art app - minding the arts

MINDING THE ARTS

Art Appreciation for College

By:

Ramirez, Leynes, Fajardo

THE VISUAL ARTS Visual arts refer to still, unmoving pictures, paintings, sculptures, photographs, digital images, installation or architecture that are created by artists. They are the representation or embodiment of an idea, an experience, a concept, a surge of vitality, emotion, feeling or a result of interaction with the environment, and a product of human thinking. Where can one find these works of art? Paintings are usually on display inside a museum or gallery. As such it interacts with other artworks and forms part of a strategy of display to convey a message to the viewer. Sculpture may be put inside or outside a building. If it is three-dimensional, the viewer has to look at all the sides of the sculpture: front, back, left and right. Digital art, which is composed and stored in the computer, is viewed electronically. This can also be printed on regular-sized paper or enlarged to billboard size. In architecture, it is necessary to enter the building and move around it for the viewer to experience its scale and space and have a sense of the effect of its material on the architecture itself. Illustration art sometimes requires the viewer to look at the work in all its angles and sides and interact with it. Visual images are made by arranging elements and organizing the design using selected materials for art-making. No reference is made to artworks. Terms are defined and components are explained in general terms.

THE ELEMENTS OF THE VISUAL ARTS 1. Line Line is used to lead the viewers eyes throughout the work. It can lead your eyes into, around, and out of the visual images within the artistic frame. A line has width as well as length, but usually, it is the length that occupies more space that its width. The use of line also evokes expressive feelings and ideas. Five basic kinds of lines

a. Vertical Lines - These lines move straight up or down. They express stability and show dignity, poise, stiffness, formality and upward mobility.

b. Horizontal Lines - These lines are parallel to the horizon. They express feelings of rest, peace, quiet and stability, permanence or solidarity. They make you feel relax and calm.

c. Diagonal Lines - These lines are slant, as if they are either rising or falling.

d. Curved Lines - These lines slowly change direction and form wiggly curves, spirals or circles.

e. Zigzag Lines - These lines combine diagonal lines that form angles and suddenly change direction.

Lines vary in appearance in five ways. These can be combined in many ways to make a variety of lines.

Length: Lines can either be long or short. Width: Lines can be thick or thin. Texture: Lines can be rough or smooth.

Direction: Lines can move in any direction, such as vertical, horizontal, or diagonal. Degree of Curve: Lines can curve gradually or not at all, form spirals or circles.

2. Shapes and forms

Shape - A shape is a two-dimensional area that is defined in some way. It may have an outline or a boundary around it, or it may cover an area. Dimension - Dimension refers to the amount of space and object takes up in one direction.

Two types of shape

Geometric Shapes - They are the kind of shapes that can be studied mathematically because they possess sides and angles. Examples: circle, square, triangle, oval, rectangle, octagon, parallelogram, trapezoid, pentagon and hexagon. Free-form shapes - They are shapes that are not studied mathematically because of their irregular and uneven shapes. They have outlines that are unpredictably curved or angular or are a combination of different lines and forms.

3. Texture Texture refers to how things feel when touched. When you touch something to feel its texture, you experience tactile texture. When you

look at a photograph or an image that has texture, it can remind you of how those objects actually feel. In such case, you experience visual texture or the illusion of a three-dimensional surface. The appearance of roughness or smoothness of visual texture is determined by the light or dark values it has. A rough texture appears as a result of surface that reflects light unevenly, whereas smooth texture reflects light evenly. 4. color Color is an element of art that results from the light waves reflected from objects to your eyes. There are warm and cool colors.

Cool colors such as blue, green and violet are associated with cool things such as ice, snow, water or grass. Warm colors are red, orange and yellow are associated with warm things such as fire or sunlight. Warm colors seem to be moving close to the viewer while cool colors have a receding effect.

Three properties of color make up the color we see: hue, value and intensity. These three rely on one another to create and colors around us. The Color Wheel Hue is the name of a specific color in the color spectrum or the bands of color that are present in the color wheel.

Primary hues are red, yellow and blue. Secondary hues are made by mixing two primary colors.

Examples:

Red + yellow = orange Red + blue = violet Blue + yellow = green

The resulting colors: orange, violet and green are the secondary hues. Intermediate colors Intermediate colors are made by mixing a primary color with its secondary color. Example: Red (Primary Color) + Orange (Secondary Color) = Red-Orange

Yellow is the lightest hue because it reflects the most light. Violet is the darkest hue because it reflects the least light. Black, white and gray are neutral colors.

The colors of all the light create white. White reflects all the color waves and does not absorb any. Value Value is indicated through the lightness or darkness of a color. The amount of light a color reflects determines its color value. When a pencil is pressed hard to draw a line, it produces dark value. When it is

used lightly, it makes a line of light value. You can change the value of any hue by adding black or white. A light value of a hue is called a tint, and a dark value of a hue is called a shade. The arrangement of light and shadow is called chiaroscuro (kyah-roh-sckoo-roh). In Italian, chiaro means bright and oscuro means dark. Today, it is more commonly known as shading. Intensity Intensity is the brightness or dullness of a hue. A pure or bright hue is called a high-intensity color. Dull hues are called low-intensity colors. Most artists organize colors following a color scheme to avoid a confusing or unpleasant way of putting colors together. Color schemes may be monochromatic, analogous, complementary, or split complement. A monochromatic color scheme uses only one hue. White and black are added in varying degrees to show the different shades and tints of the hue. Analogous colors are found side by side within the color wheel. For example, red, red-violet, red-orange, and orange are close to one another in the color wheel. Although these are different hues, they are related in color. Complementary colors are colors opposite each other in the color wheel. For example, red and green are located opposite each other in the color wheel. A split complement is the combination of one hue and the hues one each side of its complement. For example, red-orange, blue and green form a split-complementary color scheme.

5. Space and Movement Space refers to both outer space and inner space, the emptiness or area between, around, above, below or within objects. It may be flat and two-dimensional, such as in painting, or three-dimensional, such as in monumental sculpture. Positive space is the area occupied by shapes or forms. Negative spaces are the empty spaces between the shapes or forms. Movement is shown through the direction of line or the arrangement of color within the artistic frame. The size of objects arranged from smallest to the biggest also suggests movement. When objects are repeated within the artistic frame, they make the viewers eye follow a certain movement.

PRINCIPLES OF ORGANIZATION The order in an artwork is its organization. Order follows a plan that guides the arrangement of objects and images in the artistic frame. The plan may be pyramidal, symmetrical, vertical or radial. Pyramidal plan takes a triangular composition. Thus, the objects and images form a triangle within the artistic frame. Symmetrical plan has two sides of the plan similar and relatively equal. Vertical plan consists of a single vertical figure and/or other object. Radial plan shows the lines of the picture forming radii which meet at a point in the center. The artistic organizational plan is often harder to see in abstract and non-objective art because these arts are non-representational or non-figurative. In such case, the organization is based entirely on repetition and variety of the elements. 1. Unity and Harmony Harmony creates unity by showing similarities of separate but related parts. Unity is oneness that is achieved through the effective use of the elements of art and principles of organization. It guides the viewers eye to focus on a visual image. Artists arrange the elements within the frame in a way that they relate to each other and to the whole artwork. Harmony and unity result from the artistic combination and arrangement of the elements of art within the artistic frame or space. Although they may be contrasting elements in the artwork, the viewer still gets the sense that these are used by the artist as a devise to

