whose freedom and liberty had been in constant battle against animosities of socio-political
and economic capitalist superpower countries (Caslib Jr. et al., 2018; Fernandez, 2009).
The ideological working-class and protest-driven cunning personalities represented and
established modern art movements that would later influence the world, not only in a geographical
scale, but in a fast, digital and virtual sphere. This would be later known as Postmodernism (Caslib Jr.
et al., 2018).

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Modern Art Movements and their Proponents
Aside from painting and sculpture, one of the influential art forms which turned out to be an
effective social awakening to humankind was literature. It was through literature that most works of arts
during the modern art period became mediums of symbolic protests (Fernandez, 2009).
Realism (1840s-1880s)
The realist movement represented
realistic, possible, and unpretentious human
scenarios and discussion. In painting and
literature, it depicted the rawness of conditions,
particularly the social ills of the less privileged
and marginalized. French painter, Jean Francois
Millet, who created The Gleaners, displayed the
unspoken and ignored conditions of peasant
women tediously picking loose wheat and straw in
a field after the harvest. Its related term, Naturalism,
equated to scientific and professional accuracy in
photography, psychology, journalism, and
literature. Naturalist writers and their Jean-Francois Millet. The Gleaners (1857). Musée
contemporaries presented the life cycle d’Orsay, Paris France. of man, and in
literature, writers like Émile Zola and Stephen Crane, displayed the inevitable tragic end of man, void
of romantic and religious elements (britannica.com, 2020; Abrams, 1999).
Although published in 1842, the short story, The Masque of the Red Death, by American writer,
Edgar Allan Poe, had predicted concerns of the modern societies against status quos and certain
conventions. It reflected the vulnerability of the common man as collateral in the brevity of life. Needless
to say, this story was a very timely piece of literature which foreshadowed consequences the world had
been facing. At some levels of interpretation, this classic piece of fiction realistically depicted situational
ironies in the progressions of the industrial world.

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Impressionism (1862-1892
Highly esteemed by the Americans through the patron, Paul Durand-Ruel, the avant-garde
impressionist painters were rather underestimated by their European colleagues, majority of the public,
and even by the academic institutions. The 1874-
1900 impressionist movement in Durand-Ruel’s
words was a “triumph of modern art over
academic art” (Prodger, 2015). The
impressionist paintings depicted ordinary
scenarios in light-infused, vague clarity, and
unblended bright colors. Emphasis was on the
creation of a fleeting scene, as if the subject was
reduced to something worth-recreating in mind
than a passively static memory. However, these
works were frowned upon by art detractors, and
established schools, and were not accepted by
majority of the public audience due to the sketch-
like, broken lines in shadows, highlights, and airy
Claude Monet. Sunrise (1872). Musée Marmottan Monet,
Paris, France.
strokes making the paintings appear blurry and
unfinished. Famous figures of this art movement
were French-Prussian painter, Claude Monet, Camille Pissarro, Edouard Manet, Pierre-Auguste
Renoir, and Alfred Sisley (www.impressionists.org, 2015; Prodger 2015; Samu, 2004).
Neo-Impressionism (1884-1945)
As years gone by, these quintessential painters progressed their talents into niches that would
influence succeeding art movements. Neo-impressionism was a first, and it was opposed to the
impressionist movement. Proponents like George Seurat and Paul Signac, to name a few, were
influenced by the color theory of Charles Henry, Eugene Chevruel and Odgen Rood. Instead of
combining pigments, Neo-impressionists introduced optical mixture (melangue optique) through
pointillism for colors, involving the meticulous application of individual pigments in precise dots and
divisionism for dimensions, layering new pigments and calculating brushstrokes to create the desired
lines, shapes, texture, and volume dimensions (Amory, 2004). Neo-impressionism would sooner
influence fashion, photography, sculpture, and tattoo designing (Taggart, 2018).

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 Georges Seurat. A Sunday on La Grande Jatte (1884-1886). Art Institute of Chicago, USA.

Post-Impressionism (1880s-1914)

Paul Cezanne. Le Chateau Noir (1903-1904/1906). The Museum of Modern Art. New York, USA.

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 The art movement that followed was as an extension and at the same time a reaction against
the limitations of impressionist art and, later, influenced cubism and fauvism. Artists involved in the
post-impressionist movement did away with the evanescent light and the candid scenes but valued
the vibrancy of colors and applications of short strokes. They preferred dimensional depths of colors,
the personal and spiritual subjects, and developed their own styles from the techniques of
impressionists. Dutch painter, Vincent Van Gogh, transformed brushstrokes to curves, swirls, and
spirals which heavily revealed his stirring emotions towards his subjects and himself. The highly
regarded French painter, Paul Cézanne, whose simplified cubic chunks technique to represent reality,
influenced cubist painters, like Pablo Picasso and Georges Braque, to depict issues of reality in
abstractions. His chromatic coloring technique, earlier use dark colors for depths, and careful brush
applications had contributed to the works of fauvism artists (Huyghe, 2020; britannica.com, 2019).

Fauvism (1899-1908)

Andre Derain. Fishing Boats, Collioure (1905). Henri Matisse. La Danse (1910). The State
Artists Rights Society (ARS) New York / Hermitage Museum. St. Petersburg, Russia.
ADAGP, Paris.

Like most radical artists of the previous art movements, works of fauvist artists, particularly
painters, were considered by their art critics as savage, unprofessionally painted, unruly colored, and
coarse. Henri Matisse, André Derain, Maurice Vlaminck, Charles Camoin and George Rouault were a
few of the known advocates of the 1899-1908 fauvist movement (LeBourdais, 2017). The fauvist
painters adapted the brushstroke techniques of the impressionist painters and the deliberate choice of
bright and bold, sometimes violent, colors of the post-impressionists and expressionist artists, to display
strong chromatics saturated hues and give new dimensional meanings to colors through their individual
representations (Wolf, 2015).

Expressionism (1905-1933)
Another widespread abstract art movement was expressionism. This German-pioneered
movement was a response against positivism, impressionism, and naturalism and a platform against

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 materialism and corruption (Poppelreuter, 2016). It became a
channel to protest against industrialization and urbanization
(Motta, n.d.) and a tool of bold expression for social
commentaries (Davis, 2020). The impact and voice of the
movement extended to literature, music, dance, film, and
philosophy (Poppelreuter, 2016). From 1905-1920, these
fierce artists depicted subjective, personal, sometimes
psychological, disturbing, and symbolical representations of
their emotions in vivid, strong colors, broad and heavy brush
strokes, rough textures, and distorted shapes, lines and angles
which certainly stirred emotions of the audience (Davis, 2020;
Poppelreuter, 2016; Motta, n.d.). Edvard Munch, Wassily
Kandinsky, Franz Marc, Albert Durer, Paul Gaugin, to name a
few, were advocates of this style. The Scream, with four
different versions from different media by the Norwegian artist,
Edvard Munch (Albertson, 2015), had been the most
celebrated work to visually represent its concept (Davis, 2020;
Edvard Munch. The Scream (1893). National
Gallery and Munch Museum, Oslo, Norway. Watson, 2020). To the Nazis, these social propagandist
artworks and forms were labelled degenerate art, of which
Munch and the others, even Pablo Picasso, were ridiculed of (britannica.com, 2019). Most German
musicians and writers who were against the Nazi regime were exiled to other countries where they
sought refuge and continued to voice out against the terrors of the Nazi empire through their arts
(Cirigliano, 2016).

Cubism (1907-1922)
Another radical modern abstract art movement, if not globally recognized, was the most
theorized by members, patrons, and art critics. Its influence stretched to literature, music, applied arts,
poetry, and architecture (Kolokytha, 2016). Although it had been strongly participated by painters in
1907-1914, its impact in sculpture and architecture had prolonged longer (Anderson, n.d.). The father
of this movement, Georges Braque, was inspired by the cube-abstract technique and use of earthly
colors of the Post-Impressionist painter, Paul Cézanne and heavily influenced by Pablo Picasso, who
introduced him of the shallowness of spaces, fragmentations, and distortions of planes. Braque applied
geometric shapes in his paintings and together, both he and Picasso, pioneered the art movement,
Cubism. (britannica.com, 2020; Ganguly, 2017).

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 All cubists challenged the traditional representation of
three-dimensionality in painting and celebrated its two-
dimensionality by deconstructing mostly still life subjects into
fragmented sections, reducing these parts into
unconventional shapes, shades, and angles, and juxtaposing
varied vantage points of the subjects in monochromatic
earthly hues, thus, creating multiple viewpoints of an almost
non-representational subject on a seamless flat surface
(britannica.com, 2020; Ganguly, 2017; Kolokytha, 2016;
Anderson, n.d; scholar.harvard.edu, n.d.). Cubism was
believed to have two major phases. The first was analytical,
which Picasso and Braque pioneered in dull monochromatic
tones and multiple irregular geometric shapes. The second
phase, which lasted from 1913 to 1919, was known as
Pablo Picasso. Le Demoiselles d'Avignon Synthetical Cubism, where in Braque experimented with the
(1907). Museum of Modern Art, New York, application of collages, like cut newspaper clippings were
USA. pasted on grounds, and then the application of others colors
was later adapted. However, not all cubists followed these
techniques, for there were cubists who chose landscapes and
representations of reality as their subjects (history.com, 2018;
encyclopedia.com, n.d.). If there was anything that Picasso and
Braque believed the strongest, it was to translate, react, and
respond against the consequences of war, and discrimination,
which had a significant impact on the works of Virginia Woolf,
James Joyce, and William Faulkner, to name a few, and to
succeeding art movements such as Constructivism, Dadaism,
Futurism, and other art forms like photography, music, and
architectural designs (britannica.com, 2020; history.com., 2018;
Anderson, n.d.).

Pablo Picasso. Girl with a Mandolin

(1910). Museum of Modern Art, New York,
USA.

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Futurism (1909-1944)
The 1909-1944 futurism movement, which was not delimited to painting but extended to graphic
designing, music, industrial designing (Stewart, 2020), architecture, sculpture, and literature, celebrated
the dynamism of transportations, machines, energy, and speed. It had influences from neo-
impressionism and cubism. It was founded by an Italian poet, Filippo Marinetti, whose ideology was the
promotion of modern society through industrialization, urbanization, and technology (tate.org.uk, n.d.;
artland.com, n.d.), but its darker side was the promotion of misogyny and war (Anderson, n.d.). The
first wave of futurism ceased after the world had experienced the consequences and realities of World
War I. During the second wave of Futurism in 1922, the then Italian Prime Minister Mussolini and other
Fascists politically banked on in the movement and the artists were unfortunately negatively labeled as
Fascists (Stewart, 2020; artland.com, n.d.).
Futurists introduced new techniques such as multiple
superimpositions, blurring, repetition of images, striking
forceful lines (theartstory.org, 2019), chrono-photography, the
movement of quickly flipping pages of drawings or movement
of still photo frames in animation and film (Gersh-Nesic, 2018)
and aeropainting, the representation of aerial landscapes and
flight as part of the industrial propaganda (Stewart, 2020).
Aside from Marinetti, known figures of this movement were
Giacomo Balla, Marcel Duchamp, Carlo Carra, and Umberto
Boccioni (theartstory.org., 2019, Gersh-Nesic, 2018;
Anderson, n.d.; tate.org.uk, n.d).

Umberto Boccioni. Unique Forms of Continuity

in Space (1913). Museum of Contemporary
Art. University of São Paulo, Brazil.

