ART APPRECIATION
Types of Subject
One of the most iconic and recognizable paintings all over the world is the Mona Lisa done by
Leonardo Da Vinci. Some questions are often raised regarding this artwork like “Who is Mona
Lisa” “Why was Leonardo da Vinci compelled to paint her” But as scholars attempt to solve the
true identity of the sitter, it is relevant to note that there is a consensus that the Mona Lisa -
whoever she is - is based on a real person.
Figure 25: Leonardo Da Vinci, “Mona Lisa” (1503). Museo du Louvre Collection
Portraits such as the Mona Lisa are good examples of what is called representational art. These
types of art have subjects that refer to objects or events occurring in the real world. Often, it is
also termed figurative art, because as the name suggests, the figures depicted are easy to make
out and decipher. Despite not knowing him one and he say yes, it is clear that the painting is of
a woman that is realistically – proportioned; only the upper torso is shown; a beguiling and
mysterious smile is flashed; and that the background is a landscape – probably a view from a
window. Pushing it even further, one can even imagine a scene in which Leonardo da Vinci
alternates between applying dabs of paint on the canvas and looking at the sitter in order to
capture her features for the portrait.
On the other hand, seeing a painting that has nothing in it but continues drips of paint or
splotches of colors either confounds the viewer or is readily trivialized as something that
anyone with access to materials can easily make. The works of Jackson Pollock, who is known
for his “action paintings,” are often subjected to these remarks. Using large-scale canvasses
that were usually laid out on the floor or resting on a wall. Pollock tilted his paint can and
allowed paint to drip. Assisting it with movement, he used other implements such as hardened
brushes, knives, ticks, and trowels to add detail, texture, and dimension to his paintings, there
were no clear figures that jot out from the canvas; there were only drips and splashes. This kind
of work can be subsumed under the category of non-representational. As the opposite of the
previously discussed type of subject, non-representational art is also often termed non-
figurative art.
Figure 26: Jackson Pollock, detail of “Number 1A” (1948). Oil and enamel paint on canvas.
Museum of Modern Art (MOMA) Collection. Photo Courtesy of Sharon Mollerus.
Non-representational art does 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.
It is in this light that representational works are often favored because they are easier to
recognize. Viewers find a greater degree of comfort when what they see registers as something
familiar. They then continue to process this understanding, sometimes even becoming
confident enough to share their insights to others. It can be argued then that an artist is faced
with a strong persuasion of creating works that veers toward representational art. However, it
is not simply an issue of assumed preference; rather, it cuts across matters relating to prevailing
themes, norms, and practices of specific historical moments.
Non-representational Art and Abstract Art
Figure 27: Pablo Picasso, “Head of a Woman, Mougins” (1962). Metal cut-out, folded and painted.
Musee National Picasso-Paris
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. An abstract work
of Pablo Picasso is a great example to illustrate this. Although he is more known for his
paintings, he also dabbled into other works including sculptures. Cut metal that is hinged on a
metal base, there is a palpable distortion of the image—whatever it is—seems to be melting.
Even without reading the title from the caption, mere seconds of looking at the combination of
lines, shapes, and colors of the sculpture will point to a head of a woman. Even with the
abstraction of the image, this work is arguably representational. As a guide, an artwork,
depending on the degree of distortion or abstraction, may be judged as leaning more toward
one over the other. Abstract art is in itself a departure from reality, but the extent of departure
determines whether it has reached the end of the spectrum, which is non- representationality
—a complete severance from the world.
A proponent of non-representational art was Russian artist Vasily Kandinsky. Although his
chosen art form was paintings, he likened non-representational art to music, an art form that
he was also very keen to. He asserted that with sounds, musicians are able to evoke imagery in
their listeners or audiences. Object-free, he alludes to the sounds and spiritual experiences that
music makes possible in his paintings. It is therefore not surprising that a lot of his paintings are
inspired by music and are titled as impression, improvisation, and composition.
Sources and Kinds of Subject
When hit with a wall or a block, the writer is often advised to look back and take from what he
knows. From there. a well and wealth of materials may be drawn. But for artists. where do they
source the subjects of their paintings? What do they paint?
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. It is perhaps easier to infer where
the subject matter comes from if the artwork is an example of representational art. From the
figure(s) depicted in the artwork, there is already a suggestion as to its inspiration.
However, in discussing the sources and kinds of subject in artworks, 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.
There is nothing more rudimentary than human interaction with the physical world around the
artist. Early childhood often revolves around getting to know not just the body and what it can
do, but also in getting accustomed to a multitude of sensory prompts around the artist
especially those situated in his environment.