contribute to the overall harmony of the artwork rather than create a chaotic whole. 2. Variety Variety refers to the difference or contrast of elements or objects within an artwork. It makes an artwork interesting rather than dull or monotonous. It is achieved by adding something different to a design to provide a break in the repetition. This may be done through the use of different colors, lines, free form shapes or texture. 3. Rhythm Rhythm is the repetition of design, line or other elements within the frame. Visual rhythm indicates movement and suggests unity of form by the repetition of elements. It is created by repeated positive shapes or forms separated by negative spaces or intervals. Rhythm may be created by equal or regular repetition of patterns or decorative shapes. When there is an original motif or pattern of shapes followed by the second motif, alternating rhythm is created. The repetition of curved lines or waves create a flowing rhythm. Progressive pattern shows shapes or patterns repeating in varying sizes or varying intensity of color. 4. Proportion Proportion is the aspect of organization that has to do with the comparative size of the parts of a single work. It is the relative relationship of shapes to other shapes within the artistic frame in terms of size, degree, number, etc. When painting human figures in a

naturalistic manner, the artist follows the Greek rule of proportion, which is eight-heads-tall. Here, the height of the figure consists of eight measures of its heads. Showing the proportion of human figures to space is aided by perspective, where objects farther from the viewer appear to be smaller than those nearer the viewer. Abstract paintings that distort the natural form of an object are not concerned with proportion nor perspective. 5. Balance No matter how the various parts are put together, we want that sense of equilibrium which we call balance. Balance is concerned with equalizing visual elements in an artwork. It must be seen rather than weighed. One type of balance is formal balance, where equal elements are placed on opposite sides of a central axis. The central axis is the dividing line located at the center of a frame. It may not be visible but imaginary. Symmetry is a kind of formal balance in which two halves of a balanced composition are identical. Artworks in perfect symmetry express dignity, endurance and stability. Radial balance is a variation of symmetry in which the elements of a design come out from the central point of the circle. Informal balance or asymmetry is the opposite of formal balance. Here, there is a balance if unlike objects and there are no elements that appear to be equal halves or sides. Balance, in this case, relies on the arrangement of objects.

6. Perspective Perspective is a graphic system that creates the illusion of depth and volume on a two-dimensional surface. Atmospheric perspective is achieved through the use of color. Brightly colored objects seem closer to you and dull-colored objects seem to be farther. Linear perspective shows distance and depth. As parallel lines move away from you, they seem to move closer together toward the horizon. The lines converge at the vanishing point which is located somewhere on the horizon line. A technique used in human figures that is similar to perspective is the use of proportion. Foreshortening of bodily proportion is used to make a drawing look more naturalistic. The part of the body closest to you looks distortedly large while the rest of the body parts appear to move backward into space.

THE ANALYSIS OF VISUAL ARTS Awareness and understanding of art requires the viewer to have knowledge of its:

a) form (the elements and principles of organization); b) medium; and c) subject matter and style.

A. Form Form encompasses the elements of art and the principles of organization that guide the artists in art-making. It refers to the physical aesthetic qualities of the image. Just as a writer uses words, sentences, and paragraphs in order to put across an idea, the artist uses the elements of art and principles of organization to create visual images. The elements of art include the qualities that we experience through our senses:

a) Line b) Shape and forms c) Texture d) Color e) Space and movement

The principles of organization show how sensory properties are organized to achieve a sense of unity and harmony, variety, rhythm, proportion, balance, and perspective. The viewer must understand how the elements of art and principles of design are used by the artist.

To guide the viewer in describing, interpreting and analyzing the form, here are some questions that he/she can answer:

1. What are the dominant elements in the artwork? 2. How are these used? 3. How is the main subject matter treated in relation to the

background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there a balance of forms or do some objects cover most of the

frame? B. Medium Medium refers to the materials used by the artist. Mediums vary in the different art forms. Painting uses oil, watercolour, acrylic, poster paint, fresco or tempera. Sculpture uses wood, plaster, marble, clay and other tactile materials. Following are some of the popular mediums used today in the visual arts:

Drawing - This two-dimensional art can be done using chalk, charcoal, pastel or pencil an ink on paper. Chalk allows you to have a variety of tonal areas. Through the use of heavy or light pressure, you create a blend of shades. Pastel comes light and pale color chalks. The dust it creates on paper can remain in place through the use of fixative spray. Charcoal is burnt wood and therefore create smudge easily on paper. They come in sharpened sticks or pencils either hard or soft.

Acrylic dissolves in water and uses acrylic polymer as a binding agent. Acrylic dry fast, thin and resistant to cracking under temperature and humidity extremes.

Painting in oil is the most popular medium in two-dimensional expression because it offers a wide variety of colors. It is used on canvas and the pigments are mixed with oil. Because they dry up slowly, retouching and reworking is possible. Texture can also be created through a variety of brush strokes and several layers of paint. Watercolor painting enables the artist to do transparent painting on paper. Although watercolor allows for such effect, the artist has to be skilful enough to work fast and control the colors because it dries up easily and once the colors overlap, they create other color tones.

Prints fall under three categories:

a) relief printing, such as woodcut, wood engraving, collograph and linoleum cut;

b) intaglio, which includes etching and aquatint; and c) planographic process, which includes lithography and

serigraphy (silkscreen) and other forms of stencilling.

Photography is done with a camera. An image is captured through the lens of a camera and is printed on photographic paper through a chemical process. The material used in photography has evolved from film to digital. Film comes in cartridge rolls that are easily mounted inside the camera box

Digital photography emerged through technological developments in computer systems. It does not require the use of film. Instead, images are recorded instantly, which may be viewed in the camera LCD or through the computer. These images may

be printed through the computer printer on special printing paper or plain bond paper.

Clay is a medium used in sculpture. It comes in three forms:

a) earthenware, which can be sun-baked or kiln-baked; b) stoneware, which goes through much higher firing that vitrifies

the clay so that it becomes close-grained and non-porous; and c) porcelain, which imparts a smooth finish, color and decorative

effects.

Metal and bronze require casting which involves making a mould of terracotta and then plaster of paris, inserting a core and pouring in the molten metal or bronze. Metals have the properties of ductility, that is, they can be drawn out into wires and malleability. They can be shaped by hammering or melted, cast, moulded, or pressed into predetermined shapes. In contemporary sculpture, metals such as bronze, steel, iron and aluminium can be cut, welded, cast, moulded, polished or patinated, producing durable and permanent results.

Wood is commonly used in the Philippines. Some examples of wood used for sculpture are narra, batikuling, kamagong, langka, santol, marang and molave. Aside from their extreme durability, they have a warmth of tone and a natural coloration that ranges from dark brown to yellow and reddish hues, as well as fine-grained texture.

Other mediums in sculpture include paper (as in origami), and

found objects such as discarded junks driftwood, shells, rubber tires and many other materials that have not been traditionally used in are assembled into artworks. In architecture, stone and

brick can withstand compression forces without crushing out of shape. Concrete and layers of bricks also have compressive strength, which makes it ideal for foundation walls. Steel has tensile strength. Wood is used for roof beams and flooring. Glass, metal, aluminium sheets, fibreglass and plastics are commonly used in modern architecture because of their aesthetic appeal and adaptability to the variety of modern structural designs. In photography, films are used for analog camera. The film is developed and the negative images are printed in photographic paper using special kinds of chemicals. Digital cameras do not make use of film. Instead, images are viewed directly through its camera LCD or through the computer. In installation art, a variety of materials can be used to construct or assemble the structure. Iron bars, metal sheets, bottles, glasses, light bulbs and many other found or recycled objects are put together using welding techniques or adhesive formulas. The environment (trees, shells, water, wind, etc.) and different kinds of lighting, within the artwork and outside it, may also be employed in installation art.

To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer:

1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image?

3. How well does the medium selected show the artistic representation?

4. If the artist chose another medium, do you think the same effect will be achieved? Why and how?

C. Subject Matter Subject matter is what the artwork is all about. It may be a human figure, a landscape, a commemoration of an event, or an idea or feeling made visible through visual art. To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer:

1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,

historical, social, or political value? D. Style The treatment of the artworks subject matter is very much affected by artistic style. Artists are recognized by their viewers and the artworld through their style. The manner in which artists express themselves constitutes their style. Style gives us that body of characteristics that identifies an artwork with an individual, a historical period, a school of artists, or a nation, for example, realism, expressionism, abstract and so on.