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Dadaism (1916-1924)
Like all the preceding modern art movements which inspired the masses to question, reflect,
react, and act, the dadaist movement was the boldest and most unconventional, for the members did
not consider themselves artists and their works not art. It was widespread across Europe. The stage
performers, literary, nonliterary writers, and visual artists undauntingly used absurdity as a strategy to
mock the elites and the political powers, and document human tragedies caused by World War I (Esaak,
2019; Crichton-Miller, 2016). The Dadaism movement was the most radical, harsh, spontaneous, and
controversial founded by French-Romanian literary artist, Samuel Resonstock. It originated in Zurich,
and simultaneously in New York, Paris, Germany, and some parts of Europe. Three of the famous
personalities were Marcel Duchamp, Emmanuel Radnitzky and Francis Picabia. The group was very
anti-aesthetic, vocal, and fierce in their protests against social injustices. Members with the same cause
worked collaboratively to produce works through collages,
photomontages, and object-assemblages (britannica.com,
2019). Dadaist literature deliberately dismantled language and
rearranged it in new forms which politically and socially mocked
and defamiliarized readers (britannica.com, 2019).
Top Dadaist French artist, Marcel Duchamp exhibited
works which for some critics claimed lacked tastes, but were
later disputed as works of art when perceptions of his works
were analyzed as out-of-the-box, defying conventions,
therefore, bringing new dimensions of the understanding of art
representation and conceptual art.

Marcel Duchamp. Fountain (1917). Tate

Modern (former National Gallery of British
Art), London.

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Surrealism (1924-1966)
Andre Breton, the author of “The Surrealist
Manifesto,” spearheaded this art movement by
taking art into in a new level, the surreal realm, a
dimension where rationality and the
subconsciousness merge. Influenced by dream
studies and the psychoanalytical theory of Sigmund
Freud, Breton believed that this dimension is where
imagination, creativity and ingenuity successfully
fuse and would result to what he and others would
consider the genius state (Anderson, n.d.). In such
state would be “the creation of shocking and graphic
imagery” (theartling.com, 2020).
Apparently, like the Dadaists, the surrealists
René Magritte. Golconda (1953). The Menil Collection, were against prescriptive arts that hide realities of
Houston, Texas, USA.
the world. Also inspired by the political ideas of Karl
Marx (Voohries, 2004), their literary works attacked the laws and politics of warfare, while painters and
other visual artists displayed hallucinatory and dreamlike images of the tragedies and despair caused
by World War I and World War II, failed governances, and dirty politics that were sure to have disturbed
the in-denial audience of their sick realities and hidden desires (theartling.com, 2020). Some known
Surrealists were Salvador Dali, Rene Magritte, Joan Miro, Andre Masson, Yves Tanguy, Alberto
Giacometti, Meret Oppenheim, Leonora Carrington, Remedios Varo, Kay Sage (history.com, 2018),
Dorothea Tanning and Joseph Cornell (theartling.com, 2020).
Surrealist literature ventured on the experimental technique, automatism, of which an individual
spontaneously writes without any thought, in order to reveal the uninhibited realm of the subconscious
and dreams (theartling.com, 2020; Voorhies, 2004; Manalo, 1979). In the absence of logic, works of
surrealists are distorted, dream-like, child-like, and spontaneous. Often in collage or assemblage, the
over-all imagery can be sexually symbolical, primitive, bizarrely shaped, and taboo (Craven, 2019).
Since its origin in the 1920s, surrealism has also been aesthetically applied in sculpture,
photography, and film (history.com, 2018; Anderson, n.d.).

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Abstract Expressionism (1943-1965)
In America, the local painter of Arizona and California, Jackson
Pollock, would establish himself a spot in arts. Heavily influenced by
realism, Mexican mural painters, and surrealist artists, Pollock would
go on becoming the proponent of the movement, abstract
expressionism. With the consideration of depicting the inner
consciousness of man, he also dominantly used abstraction in his
paint-dripped paintings. With the canvas on the floor, he would drip
different paints in spontaneity without planning a design. His painting,
Lavender Mist, was one of the most expensive paintings in the world
(Demange, 2005). Aside from Pollock’s action paintings, another
technique known as colored-field painting was introduced. This is
done by overlapping bright colors to flat colors often in one direction
and interlapping areas of canvas. Related to color-field painting
invented by Helen Frankenthaler and Morris Louis was stain painting.
Using an unprimed canvas placed on the floor, the artist poured Mark Tobey. Escape from Static
amounts of paints on it, let the liquid dry and waited for the result of (1968). Galerie Jaeger Bucher /
the design (Gersch-Nesic, 2020). Jeanne-Bucher, Paris.

Having been inspired by surrealist ideals,

abstract expressionism was a response to the post-
traumas caused by the devastations of wars. This
movement also geographically and populously took the
art crown of Europe to America (theartstory.org., 2011).
A few prominent figures of this movement aside
from Pollock, Louis and Frankenthaler were Willem de
Kooning, Mark Tobey, Mark Rothko, Jules Olitski, and
Kenneth Noland (Gersch-Nesic, 2020).

Mark Rothko. Untitled (1952–1953). Kate Rothko

Prizel & Christopher Rothko / Artists Rights Society
(ARS), New York, USA.

Contemporary Art Movements and their Proponents

Contemporary art marked the dematerialization and shift of explorations, from fine arts to
public, commercial, and globally encompassing audience-reach mediums, such as film, photography,
performance art, installation art, and site-specific art which could be documented and viewed in the

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Internet and television, involving the public to actively respond to the art works and participate in ways
these viewers may reveal their individual, cultural, and political identities. Minimalist art and pop art
since the 1960s had time-stamped these characteristics to differentiate modernism from post-
modernism in an age of postcolonialism and post-World War II, which have brought about new identities
from western cultural assimilations (Spivey, n.d; Blumberg, n.d.).
Historically, modern art has produced abstract artworks based on movements which defied
conventional art representations and encouraged artists’ individualism, psychology, and expressions,
while contemporary art engaged the ideas behind the artworks and involved the active
reflection/participation and values of their audience (contemporary.co.il, n.d.). Contemporary artists
primarily had been more focused on social themes and concerns which they addressed, represented,
and connected with their audience and secondarily with art production (Caslib Jr. et al., 2018).

Pop Art (1950s-1970s)

Pop art was very appealing to the urban poor up to the middle
working classes (contemporary.co.il, n.d.). Rejecting conventions of
originality and abstractions, popular art was mass produced,
commercialized, entertaining, ephemeral, impersonal, practical and
affordable. It aimed at eradicating hierarchy, labels and divisions in art
(Caslib Jr. et al., 2018). Although pop art began in England, it was
already a trend in America (history.com, 2017). Pop artist, Roy
Lichtenstein, created satirical paintings and murals in bold colors
borrowed from advertisements and comics (biography.com, 2014).
Another notorious pop artist, Andy Warhol, came up with multiple
replicas of the Campbell soup cans, and Marilyn Diptych posters using
the silk screen techniques. Some of the mentees of Warhol were Keith
Haring and Jean-Michel Basquiat (history.com, 2010).
Andy Warhol. Che Guevara, an
authenticated poster (1962/1968).

Minimalist Art (1960s)

Dominantly an American movement in the 1960s, the term minimalism started off as an
offensive remark than a compliment to earlier minimalist artists and their works because the detractors
believed these pieces to be too plain, industrial-ready, and unoriginal to be called art (Kordic &
Martinique, 2016; theartstory.org, 2015.). However, the artists never called themselves minimalists. In
fact, they hated that label. Their works were sometimes known as cool art or object art (Green & Green,
2016). Nevertheless, the followers of this movement advocated the objective essence of a concept
(britannica.com, 2020), but primarily it was a movement that reacted against and got tired of the
practices of abstract expressionists (britannica.com, 2020; Kordic & Martinique, 2016; Green & Green,
2016; Wolf, 2015; tate.org., n.d.).

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 In visual arts, minimalism was an abstract form based on the geometric shapes, particularly
squares and rectangles, that demonstrated how “art should have its own reality and not be an imitation
of some other thing” (tate.org., n.d.). The minimalist painters and sculptors took into heart displaying
objectively the basic features of their works, void of sentimental images for associations and
unnecessary responses, while minimalist musicians produced non-Western standard music which was
almost alien to Euro-American centric ears (britannica.com,
2020). Some of the renowned minimalist figures were Frank
Stella, Agnes Martin, Donald Judd, Carl Andre and Richard Serra
(Kordic & Martinique, 2016; Wolf, 2015).
For contemporary art historian, David Raskin, the
philosophy behind minimalism was about the viewer experiencing
sensory perceptions which the artwork aroused. There was
nothing in it; nothing was personal. Minimalism seemed to be the
antidote of the materially overindulgent, but ironically its wealthy
consumers wore this as an economic badge, while the average
consumer still lived with frugality. Eventually, minimalism also
influenced contemporary architecture, interior design, and fashion
design. This proved that “less is more” (Chayka, 2016). As Barcio
(2016) put it, “a great work of minimal art stands apart as
something specific that can be appreciated by anyone, at any time
in any context simply for what it is.”
Carl Andre. Untitled (1960). Museum of
Modern Art, New York, USA.

Conceptual Art (1960s - present)

Although some artists and historians did not consider it as a kind of art, conceptual art was
nevertheless an intriguing part of art history against the principles of Formalism (Kaplan, 2016; Pereira,
2015). Similar to the thrust of pop art which aimed at eradicating art hierarchy, conceptualism contested
how the art circles viewed ready-made or non-fine art objects as mere commodities and challenged the
exhibitions and exclusivity of fine arts in museums and galleries. With an uncanny art notion inspired
by the deliberate subject choice of display of the signed porcelain urinal sculpture, Fountain, of Dadaist
Marcel Duchamp, conceptual artists highlighted the ordinary, ready-made, and functional objects with
emphasis on their artworks’ philosophical insights. Conceptualism gave greatest importance to the
ideas and planning behind an artwork than the process of creating it and the finished product itself
(Caslib, Jr. et al., 2018; Wolf, 2012). The idea was a mixture of carefully embedded texts, (sometimes
the absence of texts) and was often documented on photos like the artworks of Barbara Kruger
(Wainwright, 2018).

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 Conceptual art was not to be misunderstood as encompassing all objects and all ideas especially
that all artworks started with concepts. American conceptualist, John Baldessari once told Jeff Hoffman,
Director of the Jewish Museum, that “conceptual art [isn’t] about art that [has] a concept, but about
interrogating the concept of art (Kaplan, 2016). After all, it is “resistant to the capitalist wiles of the art
world. An art of vanishing, an art that exists nowhere save in the afterlife of the mind…. It isn’t
possessable. You can’t buy it; it doesn’t exist. All the same, it’s free if you want it. You simply have to
conceive of it, to let the idea occupy your imagination” (Laing, 2016).

Joseph Kosuth. Une et trois chaises (One and Three Chairs) 1970. Le Centre Pompidou, Paris, France.

Notable conceptual artists are Sol LeWitt, Yoko Ono, Ai Weiwei, Barbara Kruger, Joseph Kosuth,
Jenny Holzer, Adam McEwen, Sebastian Preschoux, Claude Rutault, Elaine Sturtevant, and Zhang
Huan (Pereira, 2015; Randal, 2014;).

Performance Art (1960s-present)

Although it originated in the 1910s, performance art became a reactive movement in the 1960s
(Smirna, 2017; Butler, 2012), and its level of defiance against art conventions was inspired by Dadaist
sentiments (Esaak, 2019). With similar art notions of conceptualism, dadaism, and abstract
expressionism, performance art, whether planned, spontaneous, or controlled, creatively provoked its
audience to engage in the process of performing a task and completing the act (Caslib Jr. et al., 2018).
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Originally, performance art as a live event, not a theatrical production, was supposedly executed by
filmmakers, dancers, poets, but the political culture in the USA changed its atmosphere. It successfully
blurred public and private stages. Its productions were non-repetitive, mostly spontaneous, and it came
with integration of multimedia forms, and most strikingly of all was the act of provoking spectators to
become on-the-spot performers (Esaak, 2019; Smirna, 2017; Wainwright, 2011; Spivey, n.d.).
Aside from the defiance against forms of conventions, performance art in America in the 1960s
was relatively inevitable as a medium to political, economic and social upheavals that expanded to the
streets of which public physical protest became one of its forms. Moreover, feminism took stage with
the performances of Yoko Ono and Charolee Schneemann. In the 1970s, performances challenged art
establishments, like the White Cube. Furthermore, body art and action painting, using one’s body to
serve as paint brush, became established forms. In the 1980s, performances virtually extended through
globalization and the internet (Bucknell, 2017; Smirna, 2017; Wainwright, 2011).