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. He saw art and nature as
inseparable, often finding solace and happiness in painting in it (working in the middle of
unspoiled fields) and painting from it (landscapes). In a letter to his brother Theo, he wrote “...if
I felt no love for nature and my work, then I would be unhappy." (Van Gogh Museum, 1882)
Figure 28: Vincent van Gogh, “Die Ebene von Auvers” (Wheat Fields Near Auvers) (1890). Oil on canvas.
Osterreichische Galerie Belvedere Collection.
Other artists with a considerable number of landscapes and seascapes are Claude Monet,
Camille Pissarro, Paul Cézanne, 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.
Breaking nature into smaller parts is Jan van Kessel the Elder who did numerous still lives and
small-scale, highly detailed studies, and scientific illustrations of flowers, insects, shells, fruits,
garlands, and bouquets.
Figure 29: Jan van Kessel, “A Cockchafer, Beetle, Woodlice and Other Insects, with a Sprig of Auricula”
(early 1650s). Oil on copper. Museum of Art and Archaeology, University of Oxford Collection.
Greek and Roman mythology were also ripe with references: from episodes that transport the
viewer to heroic encounters of Achilles and Aeneas; warnings about man’s folly like the vanity
of Icarus; the wit and cunning of Odysseus; the beauty of Aphrodite and the athleticism of
Myron. From narrations in literature, artists, on the other hand, gave faces to 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.
Figure 30: “Discobolus” (Roman, 2nd Century AD), after a Greek, original by the sculptor Myron of 450-
440 BC. British Museum Collection, London.
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. This tradition had an immense influence in Western civilization
especially in art. Guided by a host of styles and techniques, various media and art forms were
also experimented with: paintings, frescos, church architecture (over-all plan of the space,
stained glass windows, tabernacles, and altars), sarcophagus, icons and other carvings,
vestments, tapestry, illuminated manuscripts, and other sacred scriptures, among others.
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.
Figure 31: Michelangelo, “Sistine Chapel” (1508-1512)
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 the architectural marvels that
are spread out all over the world.
The formative years of church architecture can be traced in the fourth and fifth century but
different styles and plans were developed since then. Prevailing ideas and philosophies became
resources that were used by architects to reimagine what the church should look like. For
instance, 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). 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 of 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."
Figure 32: Interior of Westminster
Proceeding from a kind of a hybrid between literature and sacred text is India's miniature
paintings. In Central India, the 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 and skill. The significance of these
paintings rests on its ability to foster devotion and the observance of a code of ethics through
the visualizations of heroic narratives. 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.
Figure 33: “Shah Jahan Receiving Dara Shikoh,” Folio from the late Shah Jahan Album (circa 1650).
Watercolor, Opaque watercolor, gold, and ink on paper. Nasli and Alice Heeramaneck Collection,
Museum Associates Purchase.
Figure 34: Francisco de Goya, “El Tres de Mayo” (1814). Oil on Canvas. Museo del Prado Collection
Historically significant events particularly in the affairs of humanity are abundant references for
art production. From early breakthroughs such as the discovery of fire and the overthrow of
geocentric theory in favor of a sun-centered universe, succeeding advancements brought about
by discovery, innovation, and man’s incessant search for glory plotted a dynamic course of
history.
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 or message
that is expressed or communicated by the artwork. One of the foremost scholars that
expounded on content analysis or how meaning is arrived at is art historian Erwin Panofsky in
his seminal work Meaning in the Visual Arts (1983). His methodology will be later identified as
Iconology through the interpretation of iconography.
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. 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. These meanings stem from the viewer's or audience's circumstances that come into play
when engaging with art. When looking at a particular painting for example, perception and
meaning are always informed (and even colored) by a manifold of contexts; what we know;
what we learned; what we experienced; and the values we stand for. 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.
Figure 35: Michelangelo, “Creation of Adam” from the ceiling of the Sistine Chapel.
Elements of Art: Visual
Taking off from the scientific reference, elements of art are akin to the atoms that are defined
as the units or "building blocks" of matter. Together, in a variety of combinations and
formations, they have the ability to create molecules such as water, or the more complex
sucrose. These formulations are almost the same with elements of art when they are joined
together, in a variety of ways. In the same line of reasoning, the elements of art are the aspects
of an artwork that can be isolated from each other.
These elements of art are generally produced when something is done to the medium after the
technique is owned out. It must be underscored, however, that all works of art require all
elements to be present. Some art forms also necessitate some of the elements as they are
inherent in the very nature of them. For example, sculptures automatically have the following
elements with or without the decision of the artist to include them: shape, form, and space
Without these elements, there is no sculpture to begin with. Elements are the necessary
preconditions for the creation of art.
To enumerate, the elements of art and design are the following: line, shape and form, space,
color, and texture.
1. Line
A line refers to a point moving at an identifiable path—it has length and direction. It also
has width. It is one-dimensional, however, it has the capacity to either define the
perimeters of the artwork (edges) and/or become a substantial component of the
composition. Although a line is "simple," it has variations in view of its orientation/direction,
shape, and thickness. These variations import not only the visual elements into the artwork,
but suggest meaning or message being conveyed by the artist.