To guide the viewer in describing, interpreting and analyzing the form, here are some questions he/she can answer.

1. What particular characteristics does this artwork have that are also present in other works by the same artist?

2. Describe the use of elements of art and principles of design that identify the artwork with other works done in the same era or movement.

The guide questions provided above can lead to an appreciation of the aesthetic qualities of art. Knowing the:

a) form (the elements and principles of organization); b) medium; and c) subject matter and style of an artwork gives us a ready outline

through which to begin a formal analysis of an artwork.

PAINTING Painting has always decorated mans habitat. As far as 28,000 B.C., man started to decorate the cave walls of his dwelling in the most precise and naturalistic manner he could. They are visible up to this day at Lascaux or Altamira in France and Spain. In 1884, the painting Spoliarium by Juan Luna showcased the Filipino courage under the Spanish regime, when they were regarded not even as second class citizens in their own land but as indios, and were given names not reflective of human dignity. More than decorating mans habitat, painting tells the story of man. Throughout history all over the world, important events such as victory in war, coronation of the queen, assassination of historical figures, the first medical surgery, and almost everything about human life are recorded through painting. Charles Fowler sees the arts as something that can provide meaning, a powerful tool that can move people. They serve as connectors that give understanding a human dimension. They tell us about people --- how they thought and felt, and what they valued. They help us to define ourselves and our times, as well as other people and other times. The arts have life itself for their subject matter. What Painting Is Painting is making images on a surface using color. The surface may be flat canvass or wood, or even the wall, as in the case of mural paintings. Painting is two-dimensional. It has height as well as width.

The Composition of Painting The process of painting depends upon the medium selected by the artist. In oil painting, the pigments are mixed with linseed oil and applied on the surface of canvas cloth that is framed in wood. In doing figurative paintings, some artist start with the dark colors and approach the lightest hues as they progress in their work. In the case of abstract, different colors can be spread on to the canvas or wood panel using brushes of other materials such as stick or cloth. As the oil is slow drying, artists can retouch or re-do their painting. There are different mediums that can be used in the process of painting. Oil Paint Oil paint is accessible today in cubes and is convenient to use indoors or carry outdoors when one wishes to paint landscapes. Oil can be applied on canvas, glass, wood, metal and even on plaster, and it allows the artist to paint over layers of paint for revision or creation of effects. Oil colors have a wide range of colors or hues that the artist can choose from. The colors stay for a long time, unlike tempera and fresco that tarnish over the years. Oil paintings may be hung indoors to decorate houses, shown in museums or put on display in commercial galleries. Water Color Paint In water color painting, the pigment is dissolved in water and applied on watercolor paper. The layers of paint dry quickly and become transparent. The artist may be guided by thin sketches in pencil before he/she applies water color paint on the paper. Water color painting does not allow for correction and unlike oil that comes with white paint.

In watercolor, the artist leaves out the white parts instead of coloring them. To protect its paper base and its color from fading and being exposed to insects, watercolor paintings need to be mounted on a glass frame. Tempera Tempera painting mixes color pigments with egg yolk with or without the white and applied to a panel of wood covered with plaster of paris following the design intended by the artist. Tempera, in time, loses its luminous, rich and clear colors. Fresco Fresco uses the method of applying paint on wet plaster of paris. The artist prepares a coating of plaster on the wall and then draws his/her design on it when it is dry. Then he/she applies another coat of plaster on which he/she paints his/her design. Because plaster dries up quickly, the artist works on a series of panels of plaster until he/she completes the entire wall of fresco painting. Acrylic Acrylic is a modern synthetic product. It can dissolve in water and has a wide range of possibilities in both color and technique. Either opaque or transparent, depending on dilution, acrylic dry fast, thin and resistant to cracking under temperature and humidity extremes. Perhaps less permanent than some other media, acrylics adhere to a wider variety of surfaces and will not darken or yellow with age, as will oil.

THE AESTHETIC QUALITIES OF SELECTED ARTWORKS The Use of Line and Texture in Vincent Van Goghs Starry Night By: Vincent Van Gogh After Stars Wars, Independence and other galactic futuristic movies, the modern art viewer will not be terrified to look at Vincent Van Goghs Starry Night. The painting has rich colors of blue and white with bits of yellow in the sky. The use of rhythmic and broken lines suggests movement and action and gives the painting a rough texture. This is in contrast with the peaceful town that nestles in the dark land below. Dark lines outline the houses and church at the foreground which are so tiny, compared to the growing stars. A tall, dark cypress tree crosses the left side of the canvas vertically, as if to connect the ground plane to the sky. The dark vertical tree contrasts with the light colored spire. Expressionism (1885-1950s) is the era that followed impressionism. If in impressionism, the artists captured the interplay between light and color and painted this on their canvas using bold strokes that had bare solidity of form and composition, the expressionist artists brought out their feelings and emotional intensity through art. They used the technique introduced by the impressionists characterized by bold, heavy, thick and colourful brushstrokes.

Using some guide questions, let us analyze the aesthetic qualities of the Starry Night The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the

background? 4. How is the space used within the frame? How does the dominant

element affect you? 5. Is there a balance of forms or do some objects cover most of the

frame?

Analysis 1. The dominant lines are made of colors blue and white. 2. Thick broken lines are used to suggest movement and

enlargement of the stars. 3. Dark lines are used as outlines. 4. This makes the contrast between the swirling of the main subject

matter, the stars, and the peaceful town on the ground plane. 5. The rough texture makes the viewer feel disturbed and

uncomfortable. 6. The stars dominate most of the space within the frame.

The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image?

3. How well does the medium selected show the artistic representation?

4. If the artist choose another medium, do you think the same effect will be achieved?

5. Why and how?

Analysis 1. Oil on canvass brought out the desired effect of the artist. 2. The colors are bright and the texture is rough. 3. Oil on canvas can easily create these effects. 4. If Van Gogh used watercolor, its transparent effect would not give

the same glow of objects in this painting. The Subject Matter: 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,

historical, social or political value?

Analysis 1. The main figure is the group of stars swirling horizontally across

the sky. 2. They are moving in high speed without affecting the peaceful

town below. 3. There are two objects that cross the frame in a different direction:

the cypress and church spire across the frame in vertical position.

4. This painting shows the intense emotional state of the artist, ready to explode above the town that does not seem to care about his instable and nervous state.

The Style: 1. What particular characteristics does this artwork have that are also

present in other works by the same artist? 2. Describe the use of elements of art and principles of organization

that identify the artwork with the other works done in the same era or movement. Analysis

1. The rough and repeated brushstroke technique is influenced by

the impressionists Claude Monet and Pierre Auguste Renoir. 2. However, the passion and strong feeling revealed in the painting

is typical of expressionism, as seen in the works of Paul Gauguin and Edvard Munch.

Other works of Vincent Van Gogh

Van Gogh Starry Night over the Rhone Van Goghs Cafe Terrace at Night Van Goghs Field of Poppies

The Use of Color in Michelangelo de Caravaggios The Conversion on the Way to Damascus By: Michelangelo de Caravaggio The cinematography of the movie, The Passion of the Christ was certainly influenced by Caravaggios skillful use of dramatic contrasts of light and dark. Caravaggio was known for his portrayal of personages and sacred scenes. The painting The Conversion on the Way to Damascus shows a horse and St. Paul lying flat on the ground with his hands stretched reaching out for help. A non-believer and a persecutor of Christians, he was stopped on his way to Damascus by a bright light that blinded him. He was confronted by God because he was persecuting Christians. This moment of enlightenment led to his conversion to Christianity. The scene was captured by Caravaggio in this painting that shows St. Paul and the horse occupying the artistic frame entirely. He used shades of brown, tints of red and a little yellow to blend with the strong light that bathes the main figure. Although the entire frame is occupied by human and animal figures, the highlight controls the view of the viewer. As the lightest part contrast with the dark background, the viewer does not have to look at everything within the frame all at once. Instead, focus is on the lightest part. Then his/her vision is guided around the frame by the soft colors surrounding the main figures. Note that even the horse does not look too big for the frame because some of its parts are rendered in dark hues. Baroque painting, which flourished from 1600 to 1750, is characterized by dramatic use of light that usually bathes the main figure to exaggerate its contrast with the

dark background. Painting was then encouraged to arouse religious sympathy. The popes and reigning monarchs were the principal patrons of art. Using some guide questions, let us analyze the aesthetic qualities of The Conversion on the Way to Damascus. The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the


frame?