Earth Art (1960s - present)

Earth art or land art is the creation of larger-than-life art forms, sculptures or site-specifics by
artistically manipulating a natural landscape and using only raw and natural materials found at the site
(Caslib et al., 2018; Eichenseher, n.d.). Inspired by prehistoric architectures and artworks and
influenced by conceptualism and minimalism, earthworks or land art was a response against the
exclusivity of art museum, gallery exhibits, time limitations of art displays for free public viewing and the
costly prices artworks that were sold for. Earth artists did not mind the ephemeral nature of their works
because they understood the natural process of nature (theartstory.org., 2015; Matson, 2012).

Robert Smithson. Broken Circle, Spiral Hill (1971). Northeastern, Netherlands.

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 In the 1970s, there were news of geometric or organic designed crop circles which from aerial
views stretched a quarter a mile or so in different parts of America. These were believed to be made
by aliens, but had been quickly debunked by investigators and scientists as man-made. These were
created by groups of artists who used stomper boards to flatten wheat, grass, corn and other crops
(Eichenseher, n.d.)
The Land Art Movement was credited to Robert Smithson. Some of the earth artists were Martin
Hill, Andre Amador, James Turell, Walter de Maria, Jeremy Underwoood, Nils Udo, Michael Heizer,
Nancy Holt and Andy Goldsworthy.
Street Art (1967 – present)
Undeniably, street art stemmed from graffiti art, but the former oftentimes spread socio-political
awareness to the public, not notoriety or territorialism of gang groups, and the mediums and tools used
by the artists varied from spray paint cans to paper, ready-made objects, relief sculptures and various
forms. Most designs were not limited to calligraphy and, clearly, it was not vandalism (Bachrach, 2015;
Maric, 2014). Artists like renowned TED Prize winner, JR, reproduced larger-than-life black and white
portraits of victims of violence, poverty, wars, discriminations, and crime to wheat-paste them on public
walls. His program, Inside Out, had inspired, been supported and adapted by many organizations
around the world. Removable paper sculptures from origami designs, to create reliefs like the ones
created by Mademoiselle Maurice had been a fresh addition to street art (Bacharach, 2015; TED, 2012).
Robin Gunningham, a.k.a. Banksy, used the stencil technique, black and white color contrast and
formulation of witty epigrams to produce striking and socio-politically undermining artworks
(wikipedia.org, 2020).

Banksy. This site contains blocked messages (2013). New York, USA.

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 JR. Photo booth truck of Inside Out Project.
JR. High Line Art: Inside Out Project.
Street art artists used public spaces like benches, sidewalks, lampposts, cars, doors, gates,
roofs and subways for their artworks to send socio-political statements and remarkable reminders to
people (Duncan, 2019; Bacharach, 2015).

Photorealism (1968 - present)

When the drawn or painted replica
becomes too real than the photograph, that is
photorealism. Although this art style revived
techniques of traditional art, it aimed at
toppling down art hierarchy and drew
inspirations from everyday commercial life
scenarios and objects resounding the choices
of pop and minimalist arts advocates.
Photorealism was also known as
hyperrealism or superrealism due to the
uncanny precision and accuracy of details
captured by the replica with the aid of
airbrushing the canvas. The product is a7.pointstar. DSC_2257. (2014). flickr.com.
beyond one’s normal optical perception
(Wainwright, 2019; Lansroth, 2015; Wolf, 2014; Guggenheim, n.d.). Photorealists took on an
impersonal stance as they duplicated photographs on far wider and taller mediums, but in later years,
this art for art’s sake perspective changed to a social platform (Lansroth, 2015). Perhaps, it was due
to the limitations of the techniques, the bland choices of subject matter from commercial and serene
scenes rather replicating odd or socially relevant scenes as criticisms, and the matter of fact that works
were simply replicas, this art style was short-lived (Wolf, 2014). However, from the digitalization of
cameras, the revival to perform photorealism had been revisited (tate.org, n.d.).

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 Famous personalities of the art style were Chuck Close, Richard Estes, Audrey Flack, Ralph
Goings (Wainwright, 2019; Lansroth, 2015; Wolf, 2014; guggenheim.org, n.d.) and Yigal Ozeri (Stewart,
2017).

Installation Art (1970s – present)

Yayoi Kusama. Infinity Mirrored Room Titled 'All the

Yayoi Kusama. Infinity Mirrored Room. (2012) Tate
Eternal Love I Have for the Pumpkins' (2016). The
Modern, London.
Hirshhorn Museum, Washington DC, USA.

Perhaps the most satisfying of the contemporary art styles due to self-reflection, environmental
awareness, the intensity of interaction between the artwork and the audience, and enjoyability was
installation art.
Installation art came as a natural consequence of conceptual art, performance art, theater,
popular art, technology, entertainment, the socio-economic crisis, cultural crises and political crises of
America. Comparable to performance art, in which a relatively free environment was designed for the
spectators to actively engage and play vital roles to complete a narrative performance, and akin to
conceptual art in which an artist needed to feature ready-made objects, installation art cultivated the
fine art gallery experience, by engaging spectators to unconventional appreciation, out-of-the-box
contemplation and uncanny critique. Installation artists created a space where the spectator walked
through to witness carefully unraveling strategically installed designs (Fox, 2017; Lopez, 2017). The
spectator was bound to have heightened sensorial, mental, kinetic, kinesthetic, auditory, linguistic, and
emotional experience as he/she immersed into the space and time of the art (Lansroth, 2016).
Famous installation artists are Allan Kaprow, Joseph Beuys, Olafur Eliasson, Cai Guo-Qiang,
Rachel Whiteread, Ai Weiwei, Kara Walker, and Yayoi Kusama (Fox, 2017).

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Neo-Pop Art (1980s-present)
The revival of the 1960s popular art in the 1980s had invented a new approach and purpose
which would be originating from Japan. In 1992, Japanese editor, Kiyoshi Kusumi and art critic, Noi
Sawaragi, named the resurgence as neo-pop (new pop) or Nippon neo pop art. Unlike pop art, which
had an impersonal and formalist appeal, neo-pop had social, cultural, and historical elements to the
concepts, subjects, and artworks.
Japanese artist, critic and entrepreneur, Takashi Murakami, would soon create the technique,
superflat, which in painting or drawing shows a hieroglyphic one plane dimension of incorporating high
and popular arts, reflecting from the cultural assimilation of the popular otaku culture, anime, manga
and American assimilation (wikipedia.org, 2020; Stefano, 2019). Murakami, reinvented neo-pop
commodity as high art. Using kitsch to represent social and historical layers in his works, Murakami
incorporated symbolical imagery signifying the destruction of the culture caused by western influence
(stairgalleries.com, n.d). His paintings, 727, Hiropona, and Super Nova displayed clear disgust against
Western assimilation and interference in the culture and history of Japan. Details of the Super Nova
revealed the sentiments and devastation of Japan during World War II (Li, 2017). Japanese artist Hiro
Ando used the maneki-neko, the lucky cat, as the kitsch for his neo-pop sculptures (Andrey, 2018).
Kenji Yanobe, Makoto Aida and Katsuhige Nakahashi are some of the leading Japanese neo-
pop artists. Works of Akif Hakan, Miki Kato, Mr., Potchi Moopp, Iaom Yumako have recently been
featured in the Galerie Jacob Paulett (Martinique, 2020).

Questions for study and discussion

1. Which art movement do you find the most interesting? Explain your choice.
2. What do Conceptualism and Dadaism have in common?
3. Do you know of other contemporary arts still in their experimental stages?
4. Why are some artworks so expensive and some are not?
5. Which art movement do you find least interesting? Expound your answer.
6. Which art techniques can you perform individually and as a group?
7. Do you consider yourself a risk taker when it comes to producing a work of art?
8. What intimidates you from performing an art or what inspires you to create an art?

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Activity No. _____
Name of Activity: Home Vlog
Points: 16

Instructions
1. Choose any space you like or dislike from where you currently reside.
2. Take a closer look at the over-all design of the chosen spot, the objects within it and the color
designs, among others, and identify the general art style or styles and their art philosophies.
3. Create a 60 or 90-second vlog about this chosen spot and tell us why you like or dislike it.
a. If you like the space, vlog why you like it.
b. If you dislike the space, what do you want to improve in or change from it?
4. In some parts of the vlog, you should be projected speaking to the camera while you are in the
space.
5. Be creative in making the vlog, and do not forget to examine the rubrics for the specific
requirements related to this task.

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 HOME VLOG
Rubrics

Criteria Exemplary Good Satisfactory Needs Improvement

(4 points) (3 points) (2 points) (1 point)

The delivery of the The presentation is The presentation The presentation is

Organization

presentation is very fairly organized has some rushed and poorly

organized and despite a few unnecessary planned.
spontaneously well- unnecessary parts. sequences that
executed. affect the over-all
organization of the
vlog.

The vlogger is Despite a few The vlogger has a The vlogger

comfortable in front of inconsistencies of few noticeable apparently lacks
the camera and ably bodily gestures and awkward, uneasy, confidence in
executes necessary facial expressions, and distracting executing his/her
Deportment

facial, hands, and the vlogger moments but is still script and body
bodily gestures. genuinely projects able to deliver the language. He/She is
He/She is appropriately himself/herself script well. Voice very nervous. The
dressed for the film. throughout the vlog. volume and clarity voice could either be
There is sincerity in He/She dons an are affected due to barely heard or is too
delivering the vlog. appropriate attire. the awkwardness. loud. There is no
His/Her voice has the His/Her voice has He/She wears an effort in dressing up
right amount of volume the right amount of acceptable attire for or is overdressed for
and clarity. volume and clarity. the vlog. the film.

The film utilized Despite a few The film is hastily The film is poorly
necessary camera noticeable edited but some edited.
angles to showcase unnecessary parts of the film There are many
Creativity

the space and objects. transitions, special have been creatively unnecessary special
The chosen and sound effects, executed and effects and sound
background music is these do not affect performed. effects in the film.
suitable and has the the over-all The space and
right amount of creativity of the film. objects have been
volume. poorly scanned and
focused on.

The script or speech is Despite the limited The script is Many pieces of
very informative and film time, the script superficial and information are
insightful despite a few adequately reveals nothing insightful is vaguely presented or
unnecessary bits of sufficient presented to make nothing much and
Content

information. The information and art the content necessary is said.

speech has a insights to remarkable.
commendable grasp of understand the
art philosophies to showcase.
better understand the
showcase.

Page | 129
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 Lesson 9
ART IN ASIA

Learning Outcomes: By the end of this lesson, you should be able to:
1. identify key influences to Chinese Art;
2. identify key characteristics of Japanese and Korean Art;
3. compare and contrast Chinese, Japanese, and Korean artworks;
4. identify the key elements of South Asian Arts;
5. identify the characteristic of Central Asian Arts;
6. discuss the development of Islamic Art; and
7. explain how art can be a key element to the development of a society’s
culture.

Introduction

It would be unfair to present the complex and immemorial artistic traditions of Asia without
admitting that a lesson will do poorly, even for an introduction. Each region, in the most diverse and
populous continent on Earth, with history that stretches back thousands of years ahead of the Western
civilization, has so much to tell for even the pages of this module to hold. Therefore, one can only
expect a very superficial gloss, an insufficient sneak peek, at the majesty and grandeur that is the Arts
in Asia. Here, we treated and divided the diverse artistic traditions into regional groups, although
influences of one culture may overlap regional boundaries. Another was the separate presentation of
the Islamic arts, which was not only confined to one specific region, or in this case, the continent of
Asia. However, since the Middle East is at the center of importance, we decided to discuss it under this
lesson.
Figure 1. Details of an Arabesque and Geometric design from the Islamic Arts.

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Figure 2. Prambanan Temple Compound, the largest Hindu temple in Indonesia. It was shaped as a mountain representing the
dwelling place of the Hindu pantheon. It was built in the 10th Century during the peak of Sailendra’s powerful dynasty.

