483482119-GE-5-Art-Appreciation-Lesson-4-Subject-and-Content.pptx

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1. SUBJECT AND CONTENT

2. Intended Learning Outcomes: At the end of the lesson, the students must have : differentiated representational art and non-representational art; discussed the difference between artwork’s subject and its content; identified the subject matter and content of specific examples of art; and enumerated the sources of the subjects of some of the most recognizable works of art in Philippine art history.

3. One of the major hurdles that spoils an individual’s engagement with an artwork is the notion that in order to appreciate it, one must be able to extract a specific image, isolate the artist or maker’s intention, and unearth a particular meaning.

4. Failure to do so automatically implies a failure of comprehension and therefore, failure of experience. This, however, relegates art engagement and therefore appreciation to the very few who had training and instruction in producing and in reading art. THIS SHOULD NOT BE THE CASE.

5. PERCEPTION The primary stage of engaging with art. The beginning of engagement is through looking at the artwork . However, like any tool, it is but one component .

6. What makes the difference is the awareness in the process of looking where subjectivity is essential in navigating through the artwork.

7. It is illustrated in the way that selective perception renders one or two details more prominent than others, prompting the viewer to focus on some details as essential or as standouts. SUBJECTIVITY

8. In viewing art, there are clues that mediate between the artwork and the viewer, allowing the viewer to more easily comprehend what he is seeing.

9. Three Basic Components of a Work of Art Subject Content Form

10. The visual focus or the image that may be extracted from examining the artwork; the “what ” SUBJECT

11. The meaning that is communicated by the artist or the artwork ; the “ why” CONTENT

12. The development and configuration of the art work – how the elements and the medium or material are put together; the “how” FORM

13. Think-Pair-Share Look at the painting by artist David Bailly entitled Selbstbildnis mit Vanitassymbolen (Self-Portrait with Vanitas Symbols). List down eveything that you see within the four corners of the work. List as many items as you can in 3 minutes.

14. Think-Pair-Share

15. Think-Pair-Share With your seatmate, discuss and compare the items you listed . Based on your answers, write an assumption about what the painting means.

16. In the sciences, experimentation is the key to proving a hypothesis or a larger theory. In the arts, there are observable qualities that the artwork holds that will point to its subject, and sometimes even to its content.

17. In order to flesh out what the subject of the artwork is, it is important to first look at the constituent figures that are perceivable on the surface of the canvas or the sculpture and the manner in which the artist chose to depict those figure. From these, the type of subject can then be inferred.

18. Types of Subject

19. Representational Art These types of art have subjects that refer to objects or events occurring in the real world. Also termed figurative art because the figures depicted are easy to make out and decipher . “Mona Lisa” by Leonardo da Vinci

20. Non - Representational Art Art forms that do not make a reference to the real world, whether it is a person, place, thing, or even a particular event. It is stripped down to visual elements, such as shapes, lines, and colors that are employed to translate a particular feeling, emotion, and even concept. Also termed non-figurative art.

21. Non - Representational Art “Number 1A” by Jackson Pollock (known for his “action paintings”)

22. Representational art and abstract art

23. One source of confusion is the notion that non-representational art is the same as abstract art. This is essential to discuss because it introduces the fact that representational art and non-representational art is not a clear-cut-divide; rather, they exist in a spectrum.

24. Representational Art Abstract Art Non-Representational Art

25. “Head of a Woman” by Pablo Picasso – cut metal that is hinged on a metal base

26. As a guide, an artwork, depending on the degree of distortion or abstraction, may be adjudged as leaning more toward one over the other. Abstract art is in itself a departure from reality, but the extent of that departure determines whether it has reached the end of the spectrum, which is non-representational– a complete severance from the world.

27. Vasily Kandinsky – a Russian artist and the proponent of non-representational art and used it with music. Thus, most of his works are inspired by music and are titled as impression, improvisation, and composition.

28. Sources and Kinds of subjects

29. For non-representational art, a higher, level of perceptiveness and insight might be required to fully grasped the feeling, emotion, or concept behind the work. For representational art, it is easier to infer the subject matter because from the figures depicted in the artwork, there is already a suggestion as to its implication.