Analysis

1. The dominant colors are brown to yellow and white. 2. The lightest colors cross the artistic frame to highlight the most

important part of the painting, St. Paul on the ground with outstretch arms.

3. The background is dark and contrasts strongly with the white central figures.

4. The use of this color heightens the drama and evokes feelings of compassion and awe.

5. The main figures cover most of the frame and does not leave space for anything that is unrelated to the theme of moment of conversion.

The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic

representation? 4. If the artist chose another medium, do you think the same effect will

be achieved? Why and how?

Analysis

1. Caravaggio chose oil canvas to express his vision of the conversion.

2. This medium is perfect to create the effect that he wanted to achieve.

3. The bright colors contrasted very well with the dark shades without affecting the middle tones that guide the viewers eye within the frame.

4. Watercolor may not allow the artist to achieved such effect. The Subject Matter

1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,


Analysis

1. The main figure in the artwork is St. Paul.

2. He lies flat on the round and may not have been noticed because of the size of the horse.

3. However, Caravaggio was skillful in the use of the medium and strategic in his composition so that he was able to make the horse appear smaller and St. Paul, more in focus.

4. The subject matter reminds us of the importance of art to the church during the Baroque period because it propagate the Christian faith by inspiring people spiritually.



that identify the artwork with the other works done in the same era or movement. Analysis

1. The use of light and dark to enhance the subject matter is

characteristic of Baroque painting. 2. Caravaggios dramatic use of light and dark reminds us of the

works by other Baroque painters such as Diego Velasquez, Peter Paul Reubens and Rembrandt Van Rijn.

Other works of Michelangelo de Caravaggio

Calling of St. Matthew Crucifixion of Peter Death of the Virgin

The Use of Space and Movement in Juan Lunas Spoliarium By: Juan Luna The Spoliarium by Filipino artist Juan Luna is an eight-meter painting (7.75m x 4.25m) that won a gold medal at the Madrid Art Exposition in 1884. The painting is a good example of a well-managed space in painting. Prominent in the paint are two dead gladiators in ropes being dragged by two men. A third figure is pulling another gladiator and this is suggested by the way he grapples the ropes in his hand. Two onlookers --- very old men --- are staring at the most prominent corpse, as if trying to recognize the dead gladiators. On the left side of the canvass are five men and two women, heads looking right, suggesting there are more corpses being dragged into the place. Far right, there are at least two figures visible in the dark, one lit by a small bonfire, and the other, a woman slumped on the floor, in a mourning position. In the dark background is a pile of human corpses. As one stares at the Spoliarium, he/she can almost hear the wailing crowd, smell of stench of the human dumping site, and feel the heat in the basement of the Roman amphitheatre. These effects were achieved through the artists skillful combination of elements. The colors used by Luna are very Filipino: hues of yellow, yellow ochre, orange, read and brown, except for the green wrap around the mourning woman on the right side of the frame. The four men and a corpse are wearing red and tangerine. Luna assigned these red clothings to the four men that form a trapezoid composition to complement the diagonal position of the corpses. The

composition is indeed dynamic rather than typical. There are 17 figures on the left side of the frame and only two on the right side. How was Luna able to balance this obvious imbalance? First, he had perfect control of light. His overhead light bathes the corpses, their draggers and the two old onlookers. Light diminishes at the left side so that although there are eight people near the wall, their faces are half-lit, making them less crowded than real. Darkness covers one third of the frame with only the back and foot of the seated woman catch some light. This is sufficient to bring the viewers attention across the frame. The strong contrast between the dark background heightens the drama that the artwork conveys. Secondly, the use of diagonal composition suggests movement. The viewers eye is led from the legs of the most prominent dead gladiator to his arm and on to his dragger, forming a diagonal line drawn across the frame. A horizontal line guides the eye from the left side of the frame all the way to the seated woman on the right. Painted in the classic romanticist style typical of the 1850s, the strong emotions and exotic literary subjects was provided by a popular book by Charles Louis Dezobry: Rome in the time of Augustus, Adventures of a Gaul in Rome. In a passage of this book, the protagonist hears the sound of lamentation coming from the Roman amphitheatre and on descending to the basement beholds a tragic scene: the bloody bodies of gladiators dead or dying, being mourned by their families. This backstage: picture of the Roman circus is what Luna chose for his colossal canvas and the Spoliarium apotheosizes tragedy itself: the pity and the terror.

The mural was finished in March of 1884, in time for the preview of entries to the National Exposition of Fine Arts in Madrid. The Filipinos in the Philippines, who were eagerly following every bulletin in the Madrid exposition, got their first view of the new Luna when two photographs of it arrived in Manila on May 8, 1884 on the passenger boat Asia, two weeks before the masterpiece was unveiled in Madrid. After the analysis of the artistic qualities of the artwork, we see its beauty and aesthetic value. But beyond that, we also realize that it carries with it social content that exposes the plight of the Filipino people under the Spanish colonizers. Using some guide questions, let us analyze the aesthetic qualities of the Spoliarium. The Form: 1. What are the dominant elements? 2. How are these used in the painting? 3. How is the main subject matter treated in relation to the


frame?

Analysis 1. Space and movement are the dominant elements in the painting. 2. The composition assigned the several human figures in different

spots that when looked at as a whole, does not distract the viewers vision and focus.

3. Through the use of light and dark, the painting does not look crowded.

4. Rather, the subject matter is bathed in light for anyone not to miss.

5. Balance is seen in the diagonal composition of the painting. 6. No part is heavier than the other.

The Medium: 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic

representation? 4. If the artist chose another medium, do you think the same effect will


Analysis

1. Luna chose oil on canvas to express his nationalistic sentiments. 2. Oil brought out the brightness of the main figures and made the

less impersonal ones recede through dark shades. 3. The mural could not be neglected because of its size, hence his

message was strongly felt and seen by the viewers. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of : personal,


Analysis

1. The main figures are two dead gladiators in ropes being dragged by two men.

2. The figures in the background looking at different directions only heighten the emotion of waiting in anxiety and sadness for more gladiators to come in dead or dying.

3. The painting was a strong medium of expression that exposed the plight of the Filipino people under the Spanish colonizers.



that identify the artwork with the other works done in the same era or movement.

Analysis

1. As in other paintings by Luna, he had perfect control of light on

his subject matter and a composition so dynamic, its message cannot be neglected.

2. This romantic revolt in bold textures of oil, dynamic composition and dramatic human subjects, are typical of romantic artists such as Eugene Delacroix of France, Francisco Goya of Spain and Joseph W. Turner of England.

Other art works of Juan Luna

Blood Compact Tampuhan

SCULPTURE The ancient Greeks made their idealized marble sculptured human forms to honor their gods. The Romans learned sculpture from the Greeks and added a more natural look to show the softness of the skin, old age, physical defects, and other human qualities. They produced sculptures to honor their great leaders, poets and other Romans noted for sports, the arts and politics. Mythology is also a favorite subject matter. The making of one piece sculpture is far more tedious than painting. It requires strength, engineering and welding skills an great control of the medium in use. It shows three dimensional (free standing) view of the subject so the sculptor is required to know his subject very well. Sculptures are meant for public viewing. Monuments are placed outside the buildings to symbolize something significant, historical or memorial. On special occasions, people gather around these monuments to offer flowers, candles and prayers for the person the monument is dedicated to. Sculptures also take the form of anitos or images that represent ancestors or gods and goddesses. In Africa, masks and small sculptures are believed to house the soul of their dead and the crafting of these sculptures is accompanied with a traditional ritual attended by community members. In churches, they are meant to inspire the believers. Sculptures are part of a community or societys beliefs and values. They are made to give glory to God, honor to man or provide a medium of human expression.