Arts of South Asia

South Asia, or the Indian subcontinent, developed influential philosophies and religions that
spread throughout Asia. Hinduism, Buddhism, and Islam had been the most influential in shaping the
artistic traditions of this region. The complexity and abstraction of Islamic arts contrasting with the
voluptuous and iconic forms typical of Buddhist and Hindu arts represent the richness of this tradition.
The Indian civilization, with a geographic scope that now includes the modern country of India,
Pakistan, Bangladesh, and Sri Lanka, was born in the Valley of the Indus River. However, the rise of
its classical period happened in the 320-550 CE in the plain of Ganges river, when the Gupta Empire
unified much of the subcontinent (Gargi, 2018).
Before the coming of Islam in the region, what the scholar referred to as the Indic world view
shaped the region’s traditions and spread throughout much of East and Southeast Asia. Central to this
world view are:
1. the cyclical nature of existence (the transmigration and the reincarnation of the soul);
2. the differentiation between the cosmic and the earthly planes of existence.

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 This philosophy is captured in the Vedas, a group of texts written in the sacred language of Indic
traditions – the Sanskrit. This world view remained to be the leading spirit of Buddhist and Hindu Arts.
Although the Islamic Civilization left some of the most iconic landmarks in the region (the Taj Mahal,
for example), we will discuss it instead under Islamic Arts, where it naturally belongs (Ulak, 2018).
At the heart of Buddhist arts was the figure of Buddha or a Buddhist teacher. These large figures
were often housed in a stupa, a domelike structure at the center of monastic complexes. Originally,
Buddha, who himself is not a deity, was not depicted in human form. Still, contact with Hellenistic culture
may have influenced the development of the famous Icon seen now in various temples.
Buddhism, however, was never fated to prosper in India. It died out quickly and, in its place,
emerged a conglomeration of various folk traditions, myths, and legends tied together by the Vedic
philosophy. This philosophic unification becomes Hinduism, a religion known for its segregation of
classes known as caste and the millions of gods populating the universe. The enormous pantheon (a
group of gods) in Hinduism was reflected in the temples almost entirely covered with bas-reliefs and
round sculptures of icons performing various activities. One example was the famous Lakshmana
temple at Khajuraho depicting different figures performing various sexual acts. Like in other faiths, the
places of worship receive the most passionate artistic expression, and, therefore, reflect the pinnacle
of the Indian arts. Temple designs may vary in each region, but they nevertheless reflected the convex
peak that echoed the image of Mount Meru, a legendary five-peak mountain where gods dwelled, very
much like the Mount Olympus of Greeks. Another essential characteristic of the tradition was the
production of idols meant to be carried in religious processions. One such sculpture was the Shiva
Nataranja, or Shiva represented as the Lord of Dance, perpetually dancing the universe into and out of
existence (Softschools, 2020).
The Turkic-Mongol conquerors of Central Asian brought Islamic culture and arts in the 16 th
Century to the subcontinent. They settled there and formed the famous Mughal Empire who ruled for
much of India for 300 years. Their effective rule of the region brought about the economic expansion,
the cultural, artistic, and scientific advancement that pushed India to its acme. In their period, they
established the most iconic architectural accomplishments that the subcontinent was best remembered
with (The Editors of Encyclopaedia Britannica, 2020).

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Figure 3. Details of the Shaivism Hindu Temple, Karnataka, India.

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Arts of East Asia

The death of Buddhism to much of the Indian subcontinent resulted in its final demise in history.
Instead, it found its way to the philosophically fertile grounds of East Asia. Because of its compatibility
with the existing philosophies of Confucianism and Taoism of China and Korea and Shintoism of Japan,
Buddhism quickly became the religion of the elite, and then the mass followed naturally. These powerful
and culturally rich regions interpreted and adopted the Buddhist doctrines into their own unique, but still
fundamentally similar artistic sensibilities. Moreover, at the heart of this Art is the image of Buddha,
now with well-defined East Asian facial features, in various positions representing various philosophical
inclinations. Each region also adopted unique forms of the same subject reflecting the sensibility of
their arts. The Chinese Buddha must not be confused, for example, to the
Thai or the Japanese Buddhas (Art Gallery of New South Wales, n.d.).
Geographically speaking, East Asia includes the Indochina (present
countries of Vietnam, Laos, and Cambodia) and Mongolia. However, Korea,
Japan, and China seemed to hold a central and more popular representation
in the region’s artistic tradition. The link between the three is understandable
as these cultures share the same fascination with specific art forms, such as
calligraphy and painting, and classically used the same writing system. The
eldest of the three was the Chinese civilization. It is no wonder why it also
became the source, not only of East Asia’s characteristic styles but also of
its philosophies of Taoism and Confucianism (East Asian Art, 2020). As for
the entire region, the common denominator was not merely their territorial
proximity, but also the “recognition of common bonds forged through the
acceptance of Buddhism” (Ulak, East Asian arts, 2018).
Like many artistic traditions in ancient times, the Chinese arts had a close
affinity to the royalty, as they enjoy almost exclusively the fine arts of that
time. One great example was the Terracotta Army, a group of thousand large
baked-clay sculptures intended to guard the tomb of an emperor. This group
of sculptures was situated in an underground crypt that had breadth and
scale of a real palace-complex. However, the most popular subject, in
Figure 4. Example of a
popular Chinese Ivory sculpture, was the image of Buddha that had been redesigned to
Sculpture. accommodate the East Asian techniques. While the South Asian Buddha
was often represented with less clothing and with generous body curves, its
East Asian counterpart was stiffer and more heavily clothed.

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 The linear focus was probably the most distinctive feature of East Asian arts, where elements
were conveyed primarily with, thin, sharply defined lines. This preference may have been a result of
the Chinese reverence for calligraph, where an artist draws lines with a brush dipped in black ink.
Another characteristic of this tradition was its deliberate avoidance of strict realism, to maintain the
flexibility of expression. Similar to the Impressionists of the 20 th Century, this ancient style concerned
itself not in the portrayal of the world as to how it appears, but rather to express the inner truth of things.

Figure 5. Terracotta Army depicts the armies of Qin Shi Huang, the first Emperor of China, in his mausoleum,
constructed between 210 to 209 BCE.

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 One famous structure that was associated with East Asian Architecture was the pagoda adopted
from the South Asian Stupa, fusing it with the palace architecture.
The Japanese are known for their ability to absorb, imitate, and finally assimilate elements of
foreign culture that complements their aesthetic preferences. In the earlier period, their artistic style
mirrored that of China, until this changed in the 9th Century when they decided to cultivate their unique
artistic style. This style, known for its essential simplicity, well-defined lines, and ingenious
understanding of space, became too popular that it later muted and simplified the ornateness of
Western arts. The Korean arts were also heavily influenced by the Chinese, although they often
modified this style to suit their preference for simple elegance, purity of nature, and spontaneity (East
Asian Arts, 2020).

Figure 5. Mt. Chureito Peace Pagoda in Japan, built in 1963 as a peace memorial.

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Figure 6. Katsushika Hukosai, The Great Wave off Kanagawa (between 1823-1829).

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Figure 7. Chinese Buddha sculpture.

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Figure 8. The pure gold Thai Buddha, Phra Phuttha Maha Suwan Patimako in Wat Traimit
Temple, Bangkok, Thailand (13th-14th c C.E.).

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Arts of Southeast Asia

In Southeast Asia, ancient temples that exemplify the grandeur of these artistic traditions are
connected to Buddhism. In fact, before the coming of Islam to the Malay archipelagoes (Southern
Philippines, Southern Thailand, Indonesia, Malaysia, and Brunei), the most influential traditions in
shaping the culture of the region were the Chinese and the Indian. Majestic ancient structures found in
these areas reflected Indic Arts with a significant touch of the local preference to bold and well-
pronounced forms. Borobudur, a massive Buddhist monument in Java, Indonesia, testified to this
influence and the persistence of local Malay cultures. This vast structure was shaped like a mandala
(a map of Buddhist cosmos), with temples reminiscent of the Buddhist stupas, and features no fewer
than 72 Buddha figures. Another monumental structure was the temple of Angkor Wat by the Khmer
rulers, dedicated to Vishnu, one of three primal Hindu gods. It contained refined bas-reliefs depicting
scenes from the Hindu myth and legend. Islam also had defining influence in the style and architectural
monument of the Malay region (Southeast Asia, 2020). The principle of artistic representation in Islam
was later absorbed and guided the Islamic Malay style. A better example is the okir, a more voluptuous
and colorful adaptation of the Arabesque of Middle East.

Figure 9. The naga (dragon) motif on the panolong of a traditional torogan of the Meranao people of
the Bangsamoro.

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Arts of Central Asia

Central Asia is a region that includes Turkic republics

(Uzbekistan, Kazakhstan, Kyrgyzstan, Turkmenistan),
Tajikistan, Azerbaijan, Afghanistan, Mongolia, Tibet, Nepal,
Sikkim, Bhutan, and Islamic parts of Russian, and the
Uyghurstan (which the Chinese annexed and renamed Xinjian
Province, the site of the ongoing cultural genocide). The
immensity of this territory and its contrasting topographical
features, climates, and linguistic backgrounds had resulted in
the development of artistic styles that were varied and
contrasting, fascinating and rich. Another vital aspect of its
cultural diversity was the emergence of different religious
traditions. Buddhist arts, for example, allowed for human
representation and the artistic style could be compared to its
East Asian counterpart. Being on the eastern edge of the
Hellenistic world, Central Asian arts also reflected some
element of Classical Mediterranean. An example of this work
was the Bamiyan Buddhas of Afghanistan which was
destroyed by the militants in 2001 (Central Asian Buddhist Art,
2020).
Islam, however, is the major religion in the region, and
the artistic style reflects the same fundamental form definitive Figure 10. Bamiyan Buddhas of Afghanistan (6th-
of Islamic Arts. Mosques and Madrasas (religious schools) 7th c C.E.).
received the same stylistic and cultural treatment as the
palaces of the sultans, and, rather than in the fine arts, this region is more popularly known for their
literary and musical tradition (Rice, 2020).

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Islamic Arts

As a religion that is embraced by diverse nations across Africa and Asia and Eastern Europe,
Islam has been expressed in various artistic forms and styles. Compare for example the Djenna
Mosque in Mali, the Cordoba Mosque in Spain, the Selimiye Mosque in Turkey, and the earlier wooden
mosques in Mindanao, one will get the sense of diversity in the tastes and sensibilities of Muslims.
However, these buildings all share a fundamental essence – the monumentality and majesty that
illuminate from pure abstract forms – forms perfected in the Islamic arts (Gardner, 2011).

Figure 11. Dome of Suleymaniye Mosque in Istanbul, Turkey. The Mosque complex was designed by Mimar
Sinan on the order of Sulayman the Magnificent in 1550.

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 Figure 12. The Mosque in Cordoba, Spain, constructed on the order of Abd ar-Rahman I in 785 CE..

Figure 13. Djenne Mosque in Timbuktu, Mali. While the current structure was built in 1907, the original
Figure 14.mosque was in
Taj Mahal believed to have
Agra, India, an been constructed
ivory-white in 1220designed
mausoleum by a Sultan
by aKunburu,
board of who reverted
architects led to
byIslam and
had
Figure Ahmad ordered
15. Sher-Dor to pull down
Madrasah, his palace and construct the mosque in its place.
Ustad Lahauri, in 1632. ItSamarkand, Uzbekistan,
was commissioned constructed
by the between
Mughal emperor 1619
Shah and 1636
Jahan on theof
in memory
order on Mumtaz
his wife, Yalangtush Bakhodur. It was designed by the architect Abdul Jabbar .
the ruler Mahal.

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Figure 14. Taj Mahal in Agra, India, an ivory-white mausoleum designed by a board of architects led by
Ustad Ahmad Lahauri, in 1632. It was commissioned by the Mughal emperor Shah Jahan in memory of
his wife, Mumtaz Mahal.

Figure 15. Sher-Dor Madrasah, Samarkand, Uzbekistan, constructed between 1619 and 1636 on the
order on the ruler Yalangtush Bakhodur. It was designed by the architect Abdul Jabbar .

