Republic of the Philippines

NORTHERN ILOILO STATE UNIVERSITY

NISU Main Campus, V Cudilla Sr. Ave, Estancia, Iloilo
Reg. No. 97Q19783

GE 6 - ART APPRECIATION

MODULE 2
LESSON 3

Subject and Content

Introduction

In the Philippines, which is predominantly a non-museum-going public, looking at art has

always been a tricky business. One of the major hurdles that spoils an individual’s engagement
with an artwork is the notion that in order to appreciate it, one must be able to extract a
specific image, isolate the artist or maker’s intention and unearth a particular meaning. Failure
to do so automatically implies a failure of comprehension and therefore, failure of the
experience. This, however, relegates art engagement and therefore appreciation to the very few
who had training and instruction in producing and reading art.

In this lesson, subject and content will be discussed. Read the discussions and answer
the questions that follow.

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

1. Identify the subject matter and content of specific examples of art;

2. Discuss the difference between an artwork’s subject and its content; and
3. Enumerate the sources of the subjects of some of the most recognizable works of
art in Philippine art history.
 Republic of the Philippines
NORTHERN ILOILO STATE UNIVERSITY
NISU Main Campus, V Cudilla Sr. Ave, Estancia, Iloilo
Reg. No. 97Q19783

Discussion

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.

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 who Mona Lisa is, 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 in 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 continuous 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 drip to paint. Assisting it with movement, he used other implements such as hardened
brushes, knives, sticks, and trowels to add detail, texture, to and dimension to his paintings.
There were no 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.

Non-representational Art and Abstract Art

One source of confusion is the notion that non-representational art is the same as
abstract art. This is essential to discuss because it introduces the fact that representational art
and non-representational art is not a clear-cut divide; rather, they exist in 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
 Republic of the Philippines
NORTHERN ILOILO STATE UNIVERSITY
NISU Main Campus, V Cudilla Sr. Ave, Estancia, Iloilo
Reg. No. 97Q19783

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 to the head of a woman. Even with the
abstraction of the image, this work is arguably representational. As a guide, as an artwork,
depending on the degree of distortion or abstraction, may be judged as learning more toward
one over the other. Abstract art is in itself a departure from reality, but the extent of that
departure determines whether it has reached the end of the spectrum, which is non-
representationality – a complete severance from the world.

Sources and Kinds of Subject

Artists throughout history have explored diverse ways of representing nature: from
plants to animals; the qualities of bodies of water and the terrain of landmasses; and even the
perceivable cycle and changing of seasons. Often, these depictions are seen as expression 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 an art and nature as
inseparable, often finding solace ang 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)
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.

Content in Art

To take on the challenge of understanding the content of art, it must be reiterated that
there are various levels of meaning. Perhaps the most common is what we call factual meaning.
This pertains to the most rudimentary level of meaning for it may 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 artworks using motifs, signs, symbols and other cyphers as bases of its
meaning. When looking at a particular painting for example, perception and meaning are
always informed (and even colored) by a manifold of context: 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 meaning to its viewers. This is
what we call subjective meaning of art.
 Republic of the Philippines
NORTHERN ILOILO STATE UNIVERSITY
NISU Main Campus, V Cudilla Sr. Ave, Estancia, Iloilo
Reg. No. 97Q19783

Michelangelo’s “Creation of Adam” can be read using various levels of meaning

previously discussed. There, Adam is figured with an aged God, both of them with an arm
stretched and their respective index fingers appearing to be fixed at an impending contact.
Apart from God who is wearing a tunic, everyone else is in the nude. God is afloat surrounded
by drapery and figures presumed to be angels and cherubs. Adam on the other hand, is earth-
bound, sitting and reclined, positioned diagonally parallel to that of God. From a factual
perspective, Michelangelo depicted a scene from the Creation Story, in particular, the creation
of man. Apart from being a key element of Michelangelo’s fresco at the ceiling of the Sistine
Chapel, the subject matter suggests that this is an example of biblical art.

An interesting overlap between the conventional and subjective meaning is the proposal
from gynecologist Frank Lynn Meshberger, whose published essay appeared in the October
1990 issue of the Journal of American Medical Association. Written was his theory that an
image and a message was hidden in plain sight: how the silhouette of God, the shroud and
drapery that trail behind, all seemingly align with the shape of the human brain. According to
Meshberger, the work can also be aptly called “The Endowment of Adam” for it brought to light
that as God’s creation, the most important qualities imparted to man was intellect. Like most
Renaissance artists, Michelangelo unlocked the secrets and precision of human anatomy
assisting in dissections during his time. For Meshberger, it was his medical backgrounds and
perhaps exposure to art and history that allow him to catch the symbol, hidden in
Michelangelo’s work.

Summary

In gaining the basics of deciphering the subject and content of art, it is hoped that an
individual’s sensitivity and perceptiveness to art will be developed. As was discussed in the
lesson, one may begin by looking at perceivable features of the artwork. Taking note of what is
apparent will provide clues as to what the intended meaning of the artist might be. Knowing
more of the context of its creation – from the artist’s inspiration, reference or source, will prove
useful in understanding the meaning of the artwork. However, one must forget that each
viewer is armed with his or her experience, background and education. These will assist in
fleshing out different levels of meaning that may be derived from the artwork. These might not
be evident as say, the figures depicted in the surface; however, these alternative readings
contribute to the significance of the artwork.
 Republic of the Philippines
NORTHERN ILOILO STATE UNIVERSITY
NISU Main Campus, V Cudilla Sr. Ave, Estancia, Iloilo
Reg. No. 97Q19783

Assessment

Answer the following questions:

1. What are the hurdles of accessing art in terms of its subject and content? (10points)
2. Name an example of and artwork and speculate on the content of the artwork based on
its conventional meaning. (10points)

To Do

Watch the BBC Documentary about Botticelli’s Venus: The making of an Icon. Write a
reflection paper regarding the said documentary. (50points)

https://www.youtube.com/watch?v=DtaVAml0WcQ

References:

Caslib Jr., B., et.al., Art Appreciation. Rex Bookstore, Inc., 2018

-End of Module-