What Sculpture is Sculpture is the art of making figures, such as human forms, animals or geometrics that can either be standing freely or attached to a background frame, either single or in a group. When it can stand freely, it is called three-dimensional or free-standing sculpture. Here, the viewer can go around the figure and gaze at it from different angles. The different parts of the figure: front, back and side are all exposed to the viewer. When the figure is mounted to the background, which may either be a frame, a wall or a flat surface, it is called relief sculpture. In high relief sculpture, the form is embossed or raised above the surface of the background. The artist, however, does not show the human figure, for example, in its actual form and dimension as the form blends with the flat background. In low relief sculpture, the figure is raised only a little from the background, as in the case of coins. In some artworks, the artist cuts into the surface or carves deep into the material until the form is incised but separated from the background. This is called bas-relief intaglio. Examples: Three-Dimensional or Free-Standing Sculpture Free-Standing Sculpture: Michelangelo Moses, (c. 15131515), housed in the church of San Pietro in Vincoli in Rome. The sculpture was commissioned in 1505 by Pope Julius II for his tomb. High Relief Sculpture: High relief metope from the Classical Greek Elgin Marbles. Some front limbs are actually detached from the background completely, while the centaur's left rear leg is in low relief.

Low-Relief Sculpture: Lorenzo Ghiberti's cast gilt-bronze "Gates of Paradise at the Baptistery, Florence combine high-relief main figures with backgrounds mostly in low relief. Low-Relief Sculpture: Low-relief sculpture Sestertius of Marcus Clodius Pupienus Maximus, 238 AD Sunk Relief Sculpture: A sunk-relief depiction of Pharaoh Akhenaten with his wife Nefertiti and daughters. The main background has not been removed, merely that in the immediate vicinity of the sculpted form. Note how strong shadows are needed to define the image. The Composition of Sculpture Sculpture is done either by using subtraction, construction, substitution techniques, or any combination of these. Subtraction Carved works are subtractive. Using a large block of wood or stone, the sculptor carves out the figure or frees the figure from imprisonment in its original block form to give it an artistic look. First, the artist forms a miniature model in clay, plaster of paris, wax or some other material. Then he/she makes the figure in the desired size by carving the block of wood or stone using chisels and other specific carving tools designed for different purposes. When the figure is in its proper form, finishing work and polishing follow.

Construction The sculptor chooses a base material such as metal, plastics, aluminum, steel or found objects and then adds other elements to construct the idea or image that he/she wants to express. These materials require welding, or adhesive to be attached together. Substitution Any material transformable from a plastic, molten or fluid state can be molded or cast into a work of sculpture. First, the artist creates an identically-size model of the intended sculpture (called positive). He/She then covers the positive with a material such as plaster of paris that, when hardened and removed, will retain the surface configurations of the positive. The form, called negative, becomes the mold of the sculpture. The sculptor pours the molten or fluid material into the negative and allows it to solidify. When he/she removes the mold, the work of sculpture emerges. Surface polishing, if desired, brings the work to its final form. There are different mediums used in the process of sculpture. These mediums are manipulated using special sculpture tools such as the bent and spoon gouges, U-gouges, burs and accessories.

THE AESTHETIC QUALITIES OF SELECTED ARTWORKS IN SCULPTURE The Use of Unity and Harmony in the Sculpture of Laocoon and His Sons by: Agesander, Athenodorus and Polydorus Laocoon was the priest of Apollo who warned the Trojans not to touch the wooden horse made by the Greeks during the Trojan War. While he and his two sons were sacrificing to Poseidon at the seashore, two serpents emerged from the water and cursed them as a punishment for Laocoons defiance of the gods will. In this three-dimensional sculpture, two figures are smaller than the father indicating that they are sons of the main figure, Laocoon. The three are in action depicting extreme pain, agony and struggle as shown in the straining muscles, swelling veins and tensed bodily positions without any part going extremely outside the artistic frame. Although there is contrast in the size of the three figures, harmony s achieved through the arrangement of the three figures. The arms of the smaller figures reach out to their father and the serpents coil around their bodies gracefully without destructing the composition. The way the two sons look at their father also directs the viewers eyes to the ain figure. Their facial expressions enhance the dramatic moment expressed through sculpture. Although in reality, the group sculpture is fixed and in unmoving, the sculptors were successful in capturing an intense moment and active movement through the artists skillful use of balance, unity and harmony. During the Hellenistic Period, 320 B.C., Laocoon and His Sons possess the movement, naturalism and

expression characteristic of the period. Stark realism and human sufferings are the favorite subject matter of Hellenistic sculptures. Using some guide question, let us analyze the aesthetic qualities of Laocoon and his Sons The Form 1. What are the dominant elements? 2. How are these used in the sculpture? 3. How is the space used within the frame? 4. How does the dominant element affect you? 5. Is there a balance of forms or do some objects cover most of the

frame?

Analysis: 1. Unity and harmony amidst action are the dominant elements in

the sculpture. Unity is shown through the use of curved lines connecting one figure to another.

2. Despite the contrast in the size of the figures, the smaller figures are positioned in harmony with the main figure. Space is very well-managed by the artists as all the body parts are confined within the artistic frame despite the violent action.

The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic

representation?

4. If the artist choose another medium, do you think the same effect will be achieved?

5. Why and how?

Analysis:

1. The sculpture is made of marble, a material abundant in Greece. It enhances the permanent beauty of the sculpture particularly the muscles of the figures.

2. It also allows facial details and human sufferings to show. This could not be possible with rough stone.

The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,


Analysis: 1. The main figure is Laocoon. The two short figures on his left and

right contrast with the tall, adult male figure in full strength as it struggles with the sea serpents.

2. The sculpture reminds us of Virgils The Aeneid Book 2, where the scene is described vividly. It also shows the perfect male anatomical proportion.

The Style 1. What particular characteristics does this artwork have that are also



Analysis:

1. There are no records of other sculptures by the three sculptors

Agesander, Athenodorus and Polydorus together. The stark realism and human sufferings shown in the sculpture are characteristic of Hellenistic sculptures.

2. Other Greek sculptors at this era were Lysippus and Praxiteles, who did complicated three-dimensional sculptures.

The Use of Proportion and Balance in Michelangelo Buonarrotis La Pieta La Pieta is a sculpture of Mary carrying the dead Jesus Christ across her lap. Mary has the face of a young lady. Although her head is bent looking at her son, Marys face is very serene and not in mourning at all. The lack of human expression of remorse and sadness portrays her spirituality and detachment from human emotions. Indeed, she looks like she is in prayer. Jesus Christ is shown here as a man of 33, muscular and fallen in the arms of his mother. Realistically, Mary would have been smaller than Jesus but the excessive use of drapery solved the problem of Mary looking smaller. Thus, the problem of proportion is

solved. The composition forms a pyramid with thick clothing at the foot of Mary and at the tip of the triangle, her head. This gives the sculpture solidity of form and a well-balanced look. It is noticeable that Michelangelo carved his name on the sash running across Marys chest. This is something the young Michelangelo took pride of but the aged man regretted so that he carved another version of La Pieta when he was older which demonstrated his humility and heartfelt love for our Lady, pride all banished. Renaissance art, which flourished from 1400 through 1500, was a turning point in the history of art. The artists confronted and solved the problems of anatomy, composition, perspective and representation of space. The individuality of the artists was strongly felt, unlike during the medieval period when the artist saw himself as a servant of the church and therefore did not sign his artworks. It was also at this time when there was a revival of interest in classical antiquity and Greek and Roman artworks inspired many of the Renaissance works. Using some guide question, let us analyze the aesthetic qualities of La Pieta The Form 1. What are the dominant elements? 2. How are these used in the sculpture? 3. How is the space used within the frame? 4. How does the dominant element affect you? 5. Is there a balance of forms or do some objects cover most of the

frame?