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 Figure 16. Courtyard of Alhambra palace complex in Granada, Spain, originally built by a Nasrid emir
Mohammed ben Al-Ahmar.

Islam, as a religion is not only limited to spiritual practices.

It is a way of life that guides man in all his affairs, and this includes
artistic and cultural expressions. At the very core of this way is the
non-negotiable, all-encompassing Tawhid, or the Oneness of
God. This tawhidic creed includes worshipping God through the
prescribed and original form taught by the Prophet Muhammad,
(peace be upon him), uncontaminated by other cultural elements
and the tendency of human culture to integrate local elements and
modify. With this at the core of Muslim cultures, a strict prohibition
to representational and animated objects in religious spaces and
texts emerged and guided artists for generations.

Figure 17. A Mamluk Glass with

calligraphic inscription, exhibiting the
virtuosity of the calligrapher.
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 Islam strictly prohibits visual
representation of God, its messengers,
prophets, and their righteous followers. In its
place, Muslim artists used vegetal and floral
motifs instead to hint the beauty of Paradise,
and the geometry that resonates the
orderliness and mathematical precision of the
universe, and Quran as the most direct
representation of God to humans. These three
elements became central to the development
of arts in Islam: the Arabesque (floral/vegetal
motifs), Geometry (scientific structuring of
wonders of the universe), and Calligraphy
Figure 18. Calligraphic Tools. (artistic arrangement of Arabic script, initially
representing the verses of the Quran). One
can find them in all regions of the Islamic world, with certain
modifications that reflect the indigenous taste of the adopting
culture (Saoud, 2004). One such example was the vegetal and
floral motif of the okir, the localized Arabic script Kirim, and the
geometric and crystallographic patterns of the Malong of the
Meranaos of the Bangsamoro Region. It does not mean though
that Islam completely prohibits representational arts, as they too
exist in a secular context. When they do appear, they are often
abstracted. Examples are the Sarimanok (a legendary bird) and the
Naga (feathered dragon).
The most celebrated of the three elements arguably was
calligraphy. Although its development as an art form is not unique
Figure 19. Example of Arabesque
to Islamic culture, other examples include Chinese and Japanese
pattern.
calligraphy and illuminated Bibles from North-West Europe. In the
Islamic world, however, calligraphy has been used to a much greater extent and in astonishingly varied
and imaginative ways, which had taken the written word far beyond pen and paper into all art forms
and materials. For these reasons, calligraphy may be counted as a uniquely original feature of Islamic
Art. The genius of Islamic calligraphy lies not only in the endless creativity and versatility, but also in
the balance struck by calligraphers between transmitting a text and expressing its meaning through a
formal aesthetic code.
Islamic calligraphy sprang from the Muslims attempting to express the grandeur of the Qur’an in
visible representation. It was also the result of a revolutionary shift that took place in the desert of Arabia
with the coming of Islam. Pre-Islamic Arabian culture was mostly oral, and very few could read the
rudimentary form of the Arabic script. However, the first revelation received by the Prophet - ‘Iqraa’ –
or read, energized them and pushed them to greater height in politics, culture, and the sciences. It
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transformed the illiterate and warring tribes into experts in their own time, expanding an empire from
Indonesia to Spain. With the increasing number of Non-Arab converts also came the need to develop
the existing writing system, thus, the structuring of Arabic script in its present form today. This
connection between the Qur’an, Arabic script, and the need to express the love for God in arts resulted
in Islamic Calligraphy (Saoud, 2004).
Throughout the vast geography of the Islamic world, calligraphy is a symbol representing unity,
beauty, and power. The aesthetic principles of this art form are a reflection of the cultural values of the
Muslim world. Until today, both traditional scripts and innovations still proliferate and have been enjoyed
by both Muslims and non-Muslims. Its sublime spiritual subject secures its perennial flowering, and it
will stay forever as a palpable representation of the invisible and eternal world that had no known
equivalence (Gardner, 2011).

Figure 20. The Calligraphic inscription in this lamp represents the Verses of Light in the Holy Qur'an .

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Activity: Experience Islamic Arts

Try your talent in Islamic Calligraphy by writing the name of your mother using whatever medium
is available and convenient for you. Use Arabic if you know how to or the English script alternatively.
The support of this work must be a plain letter-sized paper. You may either add elements such as
Arabesque and Geometric Design around on the background of the main text, so long as they maintain
subordinate role to the overall design. It is up to you how you best express your creativity and how you
use your knowledge on the principles of artistic composition. Just remember to enjoy the experience.
Take photo of your work and upload them on your social media account. However, your
instructor may have additional instruction regarding this.
Your work will be judged according to the following criteria:
Creativity: 30%
Neatness: 20%
Organization: 30%
Overall Appeal: 20%
________
Total 100%

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 Sample of Calligraphic Works

Figure 21. Various Scripts or Calligraphic Styles.

Figure 23. A combination of geometry, arabesque, and calligraphy .

Figure 22. "Verily we belong to God, and to Him we return" (Sura 2/151), in plaited Kufi,
Shifa'iye Medrese, Sivas, Turkey, 1278.

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Figure 23. A combination of geometry, arabesque, and calligraphy .

The letters on these pages are outlined in red dots,

indicating how they should be written in proportion
to other letters. The album features one line each in
the thuluth, naskh and riqa' scripts. Calligrapher:
Mehmed Shevki (Shawqi). Turkey. 1866-1867.

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Figure 25. Overlapping inscriptions such as this one usually used standard texts because of the
difficulty of executing them. This style was particularly popular in 19th century Turkey as a way of
demonstrating a calligrapher’s virtuosity.

Figure 26. An execution of complicated and long calligraphic design that shows the virtuosity of the
calligrapher.

Page | 166
 References

Art Gallery of New South Wales. (n.d.). Insights into Asian Art: introduction. Retrieved from Art
Gallery of New South Wales: https://www.artgallery.nsw.gov.au.

Central Asian Buddhist Art. (2020, Sep 26). Retrieved from SoftSchool.com:
https://www.softschools.com.

East Asian Art. (2020, Sep 26). Retrieved from Essential Humanities: https://essential-humanities.net.

East Asian Arts. (2020, Sep 26). Retrieved from East Asian Societies: http://www-scf.usc.edu.

Gardner, R. (Director). (2011). Islamic Arts: The Mirror of the Invisible World [Motion Picture]. PBS.

Gargi, B. (2018, May 28). South Asian arts. Retrieved from Britannica: https://www.britannica.com.

Rice, T. T. (2020, Sep 26). Central Asian arts. Retrieved from Britannica: https://www.britannica.com.

Saoud, R. (2004). Introduction to Modern Arts. Manchester: FSTC Limited.

Softschools. ( 2020). Indian Art History - AP Art History, India. Retrieved from SoftSchool.com:
https://www.softschool.com.

Southeast Asia. (2020, Sep 26). Retrieved from SoftSchool.com: https://www.softschools.com.

The Editors of Encyclopaedia Britannica. (2020, Apr 06). Mughal dynasty. Retrieved from Britannica:
https://www.britannica.com.

Ulak, J. T. (2018, May 28). East Asian arts. Retrieved from Britannica: https://www.britannica.com.

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 LESSON 10
A HISTORY OF PHILIPPINE ART

Learning Outcomes: At the end of this lesson, you are expected:

1. to familiarize the historical development of Philippine arts;

2. to identify the functions of arts from ethnic to the contemporary Philippines;
3. to appreciate the various arts during different periods;
4. to recognize and to appreciate the culture and arts of select ethnic groups; and
5. to understand the importance of one’s culture and its contribution to Philippine arts today.

The Philippines is home to 175 ethnolinguistic groups. Each ethnic group differs in practices,
beliefs, languages, and arts. This implies that the Philippines is populated by people who have rich
artistic traditions. Even before the arrival of foreign influences, such as Asians, Europeans, Mexicans,
and Americans, the Philippines has the earliest art forms such as weaving, wood carving, body
tattooing, playing instruments, and dancing. These rich artistic traditions challenged many art scholars
to define Philippine art and its scope (Perez et al., 2013).
Apart from these traditional art forms, the people of the Philippines gradually combined different
cultures and arts through trading and colonization by foreign people. These combinations greatly
contributed to the development of Philippine Arts.
The development of Philippine arts could be traced from these historical periods: the Precolonial
period, the Spanish Period, the American Period, and the Contemporary Period.
1. The Ethnic Period (900 - 1521)
This period takes into account the earliest art forms that the people in the Philippines had before
the arrival of the Spaniards in 1521. Many art forms such as weaving, carving, and metalwork had
emerged during this period. Ancient people of the Philippines used art not only for their daily activities,
but also for religious rituals, marriages, and other sacred ceremonies. The known earliest written
document which was unearthed in the Philippines is the Laguna Copperplate Inscription (LCI).

The Laguna Copperplate Inscription or LCI (Inskripsyon sa

Binatbat na Tanso ng Laguna) was a legal document with the
inscribed date of Saka Era 822, corresponding to April 21, 900 AD.
It was written in the Kawi script in a variety of Old Malay containing
numerous loanwords from Sanskrit and a few non-Malay vocabulary
elements whose origin was ambiguous between Old Javanese and
Old Tagalog. This artifact was found in the Philippines by a man who
was digging through sand to turned it into concrete. This artifact was
Laguna Copperplate Inscription

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sold to the National Museum of the Philippines and assigned to the said artifact to the care of Alfredo
E. Evangelista who was the head of its anthropology department.

Another evidence of early Philippine art was the stylish body

tattoos of the indigenous people in Tacloban, Visayas. When the
Spaniards arrived in Cebu, Philippines, they noticed these
indigenous people with tattooed bodies. They called them Pintados
which means “painted.” These Visayan tattooed warriors
(Mandirigmang Batuk’an) were known for their tattoo art, which
often covered most of their bodies. They applied the tattoos by
pricking the skin with sharp pieces of iron, and then applying black
powder to the open wounds which were absorbed into the skin
permanently.

Pintados (Visayan tattooed warriors).

Moreover, a cultural and artistic treasure found in the early
1960s in Manunggul Cave, Lipun Point, Palawan was a secondary
burial jar. This is now called as Manunggul Jar. On top of the jar
cover or lid was a boat with two human figures representing two
souls on a voyage to the afterlife. The boatmen were seated behind a figure
whose hands were crossed on the chest. The position of the hands was a
traditional Filipino practice observed when arranging the corpse.

This burial jar which was unrivaled in Southeast Asia and

considered as the work of a master potter signified the belief of early
Filipinos in life after death. It is dated to the late Neolithic Period, about
890-710 B.C. (Source: https://www.nationalmuseum.gov.ph/
nationalmuseumbeta/Collections/Archaeo/Manunggul.html).

Manunggul Jar. Further evidence of an artistic and civilized pre-colonial

Philippines could also be traced in the prehistoric tools which were made
from bronze, iron, copper, and gold. These metals were utilized as body ornaments, hunting knives,
and spears. The presence of these products suggested that early inhabitants of the Philippines had
contact with people outside the archipelago through trade (Perez et al., 2013).

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 1.1. Martial Arts and Weaponry

The ancient inhabitants of the Philippines devised battle

skills as a result of an appreciation of their dynamic
circumstances. They learned the need to prioritize, allocated
and used common resources in combative situations. This
type of art incorporated lements from
both Western and Eastern Martial Arts. The famous forms of
which are known as Arnis, Eskrima, and Kali.

It is also important to know that the Philippines is a blade

culture. The Moros of Southern Philippines were neither
conquered by the Spaniards nor the Americans, nor
headhunter tribes of the Northern mountains of Luzon. These
native people maintained their weapons and their martial arts
or combative skills. The production of these weapons still
survived and there were a few people who still make some
(https://www.wikiwand.com/en/Filipino_martial_arts).

Philippine Weapons of Offense and

Defense: Krieger Collection, United States
National Museum.