Known for using lines to provide the outline or contour of the figures he portrays in his
work. Keith Haring first executed the public mural "Todos luntos podemos parar el sida"
(Together We Can Stop AIDS) in Barcelona in 1989. In 2014, it was recreated at the foyer of
the Museo d’Art Contemporani de Barcelona (Barcelona Museum of Contemporary Art) to
commemorate it, Haring battled with HIV/AIDS to which he succumbed to in 1990.
Figure 51: Keith Haring, “Todos juntos podemos parar el sida” (We Can All Together Stop AIDS). Plastic
paint on wall. MACBA Collection. Barcelona City Council long-term.
A quality that is ascribed to lines is its ability to direct the eyes to follow movement or
provide hints as to a work's focal point. The orientation in which we are most accustomed
to such as the assertive force of gravity grounding objects, or the sideways or up-and-down
vibration that informs us of an earthquake, the gustiness of wind from the window, or the
direction of the rainfall conjures different images of lines.
a. Horizontal and vertical lines - refers to the orientation of the line. Horizontal lines
are normally associated with rest or calm. Landscapes often contain these elements
as works like these often connote a visual sense of being parallel to the ground. It
also alludes to position of the reclined body at rest. Vertical lines, on the other hand,
connote elevation or height, which is usually taken to mean exaltation or aspiration
for action. Together, these lines communicate stability and firmness.
b. Diagonal and crooked lines -- diagonal lines convey movement and instability,
although the progression and can be seen. Crooked or jogged lines, on the other
hand, are reminiscent of violence, conflict, or struggle.
c. Curved lines - these are lines that bend or coil. They allude to softness, grace,
flexibility, or even sensuality.
2-3. Shape and Form
These two are related to each other in the sense that they define the space occupied by the
object of art. Shape refers to two dimensions: height and width, while form refers to three
dimensions: height, width, and depth. Even if shapes are part of a bigger picture, each can
be identified by breaking the visual components apart and making distinctions based on
what we know and what we have seen. Two categories can be used as a broad distinction:
a. Geometric - these shapes find origin in mathematical propositions. As such, its
translation and use are often man-made. These include shapes such as squares,
triangles, cubes, circles, spheres, and cones, among others.
4. Space
Related to shape and form is space. It is usually inferred from a sense of depth, whether it is
real or simulated. Real space is three-dimensional. Like what has been previously
mentioned, sculptures are a perfect example of artworks that bear this element. However,
this can only be manifested in two-dimensional artworks through the use of different
techniques, or the use (or non-use) of area around a drawing or picture.
Figure 57: Anish Kapoot, “Cloud Gate” (2004), located in Chicago, Illinois.
In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in
Chicago, the iconic "Cloud Gate" occupies a considerable space. Shaped like a bean, hence
its other referent, the public sculpture was unveiled in 2004. The dent in the middle offers a
gap in which people can pass through and gaze at the sculpture in a different perspective.
However, not all works are sculptures. In two-dimensional artworks, they may be implied.
a. Positive and negative space — usually identified with the white space is the negative
space. The positive space, on the other hand, is the space where shadow is heavily used.
b. Three-dimensional space — can be simulated through a variety of techniques such as
shading. An illusion of three-dimensionality can be achieved in a two-dimensional work.
5. Color
Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has
range, allowing the viewer to make responses based on memory, emotion, and instinct,
among others. This element is a property
Figure 62: Edward Munch, “The Scream” (1893). Tempera and casein on cardboard. Munchmuseet,
Nasjonalgalleriet, Oslo.
Texture
Like space, texture can be either real or implied. This element in an artwork is experienced
through the sense of touch (and sight). This element renders the art object tactile.
Figure 63: Frans Pourbus the Younger, “Margherita Gonzaga, Princess of Mantua.” Oil on canvas.
Bequest of Collis P. Huntington, 1990. The Metropolitan Museum of Art, New York.
Often, texture is commonly associated with textiles. In the portrait rendered by court
painter Frans Pourbus the Younger, Princess Margherita's garb is adorned in opulent bead
and stitch work that are befitting her rank. This was achieved using the techniques
employed by the artist in creating the work.
a. Textures in the two-dimensional plane — texture can be implied using one technique or
a combination of other elements of art. By creating this visual quality in the artwork,
one can imagine how the surface will feel if it was to be touched. Some of the words
used to describe texture are the following: rough or smooth, hard or soft, hairy,
leathery, sharp or dull, etc. To be able to simulate the texture of a surface in a flat, two-
dimensional plan is one important skill that an artist must be familiar with, especially if
his idea or concept necessitates it.
b. Surface texture - refers to the texture of the three-dimensional art object.