Analysis: 1. The dominant principles of organization are proportion and

balance. 2. The solidity of form combining anatomical proportion and heavy

drapery gives it stability. 3. The scene which is a mourning mother carrying her dead son is

given a non-dramatic treatment, rather a serene expression which inspires the viewer into prayer.

The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic

representation? 4. If the artist choose another medium, do you think the same effect will

be achieved? Why and how? Analysis: 1. The artist chose marble to enhance the young, smooth and shiny

look of Mary and the fallen Jesus. 2. The choice of material contributes to the serenity and praying

mood of Mary. 3. This could not have been with a coarse and dark material.

The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure?

3. What is the significance of the figure/s to you in terms of personal, historical, social or political value? Analysis: 1. The main figures are intertwined and looked one. 2. It inspires believers to pray and makes them identify with the

Catholic faith. The Style 1. What particular characteristics does this artwork have that are also



Analysis:

1. The perfect anatomical proportion, composition and

representation of space in Michelangelos work are typical of the works of other Renaissance masters, Raphael Sanzio and Leonardo da Vinci.

The Use of Shapes and Forms in Henry Moores Reclining Figure Henry Moore did a series of sculptures in marble showing the human figure in its barest form. On a reclining position resting on an elbow, the figures knees are raised and the head is up facing space. The facial features are not visible and are reduced to some eyes and nose

on the oval face. A negative form (or space) separates the legs that join smoothly to form a solid piece. This 17 ft. marble is too huge not to be noticed. The spaces and forms within the sculpture itself, interestingly enough, keep the sculpture in perfect balance. As sculptures have to be viewed from different points of view, the viewer will appropriate better the different shapes that the Reclining Figure presents. When viewed in relation to its environment, the shapes may acquire a new meaning as a result of the vast space that envelops it. Twentieth century sculptures portrayed distortion of the human figure and features, as if to express the artists objection to the harsh realities in the modern world. Cubistic forms of figures simply made of geometric parts superimposed on one another, human figures that are devoid of normal body shapes and facial features, sculptures became markedly unconventional and many of them have been made from scrap metal and industrial waste. Using some guide question, let us analyze the aesthetic qualities of the Reclining Figure The Form 1. What are the dominant elements? 2. How are these used in the sculpture? 3. How is the space used within the frame? 4. How does the dominant element affect you? 5. Is there a balance of forms or do some objects cover most of the

frame?

Analysis 1. Shapes and forms are the dominant elements in the sculpture. 2. The female form is shown in simplified form without detail. 3. Nevertheless, the shape of a reclining figure is still visible. 4. Negative and positive spaces are used in the sculpture to give it a

balanced look with unity of form. The Medium 1. What is the medium used by the artist? 2. Does this medium enhance the beauty of the image? 3. How well does the medium selected show the artistic

representation? 4. If the artist choose another medium, do you think the same effect will

be achieved? 5. Why and how?

Analysis 1. Moore did the sculpture in travestine marble which allows the

smooth intervening of spaces and forms. 2. This is not possible with the used of other mediums such as

metal. The Subject Matter 1. What is the main figure in the artwork? 2. How do the other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,


Analysis: 1. The main figure is a female figure reclining on her elbow. 2. There are no other figures attached to the main figure. 3. It reflects the independence of the modern man who seems to be

at rest but is watchful of things happening around him/her. The Style 1. What particular characteristics does this artwork have that are also


that identify the artwork with the other works done in the same era or movement. Analysis: 1. Simple, undetailed, reduced to the barest minimum. 2. That is the style of modern sculpture that is present in the works

of Henry Moore. 3. Other modern sculptors such as Alberto Giacometti, Constantine

Brancusi, each has his own style but common to all three are the simple forms and distortion of figures.

Summary Sculpture is the art of making figures, such as human forms, animals or geometrics that can either be standing freely or attached to a background frame, either single or in a group. Sculptures are done either using subtraction, construction, substitution techniques, or any combination of these. Agesander, Athenodorus and Polydorus

Laocoon and His Sons are a good example of unity and harmony in an artwork. Although there is contrast in the size of the three figures, harmony is achieved through the arrangement of the three figures. Michelangelo Buonarrotis La Pieta shows proportion and balance through its pyramidal composition with thick clothing at the foot of Mary and at the tip of the triangle, her head. This gives the sculpture solidity of form and a well-balanced look. Shapes and forms are dominant in Henry Moores Reclining Figure. The spaces and forms within the sculpture, keep it in perfect balance.

ARCHITECTURE The study of architecture is invariably linked to the study of mankind, for the evolution of mankind is one of survival and innovation. One such advancement that mankind early on invented for his survival is the building of dwellings that are safe from the vagaries of weather and predators. As time evolved and as mankind become more sophisticated, so did his skills in creating structures that would house all of his varied activities. The evolution of architecture resulted in mans attempt not only to create dwelling places that are efficient in space and that has a sense of permanence for protection but also an attempt to provide beauty and aesthetics to his surroundings. What Architecture Is Architecture is defined as an art form that merges not only the requisites of aesthetics, beauty and taste. It also unites with it concerns of science, sociology and anthropology. Through time it has expanded and evolved, integrating itself with other related fields as environmental, urban, interior design, city planning and landscape architecture. How Architecture Is Done A structures design is determined by its function or purpose, who and how many will use it, the space allotted for it, as well as financial considerations. For example, a school building is designed to accommodate the big number of students who go in and out of the building each school day. Each part of the building should serve the educational activities for which the building is designed.

Architecture in the modern era is best reflected by numerous changes in society such as the emancipation of women, technological innovations that gave way to the introduction of electricity, modern appliances, skyscrapers, the elevator and the invention of new building materials such as reinforced concrete, steel, resulted in architecture adopting to and conforming to the varying tastes and lifestyle of people. The elements of art discussed in the previous lesson also apply to architecture. Added to these are the elements of size and scale.

Size is the relation of form to the size of the human body. Scale is used in design and architecture to described a rather

subtle consideration related to size. It refers to the proportion of an object or space to all other objects, to human beings, and to the space to which it belongs. Likewise, the principles of organization discussed in the previous lesson apply to architecture. Emphasis in architecture ensures that important elements look significant while minor or rival elements look subordinate. This is achieved through the balance of size, placement, value, color and selection of materials. Another principle is the use of pattern and ornament, where the smooth surfaces are defined only by their limits, edges, or corners. A patterned surface has visible presence in every part of its extent. The eye focuses on pattern and uses it to help measure size and shape.