Image Source:
https://upload.wikimedia.org/wikipedia/com
mons/thumb/d/d6/Philippine_weapons_krie
ger_collection_plate_1.png/720px-
Philippine_weapons_krieger_collection_pl
ate_1.png.

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 1.2. Writing System

The early inhabitants of the Philippines had

their writing system. These scripts varied
geographically. One earliest known written
document in the Philippines was the Laguna
Copperplate Inscription (LCI).
Furthermore, these ancient Philippine scripts
were different writing systems that were
developed and flourished in the Philippines
around 300 B.C. These ancient scripts were
related to the Southeast Asian writing systems.
For example, both the Kirim Scripts and Jawi
Scripts were Arabic scripts used by the Meranaw
of Lanao and the Tausug of Sulu, respectively.
This type of writing was largely influenced by the
coming of Islam in the Southern Philippines.
The Baybayin was also an umbrella term or
hypernym of the scripts that had been widely
used in traditional Tagalog domains and other
parts of Luzon and Visayas in the Philippines.
The use of Baybayin was widespread during the
15th century, and its use was almost existent by
the end of the 17th century.

1.3. Textiles and Accessories

The ancient people of the Philippines had Philippine scripts and how to write “Filipino”
extremely varied indigenous textiles and using them.
accessories. The intricacy of designs, its colors,
and the material used hugely reflected the beliefs, practices, traditions, and social class of the people
in a cultural community. Also, the shells golds, beads, jade, silver, brass, copper, horns, bills, and
many others were the common accessories worn by the ancient people throughout the Philippines.
Examples of various textile types in the Philippines were the brocaded weave (pinilian) of the
Ilocano, the wavy designs of the Bontoc, the geometric designs of the Kalinga, the piña of the Aklanon,
the hablon of the Kiniray-a and Hiligaynon, the seputangan of the Yakan, the mabal tabihof the Blaan,
the bagobo inabal of the Bagobo Manobo, the dagmay of the Mandaya, the colorful and intricate
designs langkit of the Meranaw, the pis syabit of the Tausug, and the t'nalak of the T'boli.
(Source: https://www.wikiwand.com/en/Cultural_achievements_of_pre-
colonial_Philippines#/Textiles_and_accessories).
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 An example of an intricate textile that was made through
weaving was the landap of the Meranaw. The Meranaw is known to
be the “People of the Lake,” from northwest-central Mindanao of the
Philippines. They are best known for their rich and sophisticated
culture and arts. They produced intricate and colorful textiles through
weaving. They also carved woods and craft metals.
This photo is the Meranaw landap or the Malong. This tube skirt
textile can be used for different purposes. The colors and intricate
designs of the landap reflect the social status of its wearer.

1.4. Music
Music is an art that most Filipinos are known for. The Filipinos
love for music has been imbibed and deeply woven into their culture.
Evidence showed that ancient inhabitants of the Philippines were
Meranaw landap or malong. undoubtedly music-lovers because they had practically music for
every occasion and for all phases of life (i.e. from birth to burial) This
type of music was mostly functional and wasreferred to as indigenous
music.

Indigenous music was expressed either through using traditional musical instruments or singing.
Most of the time, indigenous music combined both instruments and vocal which was typically performed
during various indigenous ceremonies. Indigenous music differed geographically.
Perez et al. (2013) grouped the Philippine indigenous instruments into the following:
1.4.1 Aerophones (wind instruments) such as the Tungali.
1.4.2. Chordophones (stringed instruments) such as the Kolitong.
1.4.3 Idiophones (percussion instruments) such as the Kulintang.
1.4.4 Membranophones (percussion instruments) such as the Dabakan.

Kolitong Kulintang Dabakan

Tungali
Select indigenous Philippine instruments.

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 1.5. Dance

The ethnic Philippines had a very rich and colorful culture and arts. One of these was dance.
These dances were accompanied by musical instruments, and these dances were still alive and danced
in the Philippines. In the ethnic Philippines, dances were commonly performed for various purposes
such as the following:

1.5.1. Dances celebrate occasions such as thanksgiving to a bountiful harvest, birth to a son, and
victories in war. Examples are the following:

1.5.1.1 Dugso Dance from Bukidnon was a dance to express thanksgiving to a bountiful.
1.5.2.2 Idaw from the Cordilleras was a dance performed before going to war.

1.5.2. Dances also imitate animal movements. Examples are as follow:

1.5.2.1 Tareketek or “woodpeckers” from Benguet shows two male woodpeckers fighting
for the attention of 3 female woodpeckers.
1.5.2.2. Binaylan Banog is a dance from Misamis Oriental which was about a mother hen
protecting her chicks from a hungry hawk.
1.5.2.3 Kadal Taho which means “true dance of the T’boli” was another dance from South
Cotabato which told a story of a flock of sister birds that wandered too far in search of
food.

1.5.3. Dances tell a story. Examples are:

1.5.3.1 Salip is a courtship dance from Kalinga. This is performed when a man and a
woman were going to be joined in marriage. The only way the man would know that the
woman would accept him was when she took the blanket from him.
1.5.3.2 Singkil is a dance from the Meranaw of Lanao. This told the story of Princess
Gandingan who was caught in the middle of the forest during an earthquake and was
eventually saved by the prince. This was a portion of the Meranaw epic “Darangen.”
1.5.3.3 Sagayan was also a war dance performed by both Maguindanao and Meranaw.
This dance depicted dramatically the steps their Darangen epic hero, Prince Bantugen,
who took upon wearing his armaments to prepare for war.

1.5.4. Dances depict scenes from daily life. Examples are:

1.5.4.1 Kap’malo-malong is another dance from the Meranaw of Lanao. This dance
illustrated the various ways of wearing the malong depending on how and what would you
use it for.

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 1.5.4.2 Banga Dance was from Kalinga. Banga means pots. This dance depicted Kalinga
women as they wentr about their daily task of fetching water from the river.

1.5.5. Dances are also for worship. For example:

1.5.5.1 Maerwap was a rain dance from Bontocs. This dance was worship to God
“Kabunlan” for him to open the skies and bring rain to water the rice terraces.

1.6. Sculpture

The mortuary practice of grave goods provision that extended from the Manunggul Jar to the
Agusan Hoard bespoke of a peculiar character found not only among Filipinos but also among other
major cultures, great and small throughout the world. Other than the mortuary tradition, one also found
the sculpture of religious and spiritual deities in Luzon, which often took the form of paired male-female
nudes that recalled collective narratives of tribal genesis, and in the case of the Ifugao, used
pragmatically to guard the ricefields and literally “stomp on” invading rats. These paired statues were
incidentally found as grave markers among the Mahafaly-Malagasy in Madagascar, who were the
westernmost of the Austronesian peoples, of which the Filipinos counted as among the oldest branches.
Called bulol by the Ifugaos, and likha by pre-Colonial Tagalogs, these anthropomorphic gendered
sculptures were what remained of a large sculptural tradition destroyed by Catholic missionary zeal, of
which fragments only remained to narrate their tantalizing aesthetic strength, and cultural-political
relevance as images around which a vast architecture of social conditioning, economic class exchange,
administration, healing and warfare, political decision-making, and political-aesthetic renewal
converged.

A similar, though less emphasized, tradition of marking sculptured gravemarkers according to

gender exised in the Sulu archipelago among the Samal-Badjao who erected wood-carved posts with
either a phallic or floral finial on the graves of their ancestors. However, Mindanao sculptural aesthetics
was distinguished from the more austere, geometrically planar forms of Luzon sculpture by its more
ornate curvilinear traditions centered on the Indian naga (serpent), and Southeast Asian pako rabong
(vine) and sarimanok (mythical plumed bird) motifs that one can find especially in the architectural
details of the Lanao-based Meranaw, a wooden grand house known as torogan or their musical
instruments and body ornaments. Brass casting was also a highly refined sculptural practice in
Mindanao, from the geometric patterns of the ornate brass containers of the Meranaw, to the elaborate
body ornaments of the T’boli of southern Cotabato. Collectively referred to as okir, Mindanao traditional
sculpture was an amalgamation of South and Southeast Asian cultural forms and local transformations
and appropriations of these forms to privilege particular social and political tropes revolving around the
clan, faith, and the search for material fulfillment (Canete, 2013).

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 This the head of the sarimanok from the Meranaws. It reflects the okir designs which are
geometric and flowing designs. It’s colors symbolize royalty.

1.7. Architecture
The earliest records of pre-colonial architecture in the Philippines were rock shelters and caves
in Palawan. Early Filipinos were nomadic since they wereconstantly in search of food through hunting
or fishing, so they mainly relied on nature when creating shelter and did not need to build permanent
structures.
With the development of tools, tent-like shelters and treehouses were also created to serve as
their abode. As farming became a stable source of food, the locals were accustomed to creating
permanent structures to serve as their home. The houses of the natives before the Spanish colonization
were predominantly rectangular in shape and built on stilts. so it may be lifted and be transported to a
new site.
Several factors also affected the type of materials and configuration of houses such as the
difference of climate and topography of numerous Filipino groups in different parts of the Philippines.
For instance, there are variations when it came to pre-Hispanic houses of those from Ifugao, the bahay
kubo (nipa hut) from the lowlands, and the Meranaw’s very intricate torogan house. Beautifully designed
mosques were also widespread in the Mindanao region as early as 14th and 15th centuries due to the
emergence of the Islamic religion even before the arrival of the conquistadores (Source:
https://www.hoppler.com.ph/magazine/lifestyle/history-of-philippine-architecture).

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 Meranaw Royal House (Torogan).

1.8. Literature

The variety and abundance of Philippine literature evolved even before the colonial periods. Folk
tales, epics, poems, and marathon chants existed in most ethnolinguistic groups that were passed on
from one generation to another through word of mouth.

Some of these traditional tales showcased narratives, speeches, and songs such as the tigmo
of the Cebuanos, bugtong in Tagalog, antoka, and pananaro-on of the Meranaw.

Philippine epics and folk tales were varied and filled with magical characters. They were either
narrative of mostly mythical objects, persons, or certain places, or epics telling supernatural events
and bravery of heroes, customs, and ideologies of a community.

Precolonial inhabitants of the Philippines showcased a rich past through their folk speeches, folk
songs, folk narratives, and indigenous rituals and mimetic dances that affirmed their ties with their
Southeast Asian neighbors (https://www.slideshare.net/AttheaJaneLepiten/philippine-literature-and-
texts-precolonial-times-and-spanish-colonizations-77510710).

Some of the famous precolonial epics are the following:

1.8.1 Biag ni Lam-ang (Life of Lam-ang) of the Ilocanos;

1.8.2 The Agyu or Olahing of the Manobos;
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 1.8.3 Sandayo of the Subanon;
1.8.4 Aliguyon or Hudhud of the Ifugaos;
1.8.5 Ibalon of Bikol; and the
1.8.6 Darangen of the Meranaws and Maguindanaons.

2. The Spanish Period (1521-1898)

The colonization of the Philippines by the Spaniards began in 1521. This had greatly influenced
and changed the life, culture, and arts of ethnic Philippines. The arts, through the laws and regulations
of the Spanish government, had been strictly guided by the Spanish friars. Therefore, to successfully
propagate the Catholic faith to the natives, most of the arts introduced and created were mainly used
to adorn places of Catholic worship such as the churches. The art forms during this period included
sculpture, painting, architecture, and print literature which always focused on religious subjects of the
Catholic faith.

2.1. Sculpture

This was the most common art form during the Hispanic period. The carving of anitos was soon
replaced with the carving of santos or saints. The Spanish friars were in strict regulation with Filipino
sculptors so that the images of saints would not depict characteristics of the primitive anitos. The
general subject of the wood carving was Christ’s life. Some other sculptures illustrated scenes from the
Bible.

One of the earliest sculptures done by the only Filipino sculptor during this time, Juan de los
Santos, is the Retablo (Polychromed Wooden Altarpiece). This is the main altarpiece of San Agustin
Church in Manila. This retablo showed the symmetry of Renaissance architecture, and the broken arch
pediment in the upper part the influence of mannerist style.

Juan de los Santos. Retablo. (Polychromed Wooden Altarpiece).