30. Sources of subjects

31. Nature “Die Ebene von Auvers ” (Wheat Fields Near Auvers ) by Vincent van Gogh

32. “Landscape near Monte Carlo” by Claude Monet “The Hay Harvest” by Camille Pissaro “Still Life with Skull” by Paul Cezanne “ Chichester Canal” by J.M.W Turner

33. “Planting Rice” by Fernando Amorsolo “Pasay Beach” by Fabian Dela Rosa

34. Greek and Roman Mythology

35. Judeo Christian Tradition

36. Sacred Oriental Texts

37. History

38. In the history of art, it is important to remember that the source and kind of subjects were not merely a product of the artist’s inclination and choice.

39. A closer examination of the various art movements and artworks created within those movements will indicate that notions of freedom and independence, which are presumed to be enjoyed by artists, were not without limits or restrictions.

40. For instance, a particular kind of subject and the way it is visually translated may be traced in relation to the art patrons (those who commission the artworks), the favored artistic style and canons, and more importantly, the norms and trends prevailing in the artist’s milieu.

41. Content in Art

42. The meaning or message that is expressed or communicated by the artwork .

43. Erwin Panofsky One of the foremost scholars that expounded on content analysis or how meaning is arrived at in his seminal work Meaning in the Visual Arts (1983).

44. LEVELS OF MEANING Factual Meaning Conventional Meaning Subjective Meaning

45. Factual Meaning T he most rudimentary level of meaning for it may be extracted from the identifiable or recognizable forms in the artwork and understanding how these elements relate to one another.

46. Conventional Meaning Pertains to the acknowledged interpretation of the artwork using motifs, signs, and symbols and other cyphers as bases of its meaning.

47. Conventional Meaning These conventions are established through time, strengthened by recurrent use and wide acceptance by its viewers or audience and scholars who study them.

48. Subjective Meaning When subjectivities are consulted, a variety of meanings may arise when a particular work of art is read.

49. Subjective Meaning These meanings stem from the viewer’s or audience’s circumstances that come into play when engaging with art (what we know, what we learned, what we experienced; what values we stand for).

50. Subjective Meaning Meaning may not be singular, rather, multiple and varied.

51. From a factual perspective, Michelangelo depicted a scene from the Creation Story, in particular, the creation of man. “Creation of Adam” by Michelangelo from the ceiling of the Sistine Chapel

52. The specific poses of God and Adam (convex and concave postures, respectively) allude to the correspondence of the body and the commonly held belief that man was created in the image and likeness of God.

53. An interesting overlap between the conventional and subjective meanings is the proposal from gynecologist Frank Lynn Meshberger .

54. Written in his essay is the theory that an image and a message were hidden in plain sight: how the silhouette of God, the shroud and the drapery that trail behind, all seemingly align with the shape of the human brain.

55. Furthermore, he added that the work can also be aptly called “The Endowment of Adam” for it bought to light that as God’s creation, the most important qualities imparted to man was intellect.

56. Like most Renaissance artists, Michelangelo unlocked the secrets and precision of human anatomy assisting in dissections during his time. For Meshberger , it was with his medical background and perhaps exposure to art and history that allow him to catch the symbol, hidden in Michelangelo’s work.

57. Conclusion In gaining basics of deciphering the subject and content of art, it is hoped that an individual’s sensitivity and perceptiveness to art will be developed. One may begin by looking at perceivable features of the artwork .

58. Conclusion Taking note of what was apparent will provide clues as to what the intended meaning of the artist might be .

59. Conclusion Knowing more about the context of its creation – from the artist’s inspiration, reference or source, will prove useful in understanding the meaning of the artwork .

60. Conclusion However, one must forget that each viewer is armed with his or her experience, background and education. These will assist in fleshing out different levels of meaning that maybe derived from the artwork.

61. Conclusion These might not be as evident as say, the figures depicted on the surface; however, these alternative readings contribute to the significance of the artwork.

62. Conclusion The majority of the public are consumers and not producers of art, and so ensuring the readiness of the public to not only successfully engage with the art, but meaningfully do so, is the primary function of art appreciation and education.

63. This ends Lesson 4!