There are three important engineering or structural systems employed to fabricate architecture Post and Lintel System Referred to as trabeated or column and beam, the system employs a fundamental analogy of supports and free falling weights, where beams or trabs, (horizontal members carrying a lot of load or weight) thereby allowing a system of serviceable spaces to be created beneath for human occupancy or habitation. This system of construction, which is universal, is inspired by nature such as trees, serving as columns and the canopy as beams. As the length of the beam is defined only by its breaking point or sheer, and distance is supplemented and complemented by vertical columns. Throughout much of the classical era, the system of construction employed a trabeated form. Arcuated Form A more sophisticated form of construction is the arcuated form which employs the use of arches instead of columns and beams. Arches, may be ascribed to nature with cave openings as its natural prototype. Compared to beams and columns which have fundamental principle of falling and lifting forces, arches have the added pushing force employed on the outer curvature of the arch. This results from the need to provide not only vertical supports, such as columns but also holding or pushing supports through the use of buttresses. This prevents the outward push of the arch from springing back. Arches results in the opening up of spaces from the multitude of

columns as well as the wider openings which the shortness of beams cannot allow. Arches have been used during the ancient classical period. Truss System It is a structural frame based on the geometric rigidity of the triangle and is composed of linear members subject only to axial tension or compression. Trusses use smaller pieces of wood set in a lattice or brace form allowing the spanning of wider spaces possible. Compared to the beam, which is of solid piece of material, usually stone or wood, a truss is made of smaller cuts of wood attached and formed into a system of supports allowing loads and spans to be covered or bridged. The use of the truss has been employed extensively after the fall of the Roman Empire and during the Medieval Period. Guide questions in analyzing the aesthetic qualities in architecture The Form 1. What are the dominant elements? 2. How are these used in the architecture? 3. How is space used in architecture 4. How does space support its function? The Medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure?

The Subject Matter

1. Is the design suitable for the function for which the architecture was built?

2. What is the significance of the figure/s to you in terms of personal, historical, social or political value?

The Style

1. What particular characteristics does this architecture have that are

also present in other works by the same architect? 2. Describe the use of elements of art and principles of organization

that identify the architecture with the other works done in the same era or movement.

THE AESTHETIC QUALITIES OF SELECTED ARCHITECTURE The Use of the Classic Orders and Arches in The Colosseum The Colosseum is designed with an oval plan with tiers of seats that accommodated approximately 50,000 spectators in various levels. The seats were supported by vaults and arches. Each arch was supported by a column. The architecture of the Colosseum is unique in that the three major classical orders are represented flanking its arches. On the lowest tier are attached Doric columns, on the second level are attached Ionic columns, while the third tier are attached Corinthian columns. Along the face of the fourth, there are Corinthian pilasters which support the heavy mast to which they use to cover the whole amphitheater against the sun. The Colosseum is defined by the use of its travertine cladding, though much of the buildings structural mass is made of Tufa infill on a bed of cement. Arches supported by columns and entablatures define the architecture of the Colosseum, a style that was prominent and popular in the Roman Empire. Though primarily decorative in nature, the merging of the two structural systems (trabeated and arcuated) characterizes and defines the rather decorative nature of Roman architecture as compared to the purer and purposeful construction principles employed by the Ancient Greeks. These elements of construction and design found itself repeated in other forms of buildings during the Ancient Roman Period. Below the arena lie numerous chambers and dens where Gladiators waited or were brought after the spoils of the battle. Wild animals were also held here to provide a variation of the battle. When Christianity was still considered subversive and illegal, captured

and punished Christians would also be used as fodder for the games. Together with noted and convicted criminals, the Colosseum became the venue for corporal punishment in Ancient Rome, thus becoming a deterrent as well as an entertainment for its citizens (Fletcher 258). During the Renaissance and Baroque periods, a good portion of the Colosseum, together with other ancient monuments, were demolished as convenient quarry for building materials used to rebuild Rome. Using some guide questions, let us analyze the aesthetic qualities of The Colosseum. The Form 1. What are the dominant elements? 2. How are these used in the architecture? 3. How is space used in the architecture? 4. How does space support its function?

Analysis 1. The classic orders: Doric, Ionic, and Corinthian, are dominant in

the Colosseum. They serve as the pattern and ornament to the structure.

2. The two structural systems, the trabeated and arcuated, which are independent of one another are here merged making it structural and decorative in nature.

3. Built as a venue for watching Gladiatorial combat and exhibitions, the space below was used as holding areas for the gladiators and wild beasts.

The Medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure?

Analysis 1. Tufa infill on a bed of cement and travertine were used in building

the Colosseum. 2. Aside from durability, these materials enhance the beauty of the

structure. The Subject Matter 1. Is the design suitable for the function for which the architecture was

built? 2. What is the significance of the figure/s to you in terms of personal,

historical, social or political value? Analysis

1. The Colosseum was used as a venue for Gladiatorial Games and

the exposition and execution of the enemies of the Roman Empire: i.e. the early Christians.

2. Below the arena lies numerous chambers and dens for the wild animals and the Gladiators who provided bloody entertainment to the Romans.

3. As such, the design is suitable for its function.

The Style 1. What particular characteristics does this architecture have that are



Analysis 1. The structure is oval in shape and its supported by tiers of arches. 2. The use of materials such as cement, travertine and tufa; the use

of the structural elements such as trabeated or arcuated and the combined use of the classic orders of column are typical of Roman architecture.

3. Modern arenas for sports, stadiums and other athletic facilities trace their roots to the ancient Colosseum.

The Revival of the Classical Orders, Magnitude and Layout in the Palais de Versailles Palais de Versailles: Baroque architecture in France Built from 1661 to 1756 for Louis XVI by Louis de Vau who design a palace around the old hunting chateau erected originally by Solomon de Brosse for Louis XIII, it was later expanded by jules Hadouin Mansart by extending the building from north and south forming a building 402 meters long. The park faade has a rusticated ground storey supporting an order of pilasters, high attic and balustrade, producing a monotonous effect on unbroken skyline.

Galerie des Glaces: The great garden designs of Andre Le Notre were among France finest contribution to European culture. Based on tradition forest rides (avenues) and the use of ornamental flower (moats), Le Notre formal schemes used these elements in conjunction with the parterre. Garden Parterre de Broderie: Parterre de Broderie, a geometrical pattern resembling Genoese velvets when seen from the upper windows of the chateaux. A favorite spot for wedding ceremonies and wedding photos, the Broderie Room at Phipps recreates the design of formal French-style knotted gardens. Using some guide questions, let us analyze the aesthetic qualities of The Revival of the Classical Orders, Magnitude and Layout in the Palais de Versailles Palais de Versailles: Baroque architecture in France The form 1. What are the dominant elements? 2. How are these used in the architecture? 3. How is space used in the architecture? 4. How does space support its function?

Analysis 1. The revival of the classical orders, magnitude and lay-out, in

addition to pattern and embroidery enhance the beauty of the palace.

2. The royal residence is typical of the period, both in the magnitude of its lay-out and in the enormous expenditure in money and labor which it involved.

The medium 1. What material was used to build the structure? 2. Does this material enhance the beauty of the structure?

Analysis 1. The park facade as a rusticated ground storey supporting an

order of pilasters, high attic and balustrade, producing a monotonous effect with unbroken skyline.

2. The apartments form in themselves a veritable museum of decorative arts of the period.

The subject matter 1. Is the design suitable for the function for which the architecture was

built? 2. What is the significance of the figure/s to you in terms of personal

historical, social, or political value?

Analysis

1. As the royal residence for Louis XVI, it has the look appropriate to a kings palace.

2. The lavish design, vast space and the best materials used for the palace and gardens reflect the importance and role of the king during the era.

The style 1. What particular characteristics does this architecture have that are



Analysis

1. Typical to Baroque architecture in the 17th-18t century Europe is

the use of pilasters, cornices, entablatures and mouldings to suit the architect s artistic taste.

2. These are present in the Palais de Versailles. 3. The broad vistas that stretch axially away punctured by vases and

statuary to form pleasing promenades, the closely planted trees, the chateaus and canals reflected the royal art during the period.

Concrete and Rough Stones on Frank Lloyd Wrights KAUFMAN HOUSE About Wright: One of the founders of modern architecture in North America, Frank Lloyd Wright embraced the use of new technology, materials and engineering to create some of the 20th centurys most influential and iconic buildings. During a long and productive career spanning 70 years he designed over 1,000 buildings of which over 400 were built.