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 2.2. Painting

Similar to sculptures, paintings were also displayed on the walls and ceilings of churches to aid
the friars in spreading the Catholic faith throughout the Philippines. Since the processes of painting
were unusual to the Filipinos, the friars hired foreign painters who became the teachers of Filipinos in
learning this new skill.

As painting grew popular, many elites paid for art portraiture to flaunt themselves and their
wealth. Perez et al., (2013) said that during this time, pioneering art schools were opened and produced
excellent Filipino painters. Among them were Juan Luna Spoliarium and Felix Hidalgo (Christian Virgins
Exposed to the Mob) who were the first Filipino international painters to win gold and silver medals
during the 1884 Madrid Exposition, respectively.

Juan Luna. Spoliarium.

Spoliarium” by Juan
Novicio Luna

Felix Resureccion Hidalgo. Christian Virgins Exposed to the Mob.

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 2.3. Architecture

One of the many profound changes in the life and art of Filipinos during this period was the
Spanish colonial house. These houses were residences and were built using stone and brick
construction. The concept of these houses was similar to the nipa hut, but they differed on construction
materials used and the wider space. Also, most places of worship such as churches were constructed
using stone, bricks, and tiles, and using baroque style architecture.

Sample Baroque Style Church and a Spanish Colonial House (from left to right) during the Hispanic Period in the
Philippines.

2.4. Print Literature

During the 18th century, print literature rose into popularity in the
Philippines. The first book to be printed was Doctrina Christiana. This
was written in 1593 by Fr. Juan de Placencia and Fr. Domingo Nieva.
This book, written in Tagalog and Spanish, apparently contained
religious texts such as the Ten Commandments, seven mortal sins,
how to confess, and catechism.

2.5. Philippine Dance in the Spanish Period

For Villaruz (2020), Spain restructured the Filipino’s lives in

terms of politics, economics, religion, and culture. This hispanization
pervaded even the musical and choreographic practices of the people.
Dances took on the tempo and temper of the European forms. For
example, the noted Tinikling (which has had some Southeast Asian
Doctrina Christiana. beginnings), and the Itik-itik (rustic and imitative like the other dances)
acquired the tempo of the jota and the polka. Down to the research of

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Francisca Reyes Aquino, dances that did not have Western harmony were provided melodic
accessibility, as in Pandanggo sa Ilaw and Subli.

Aside from modifying ritual, occupational and imitative dances, the Spaniards brought in their
dances. The most popular was the jota, later taking on numerous regional variations. Another was the
fandango that was re-styled as pandanggo, a dance that was once prescribed in Spain by Rome; it
rivaled the jota in popularity. A step so common in many dances was the waltz, such as that found in
the Cariñosa, Sayaw and Santa Isabel. In that way, the blase proliferated in dances for religious feasts,
weddings, and other social occasions. Still, others were the paseo and the pateado (from zapateado).

From Cuba, the habanera with its syncopated interest and finding rooted in many regions such
as Pangasinan, Ilocos, Zambales, and Capiz. Outside of the direct Spanish territory came the Polish
mazurka, the Czech polka, the Scottish schottische (renamed as escotis), and the French quadrille
dances, like the rigaudon (turned into rigodon), pas de quatre (into pasakat), and lancers
(into lanceros).

Intensively, the Filipinos combined several of these dances, so that the Polkabal and
the Jotabal are noted examples. The Surtido is also one such invention, coming out in several regions.

With the brief presence of the British (owing to the Seven Years War, between 1762 and 1764)
and their economic investments, there was such a dance as the Ba-Ingles. With the coming of the
Americans, there was the Birginia, off the famous reel in America.

With the Catholic Church, rituals were Christianized as witnessed in the Bate (a waltz dance at
Easter), the many pastores (shepherds dancing around at Christmas time), or the Sayaw sa Obando,
which is a waltz or pandanggo to plead for a wanted husband or child.

Spanish music-theater further popularized European dances. The zarzuela (and the opera) had
actresses who were also singers and dancers. Poet Flavio Zaragosa Cano praised the diva Patrocinio
Carvajal (daughter of Patrocinio Tagaroma) as “Diosa del Baile.” Other famous figures were Praxedes
“Yeyeng” Fernandez (noted for her pandanggo and the condemned can-can in Pascual Bailon),
Venancia Suzarra, Juana “Titay” Molina, Eulalia “Lalyang” Hernandez, Concepcion Cananea (“the
songbird of Cebu”), and to our time, Honorata “Atang” de la Rama (Source: https://ncca.gov.ph/about-
ncca-3/subcommissions/subcommission-on-the-arts-sca/dance/philippine-dance-in-the-spanish-
period/).

3. The American Period (1898-1946)

The arrival of the American colonizers in the Philippines also brought about many profound
changes in the culture and arts of the Filipinos. The Americans introduced the concept of democracy,
prioritized education (English as a medium of instruction), value formation, introduced Protestantism,

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and taught proper hygiene which led to the establishment of health care facilities such as hospitals and
clinics (Perez et al, 2013).

3.1. Sculpture

During the American period, the most popular and expert sculptor was Guillermo Tolentino
(recognized as National Artist for Sculpture in 1973). Despite being educated in Rome, he made figures
that reflected the identity of Filipinos. A few of his famous figures are the Oblation in the University of
the Philippines and the Bonifacio Monument in Caloocan.

The Oblation (Pahinungod, Oblasyon) which served as the

iconic symbol of the University of the Philippines was
a concrete statue by Filipino artist Guillermo E. Tolentino. It
depicted a man facing upward with arms outstretched,
symbolizing selfless offering of oneself to his country. The idea
for the Oblation was first conceived during the presidency of
Rafael Palma, who was the one to commission Tolentino to
make the sculpture. Originally, the statue was completely
naked, but, as morality was prevailing at that time, it was
modified by former U.P. President Jorge Bocobo with the
addition of a fig leaf to cover the genitals. Several replicas of
the Oblation were made for campuses of the University of the
Philippines
(Source: https://sites.google.com/site/upvgpo/the).

Oblation. Guillermo Tolentino.

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 3.2. Painting

Fabian dela Rosa. Planting Rice. (1904).

Where Guillermo Tolentino remained the dominant figure in sculpture, Fernando Amorsolo was
the dominant figure in painting. Amorsolo was the nephew of artist Fabian dela Rosa.

Fabian de la Rosa was the brightest name in Philippine painting after Luna and certainly the
leading master of the genre in the first quarter of the century. Particularly noted for being an outstanding
artist, he painted women’s portraits, alongside Juan Luna and his nephews, Pablo and Fernando
Amorsolo.

Best remembered for painting landscapes, portraits, and everyday scenes (genre painting) with
women depicted as simpl, yet regal in doing daily activities such as cleaning out clay pots, weaving,
chatting, going to church, planting in the rice fields, and washing clothes. De la Rosa’s style had never
changed despite his exposure to Europe. In 1904, de la Rosa won his first gold medal for Planting Rice,
in the St. Louis Exposition.

The Philippines’ first National Artist for Visual Arts for Painting was Fernando C. Amorsolo. The
official title “Grand Old Man of Philippine Art” was bestowed on Amorsol, when the Manila Hilton
inaugurated its art center on January 23, 1969, with an exhibit of a selection of his works.
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 Returning from his studies abroad in the 1920s, Amorsolo developed the backlighting technique
that became his trademark. These marks were figures, a cluster of leaves, a spill of hair, the swell of
the breast which are seen aglow on canvas.

Among others, his major works include the following: Maiden in a Stream (1921), El
Ciego (1928), Dalagang Bukid (1936), The Mestiza (1943), Planting Rice (1946), and Sunday Morning
Going to Town (1958) (https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/fernando-amorsolo/).

Fernando Amorsolo. Planting Rice. (1946).

3.3. Architecture

Architecture during the American occupation had a huge impact on how buildings are built today
in the Philippines. Few of the distinguished neoclassic buildings built during the American period are
still visible today, such as the Congress, Post Office, Supreme Court, Philippine General Hospital, and
the Manila City Hall.

Filipinos learned the neoclassic style when several Filipino architects studied in the United
States of America. Aside from the use of different materials in building like glass, steel, and concrete,
the concept of urban planning was also introduced to the Philippines. This type of architecture is present
today. Many metropolitan cities in the Philippines today had a resemblance to the American way of
building like that of New York.

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4. Philippine Contemporary Art as a Post-War Phenomena

According to Benesa (2020), modern or contemporary art, although a by-word for decades in
the Western world, was a phenomenon of the post-war period in the Philippines. This was not meant
to detract from the yeoman efforts of Victorio Edades, Carlos Francisco, and Galo Ocampo, who were
known as the ‘Triumvirate’ in progressive art circles of the pre-war period. The art of these three men
was indeed contemporary in intention and direction, but their role was more needed historical and
transitional rather than iconoclastic. A new group was needed to negotiate the actual aesthetic break
away from the established canon to the abstract, expressionist, symbolist, and other modes of creative
expression characteristic of the art of the modern world.

For a while, the ‘Thirteen Moderns,” a loose grouping that included the three men, appeared to
affect the desired sea change, but somehow, they did not have the necessary collective anima. This
could probably be attributed to the enervating traumas of World War II. Instead, the iconoclastic role
was assumed by a more dynamic group of six artists whose names were closely associated with the
early years of the Philippine Art Gallery (PAG) in Ermita, Manila: Romeo Tabuena, Hernando Ocampo,
Vicente Manansala, Victor Oteyza, Ramon Estella and Cesar Legaspi.

Three of the ‘Neo-Realists,” as critic Aguilar Cruz called them, namely: Oteyza, Estella and
Ocampo, were self-taught artists. However, they were no mere Sunday painters. Ocampo’s paintings,
in particular, showed an almost scientific preoccupation with color and design that nevertheless seemed
to spring from a feeling for organic form. A synthesis work entitled Ancestors was shown at one of the
annual exhibitions of the Art Association of the Philippines (AAP), a national organization of artists and
art lovers which was founded in 1947-48.

In addition to Hernando Ocampo and his group, the PAG in its early years also started to attract
other painters like Anita Magsaysay Ho, Nena Saguil, Mario and Helen Roces, and Manuel Rodriguez.
Rodriguez subsequently moved away to found his own Contemporary Artist Gallery and workshop.
Although diverse in style and temperament, the Neo-Realists and their companions shared a common
dissatisfaction with what they considered as the static part of the Establishment, as exemplified by the
painters belonging to the rural-pastoral school of Fernando Amorsolo.

The decisive battles between academic art and the new expressionism took place in the annual
competitions of the early fifties. To avoid a confrontation and showdown, the AAP divided the entries
into two categories, ‘conservative’ and modern,” artificial and untenable classification which was
subsequently abolished. For all practical purposes, the ‘war’ between the two camps was won during
the 1954 AAP exhibition at the Northern Motors showrooms. In protest over the choice of winning
entries in the competition, a group of genre and landscape painters led by Antonio Dumlao walked out
with their works and forthwith set them up on the sidewalks for public viewing. They then organized the
Academy of Filipino Artists, which continued the sidewalk exhibitions for a few years in front of the

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Manila Hotel, only to disband unobtrusively later on and leave the field to the practitioners of the new
movement. Before 1954, two painters, Arturo Luz and Fernando Zobel, who were to influence the
directions of this new movement considerably, had started to show their works at the PAG and AAP
exhibitions. The two represented a new breed. Educated abroad, they stood for the painting for
painting’s sake point of view, the so-called ‘painterly’ approach Luz through his spare lyrical style, with
its emphasis on neatness and linear values, and Zobel through his Matisse-like color improvisations
but chiefly through his lectures on art at the Ateneo de Manila which have had a profound influence on
Philippine art appreciation and criticism. Another painter of the same orientation and spirit also came
back from studies abroad to strengthen the camp of the PAG group. This was Constancio Bernardo,
who was a disciple of Josef Albers and his optical-geometric colorism.

