Lesson subject and content for saving only.pptx

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1. LESSON 4: SUBJECT AND CONTENT

2. Subject and Content The primary stage of engaging with art is its perception . For most art forms, the beginning of the engagement is through looking at the artwork. Subjectivity is illustrated in the way that selective perception renders one or two details more prominent than others,

3. Subject and Content In most cases, there are clues that mediate between the artwork and the viewer. These clues are the three basic components of a work of art: Subject (visual focus or image that may be extracted from examining the artwork Form (the development and configuration of the artwork) Content (meaning that is communicated by the artist or the artwork)

4. Types of Subject Representational Art – These types of art have subjects that refer to objects or events occurring in the real world. It is also termed as figurative art .

5. Types of Subject Non-Representational Art – does not make a reference to the real world, whether the 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. It is also termed as non-figurative art.

6. Jackson Pollock’s “Number 1A”

7. Non-representational Art and Abstract Art One source of confusion is the notion that non-representational art is the same as Abstract art . This is essential because it introduces the fact that representational art and non-representational art is not a clear-cut divide, rather, they exist in the spectrum. Pablo Picasso's "Head of a Woman, Mougins" (1962)

8. Non-representational Art and Abstract Art A proponent of non-representational art was Russian artist Wassily Kandinsky. He likened non-representational art to music, an art form that he was also very keen to. It is therefore not surprising that a lot of his paintings are inspired by music and are titled as impression, improvisation, and composition. Moscow I (1916)

9. Sources and Kinds of Subject For non-representational art, a higher level of perceptiveness and insight might be required to fully grasp the feeling, emotion, or concept behind the work. However, it is important to note that these two are often inextricably related. Often, even a singular source of inspiration can yield multiple translations. A good starting point is, of course, the nature.

10. Sources and Kinds of Subject Artists throughout history have explored diverse ways of representing nature: from plants to animals ; the qualities of bodies of water and the terrain of landmasses; and even the perceivable cycles and changing of seasons . Often, these depictions are seen as expressions of the sacred or the profane, sired by reality or supplemented by the artist’s imagination. One artist who was attuned with nature was Vincent van Gogh .

11. Vincent van Gogh He saw art and nature as inseparable, often finding solace and happiness in painting in it and painting from it. In a letter to his brother Theo, he wrote “…if I felt no love for nature and my work, then I would be unhappy.”

12. Sources and Kinds of Subject Other artists with a considerable number of landscapes are: Claude Monet, Camille Pissaro , Paul Cezanne, and JMW Turner . In the Philippines, National Artists for Painting Fernando Amorsolo and Fabian de la Rosa gained prominence from their painted rural scenes such as women in the fields gathering harvest.

13. Sources and Kinds of Subject Breaking nature who into smaller parts is Jan van Kessel’s the Elder who did numerous still lives and small-scale, highly detailed studies, and scientific illustrations of flowers, insects, shells, fruits, garlands, and bouquets.

14. Sources and Kinds of Subject From narrations in literature, artists, on the other hand, gave faces of Greek and Roman deities or the gods and goddesses whose fates are seemingly as tragic as those of men. Some of the art forms they took on were wall paintings or frescos and sculptural works such as busts, statuaries, and ceramics and pottery, among others.

15. “ DISCOBOLUS” of Myron

16. Sources and Kinds of Subject Another integral aspect of human life is the distinct relationship with a higher controlling power. If the belief system of Greeks and Romans was polytheism with a multitude of gods and goddesses, the Judeo-Christian tradition stems from a belief in a lone creator of the universe or what is called monotheism .

17. Sistine Chapel Commissioned by Pope Julius II , the intricate fresco that lines the Sistine Chapel was created by Michelangelo . The immense detail and vast surface he had to cover had him working on it from 1508 to 1512.

18. Sources and Kinds of Subject Unlike in Islam for example, practicing Jews and Christians were allowed to depict their God and other important biblical figures: laying visual foundations in inculcating the faith. But perhaps the influence of this tradition is most intriguingly manifested in architectural marvels that are spread out all over the world.

19. The formative years of church architecture can be traced in the 4 th and 5 th century but different styles and plans were developed since then. Prevailing ideas and philosophies became resources that were used by the architects to reimagine what the church looked like. Gothic churches were characterized by three things: soaring heights (ceilings) , volume (flying buttresses and ribbed vaults) , and light (bright stained glass windows, airy and pleasant interiors) .

20. Gothic style architecture is often attributed as the brainchild of Abbot Suger . There is a definitive sense that pointed to the feeling of awe on the part of the believer and the perceived majesty and power of God—all which happened during the time when religion was at the heart of everyday life. This echoes her belief that “art was central to religious experience”.

21. Proceeding from a kind of a hybrid between literature and sacred text is India’s miniature paintings. In Central India, this kind of art that was produced was deeply rooted in Vedic texts such as Upanishads, Puranas, and other important texts like the Sanskrit epics Mahabharata and Ramayana . Indian artists had a wide array of materials to work with in showcasing not just their artistry and skill.

22. These paintings were small but were highly pictorial, stylized, and employed a good contrast of colors. Some artists also included verse from the epics as part of the cartouche which added interest and meaning to the paintings.

23. CONTENT IN ART As outlined in the beginning, in discussing works of art, the subject may simply be referred to as the “what”—what is readily seen and relates to the artwork, its inspiration, and the many kinds of translation. But apart from what is made explicit, to recognize and grasp the message of the artwork, the viewer may sometimes need to go beyond what is visible. Why was the artwork created in the first place? When this question is asked, we are after the meaning of message that is expressed or communicated by the artwork.

24. CONTENT IN ART To take on the challenge of understanding the content of art, it must be reiterated that there are various levels of meaning. Perhaps the most common is what we call factual meaning. This pertains to the 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.

25. CONTENT IN ART To take on the challenge of understanding the content of art, it must be reiterated that there are various levels of meaning. Perhaps the most common is what we call factual meaning. This pertains to the 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.

26. CONTENT IN ART Conventional meaning , on the other hand, pertains to the acknowledged interpretation of the artwork using motifs, signs, symbols and other cyphers as bases of its meaning. These conventions are established through time, strengthened by recurrent use and wide acceptance by its viewers or audience and scholars who study them. Finally, when subjectivities are consulted, a variety of meaning may arise when a particular work of art is read.

27. It is therefore expected that meaning may not be singular; rather, a painting may communicate multiple meanings to its many viewers. This is what we call subjective meaning of art.

28. Michelangelo’s “Creation of Adam”

29. Michelangelo’s “Creation of Adam” From a factual perspective, Michelangelo depicted a scene from the Creation Story, in particular, the creation of man. Apart from being a key element of Michelangelo’s fresco at the ceiling of the Sistine Chapel, the subject matter suggests that this is an example of biblical art.