About Falling Water This project is a unique example of a modern Organic Architecture, which was designed by Architect Frank Lloyd Wright in 1934 in rural Pennsylvania, 80 kilometers southeast of Pittsburgh. Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so well integrated with its site that buildings, furnishings, and surroundings become part of a unified, interrelated composition. Set in a very unusual location, the ideas implicit in the house are a highly dramatic and original combination of modern technology within a natural setting. The notion of a house sitting over a waterfall evokes the imagination of English Romantic poet, Wordsworth. At the same time, scientific technology has been integrated with a modern concept. The cantilevered house which sits on a waterfall that is audible rather than visible was Frank Lloyd Wrights unique achievement. Kaufmann House is an outstanding example of domestic architecture. In the 1930s, Wright developed the main theme of organic architecture, that is, combining modern techniques and natural landscape in a new way. Falling water is among Wrights most famous buildings and has become a symbol of the international movement. He used natural and organic elements in this building. This is a good example of organic architecture. What does this House look like? The house is located on a cliff with a waterfall. It is a weekend house. It consists of two levels of living areas. Both the living areas extend up to the waterfall and give a good view of the surrounding countryside.

The entrance drive leads to the main living room, which extends in different directions in the ground floor. A staircase leads directly leads to the waterfall. Terraces, balconies, kitchen and dining area all extend in different directions. The bedroom on the second floor opens on to the terrace, which is cantilevered more than the terrace of the first floor. The second floor is much smaller than the first and has only one bedroom with an adjoining roof terrace. All the three floor plans form a pattern in such a way that they are arranged round the single vertical element, which is the natural stone tower-the staircase. At the foot of the staircase is the supported ground floor and the slope of the hill. The base of the building is made of natural stone, the individual stories are made up of reinforced concrete, and the walls of glass. The building literally combines:

Nature and architecture The organic and the geometric Natural stone and concrete Exterior and interior Nature and space

What Frank Lloyd Wright achieved in this building was to place its occupants in a close relationship to the surrounding beauty the trees, the foliage and the wild flowers.

PHOTOGRAPHY Every person holds on to a photo of a loved one. Every home has photos on display. Every newspaper has photos of events, good or bad. Now that the computer is very accessible, we are used to photo images accompanying texts in a variety and artistic ways. Since Louise Daguerre invented the Daguerreotype of camera in 1839 and 49 years later, when Eastmans Kodak camera was introduced commercially, and then the introduction of the 35mm film Leica camera in 1925, man has always relied on camera not only to record significant events of his life but for some people, even ordinary day-to-day affairs. This is so because photography does not only record images precisely. Photographs can also be reproduced as many as you want and today, they can even be manipulated to produce the desired effects. What Photography Is A photograph is a two-dimensional representation of people, events, objects or any three-dimensional form. It is the art of recording images through a camera through the use of film and printing them on photographic paper through a chemical process. Photography is the process, activity and art of creating still or moving pictures by recording radiation on a radiation-sensitive medium, such as a photographic film, or an electronic sensor. The word "photograph" was coined in 1839 by Sir John Herschel and is based on the Greek (photos) "light" and (graph) "representation by means of lines" or "drawing", together meaning "drawing with light".

Function The camera or camera obscura is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a "latent image" (on film) or "raw file" which, after appropriate processing, is converted to a usable image. History of Photography Chinese philosopher Mo Di described a pinhole camera in the 5th century B.C. Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments, Ibn al-Haytham (Alhazen) (9651040) studied the camera obscura and pinhole camera. The first permanent photoetching was an image produced in 1822 by the French inventor Nicphore Nipce. Nipce was successful again in 1825. He made the first permanent photograph from nature with a camera obscura in 1826. Nipce worked with Louis Daguerre. But when Nipce died he continued their work (he named it daguerreotype in 1837) until it was discovered by the French government. Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie. After reading about Daguerre's invention, Talbot refined his process so that portraits were made readily available to the masses. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the "blueprint. He was the first to use the terms "photography", "negative"

and "positive". Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today. Processes Black and white: all photography was originally monochrome, or black and white. Color: photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. Full-spectrum: is a subset of full-spectrum imaging, defined currently among photography enthusiasts as imaging with consumer cameras the full, broad spectrum of a film or camera sensor bandwidth. Digital photography: is a form of photography that uses digital technology to make images of subjects. Modes of Production Amateur: An amateur photographer is one who practices photography as a hobby and not for profit. Commercial: Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art.

The commercial photographic world could include:

1. Advertising photography 2. Fashion and glamour photograph 3. Crime Scene Photography 4. Portrait and wedding photography 5. Wildlife photography

Art Photography: During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Different Parts of a Camera

Old Version of Camera New Version of Camera Different types of Photography

Advertising Photography: Advertising photography illustrates a service or product. These images are generally done with an advertising agency, design firm or with an in-house corporate design team. Editorial Photography: Editorial photography that illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.

Photojournalism: Photojournalism is used for journalism work. Photographs made in this context are accepted as a documentation of a news story. Portrait and Wedding Photography: Portrait and wedding photography are made and sold directly to the end-user of the images. Fine Art Photography: Fine art photography is creative production of images using the camera, special lighting and other effects used for artistic expression. The Composition of Photography Photography uses film that comes in cartridge rolls that are easily mounted inside the camera box. Today, the material used in photography has evolved from film to digital. Digital photography emerged through technological developments in computer systems. Images are recorded instantly, which may be viewed in the camera LCD or through the computer. These images may be printed through the computer printer on special printing paper or in plain bond paper. Aside from a camera and film, photography requires other things. The Subject This is the main focus of your photograph. It is what you want the viewers to see first when they see the image. It can be a still life, portrait, landscape, human interest, lights or distorted figures. It is usually the sharpest object in the photograph.

Background and Foreground What is in front of your subject is the foreground. What is behind your subject is the background. When taking a photo of your subject, you should study it first in relation to the foreground and the background to make sure they do not contrast strongly with the focal point of the photograph. Both foreground and background should enhance the beauty of the main subject. Sometimes, the background is a blur effect or a mix of colors. Rule of Thirds An ordinary subject matter such as sunset or mountains and plains can turn out to be a very interesting photograph with an artistic composition (the arrangement of elements within the frame). The subject should be located either above or below the center of the frame because the viewers eye is naturally drawn to the spaces within a frame and not to its center. Even portraits should not be set right at the center of the frame, unless it is an I.D. picture. Lighting Photographs without lighting are dull because the basic ingredient in photography is light. Avoid strong direct light on your subject and dark shadows. Check the lighting of the background in relation to your subject and make sure the background lighting is not stronger than the subject.

Motion Motion can be captured through the camera. A fast shutter speed can freeze a motion. A slow shutter speed can make the image appear blurred. For example, a speeding horse can be sharp in a photograph when shot with a fast shutter speed. It can look out of focus and blurred with a slow shutter speed. Guide questions in analyzing the aesthetic qualities of photography The Form 1. What are the dominant elements? 2. How are these used in the photograph? 3. How is the main subject matter treated in relation to the

background? 4. How is space used within the frame? 5. How does the dominant element affect you? 6. Is there balance of forms or do some objects cover most of the

frame? The Medium

1. Does photography as a medium enhance the beauty of the image? 2. How well does the medium selected show the artistic

representation? 3. If the artist chose another medium, doe you think the same effect will


The Subject Matter

1. What is the main figure in the artwork? 2. How do other figures in the artwork affect the main figure? 3. What is the significance of the figure/s to you in terms of personal,

historical, social and political value? The Style

1. What particular characteristics does this artwork have that are also



THE AESTHETIC QUALITIES OF SELECTED PHOTOGRAPHS The Use of Perspective in Ricardo Ocreto Alvarados Filipino Farmers in America Belong to the first wave of Filipinos who migrated to America in 1928 to work as janitor and houseboy. During World War II, he was a medical technician in the Army's highly decorated First Filipino Infantry Regiment. After the war, he developed his passion for photography and took countless photos of the Filipino-American community in San Francisco, California. His camera gave him entry into large social functions weddings, funerals, baptisms, parties and dances as well as inti

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