Thus, with the entry of these newcomers and the walkout of the followers of Amorsolo and
Fabian de la Rosa (and indirectly of Luna and Hidalgo), the controversy, which had begun with the
return of Edades in 1928 and had been exacerbated by his arguments with the sculptor Guillermo
Tolentino and Dominador Castañeda on the nature of artistic distortion and representation, came to an
end. It was a complete route in favor of a new expression and expressionism. All that was needed now
at this stage was the emergence of the daring ones who would plunge Philippine art into the mainstream
of the international style of abstraction.

Indeed, with the appearance of Zobel and Luz, new names began to assert themselves in the
late fifties and early sixties: Cenon Rivera, J.E. Navarro, Jose Joya Jr., Federico Aguilar Alcuaz, Joan
Edades, David Medalla, Lee Aguinaldo, Ang Kiukok, Jess Ayco, Zeny Laygo, Malang, Hugo Yonzon,
Oscar Zalameda, Rodolfo Perez and Juvenal Sanso. The majority gravitated this time around a new
showplace, the Luz Gallery, which assumed the functions of the PAG as the latter gradually lost its old
vitality.

Two painters, in particular, Joya and Aguinaldo, started producing canvases in the tradition of
the New York School of abstract expressionism. Joya orbited into non-objective art while he was
painting in Detroit, Michigan, with an explosion of spring colors entitled Magnolia Tree. Probably taking
his cue from Zobel who was doing his ‘saeta’ series which were paintings applied with a syringe instead
of a brush. Aguinaldo started flicking threads of paint with a palette knife onto canvas to produce
expressive abstractions with monumental effect. Perez advanced the frontiers further by spraying his
colors on, to produce vibrating tonal zones in the soft-edged idioms of Rothko.

Moreover, as if to dramatize the fact that Philippine Art had become international in grammar,
spirit, and geography, Aguilar Alcuaz left for Europe in 1956 and came back in 1964 still doing figuration,
but in a highly abstract yet viscerally disturbing style. The Philippine-artist-in-voluntary-exile was no
new theme in the history of Philippine art, and the case of Aguilar Alcuaz was not unique even in recent
times. Tabuena, the most prolific and sensitive among the early Neo-Realists, had left much earlier and
had not come back so far, preferring an artist’s life in San Miguel de Allende, Mexico, to painting in his
own country. Nena Saguil had also left earlier, and ended up living and painting in Paris for 14 years

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before finally, she came back to Manila for a retrospective show in 1968 at the new Solidaridad
Galleries. Manansala, who painted in what he has called ‘transparent cubism,” had done some world
traveling. Anita Ho has lived in Brazil and now resides in Canada. Zalameda was an inveterate
continental traveller. The gifted Medalla, who had abandoned painting in favor of kinetic sculpture, had
been living in England for the last few years. Zobel and Sanso, who were Philippine-born Spanish
citizens, sojourned mostly in Europe, although they had come back periodically to Manila to show their
latest works.

How far Philippine contemporary art had progressed since Edades and his painting, The
Builders, may be seen in the fact that at the 1964 Venice Biennial, the painter who had chosen to
represent the Philippines was abstractionist Jose Joya, together with the modernist sculptor Napoleon
Abueva. Moreover, it was the first time that a Philippine painter ever took part in an international
exhibition of this magnitude. The Philippines did not win any medals (Pop Art was the word then), but
the participation itself was historically significant and prepared the way for other Philippine painters
seeking international stature. In the following year of 1965, Tabuena sent his works to Brazil to
represent his country in the 8th Sao Paulo Biennial. Two years later, in 1967, the paintings of Hernando
Ocampo were also shown in Brazil. At the same biennial, Aguilar Alcuaz also represented the younger
generation at the 5th Biennial de Paris.

A painter of sardonic humor, Navarro also took part in the 1967 Sao Paolo exhibition, but in the
field of sculpture. Indeed, a whole book can be written on the works of several Philippine artists who
had been active in both painting and sculpture.
In the meantime, the mid-sixties also witnessed the maturation and emergence of a new generation of
young painters who may be considered as the legitimate aesthetic offspring of the progressive elements
of the immediate post-war period, especially of the Neo-Realists. Highly conscientious and competent,
the young painters had been winning the big prizes offered yearly in national competitions. It was
noteworthy that the older painters, apart from the fact that they are already well-known, had declined
to compete against these young men in the annuals of the Art Association of the Philippines, preferring
when they did take part to participate hors concours as guest artists.

This new generation divided itself into two groupings, but with no real discernible organization
or leadership. The first cluster consisted of Roberto Chabet, Angelito Antonio, Florencio Concepcion,
Charito Bitanga, Antonio Austria, David Aquino, Norma Belleza, Antonio Chan, William Chua, Veronica
Lim, Leonardo Pacunayen, Angelito David, Antonio Hidalgo, Noel Manalo, and Manuel Rodriguez, Jr.
The second cluster consisted of Alfredo Liongoren, Kelvin Chung, Marciano Galang, Virgilio Aviado,
Ben Maramag, Benedicto Cabrera, Edgar Doctor, Lucio Martinez, Efren Zaragosa, Raul Lebajo, Raul
Isidro, Prudencio Lammaroza, Jaime de Guzman, and Lamberto Hechanova, Jr.

The works of this new generation of Philippine painters were polarized. All the progressive
tendencies and thrusts of Philippine art, as well as the basic drawbacks inherent in the act of working
derivatively within the continuum of the international art movement (and its various recent

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manifestations like pop, minimalism-maximalism, hard-and soft-edgism, colorschoolism), to the
detriment of the growth of national art, whatever that may mean. In any case, these young artists were
the true heirs of the Philippine contemporary art movement. Their performance in the next few years
together with that of their more spirited elders will largely determine the shape of its content
(https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/visual-
arts/philippine-contemporary-art-as-a-post-war-phenomenon/).

CHECKING FOR UNDERSTANDING

I. Fill in the Blanks.
1. _____ is the earliest known written document found in the Philippines.
2. _____ is a secondary burial jar with two prominent figures representing two souls on a
voyage to the afterlife.
3. The Philippine indigenous instruments are grouped into ________, _______, ________, and
_________.
4. Since painting was an unusual practice to Filipinos, friars have to hire _____ to paint religious
illustrations.
5. The only 17th-century Filipino sculptor we know by the name is _____.
6. The two Filipino artists who won the gold and silver medals in the 1884 Madrid Exposition
were _____ and _____.
7. The sculpture “_______” has become the symbol of the University of the Philippines.
8. The architecture of the American colonial period was patterned after the civic building of the
_______ style.
9. An example of an intricate textile that is made through weaving is the _____of the Meranaw.
10. Both the _____ and ______ are Arabic scripts used by the Meranaw of Lanao and the
Tausug of Sulu, respectively.

II. Discuss the following.

1. How do you define Philippine Art?
2. How do you describe Ethnic Art in the Philippines?
3. What makes Philippine Art Filipino?
4. Why did the Philippine Scripts banish upon the arrival of the Spaniards?
5. What are the factors that contribute to the development of Philippine Art?

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Art Project: Paper Mache

“A paper mâché is a popular crafting technique that uses paper and pastes to create a variety
of objects. It is the layering of moistened paper and other materials onto a black surface. The adhesive
used to wet the paper acts as a binding agent. As the paper dries, the outer shell hardens, which can
then be painted and decorated. This craft is centuries old and is prized for its affordability (Thoman,
2019 retrieved at https://www.theprucecrafts.com/what-is-papier-mache-4777182).”

Instructions:

1. Look for an ethnic or cultural product that artisans in your region create/produce.
2. You will create a paper mâché illustrating that cultural product.
3. Present your output in class through a pre-recorded video of yourself with your output.
4. Submit a scanned copy or a photo of your paper mâché in your Google Classwork.
5. Read the following criteria for your paper mâché.

Art Project: Paper Mache Project Assessment

Excellent Good Basic Little or no

5 points 4 points Requirement effort
3 points 2 points
Composition/Design/Planning
The artwork is The artwork is
4 pts The artwork
planned planned The artwork
Level of understanding about shows little
carefully; carefully; shows no
instructions and concepts evidence of
understanding of understanding of understanding of
(Elements and Principles of Art) understanding
all concepts and most concepts the concepts and
used in the project. the concepts and
instructions is and instructions instructions.
Understanding of The Rule of instructions.
demonstrated. is demonstrated.
Thirds.
Craftsmanship/Use of The artwork
The artwork
Materials shows good The artwork The artwork
shows
4 pts craftmanship, shows limited shows minimal or
outstanding
The control, adaptations, and with some craftsmanship no craftsmanship
craftsmanship,
understanding of the chosen attention to and little and attention to
with clear
medium. Technique control, attention to control, and
attention to
understanding. Use of quality adaptation, control, understanding of
control,
paper mâché building selection, and adaptation, and the
adaptation, and
techniques understanding of understanding of medium/media.
understanding of
the the There is little or
the
medium/media. medium/media. no evidence of
medium/media.
Reflects The use of paper understanding
Reflects a wide
attention to using mâché paper mâché
range of paper
some paper techniques is techniques.
mâché
mâché limited.
techniques.
techniques.

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Creativity/ Challenge The artwork The artwork The artwork The artwork
4 pts demonstrates a demonstrates a demonstrates a demonstrates
Inventiveness, expression of challenging level satisfactory level basic level of very little
ideas, and images portrayed in of production and of production attention to attention to
the construction of the project. creativity as well and creativity as production, production,
Challenge level of the project. as outstanding well as logical creativity, and creativity, and
problem-solving problem-solving problem-solving problem-solving
skills. skills. skills. skills.
Behavior/Effort/Attitude The student put
The student put
8 pts The student put forth the limited The student put
forth
Work ethic; the time dedicated forth the effort effort required to forth minimal or
extraordinary
to the project inside and/or out required to finish the project; no effort; or the
effort to complete
of class. complete the the use of class project was not
the project as
project well; time does not completed; class
well as possible;
used class time reflect the time was not
used class time
well. student’s ability used well.
extremely well.
and potential.
(Source: https://www.rcampus.com/rubricshowc.cfm?code=TA2763&sp=yes&)

Page | 189
 References

Benesa, L. (2020, September 23).Philippine Contemporary Art as Post-War

Phenomena. https://ncca.gov.ph/aboutncca3/subcommissions/subcommission-
on-the-artssca/visual-arts/philippine-contemporaryart-as-a-post-war-

phenomenon.

Cabrera, Y. (2015, February 5). Pre Spanish Colonial Art in the Philippines.

https://www.slideshare.net/yazmin9457/pre-spanishcolonialartinthephilippines.

Cabrera, Y. (2015, February 5). Pre Spanish Colonial Art in the Philippines.

https://www.slideshare.net/yazmin9457/pre-spanishcolonialartinthephilippines.

Canete, R. (2013). Ukit at Hulma: A Brief History of Philippine Sculpture (Vol. 19).

University of the Philippines.

National Museum of the Philippines (2020, September 23). National Museum

Collections.

https://www.nationalmuseum.gov.ph/nationalmuseumbeta/Collections/Archaeolo-
gy.html

Obusan, R. (2020, September 23). Rituals and Philippine Dance. .

https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-

arts-sca/dance/rituals-in-philippine-dance/.

Perez, T., Cayas, R., Narciso, N. (2013). Alampat: An Introduction to Art Appreciation.

Davao City. Blue Patriarch Publishing House.

Roldan, A., Dellosa, C. (2019). A Course Module for Art Appreciation. Manila: Rex Book

Store, Inc.

Sanchez, C., Abad, P., Jao, L., Sanchez, R. (2012). Introduction to the Humanities

(6th ed.). Manila: Rex Book Store, Inc.

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Tajar, F. (2015, January 24). History of Philippine Architecture.

https://www.hoppler.com.ph/magazine/lifestyle/history-of-philippine-

Architecture.

Villaruz, B (2020). September 23). Philippine Dance in the Spanish Period.

https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-

arts-sca/dance/philippine-dance-in-the-spanish-period/.

Wikiwand (2020, September 2020). Arts in the Philippines

https://www.wikiwand.com/en/Arts_in_the_Philippines#/Traditional_arts.

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