BRIGINO, Alexandra Anne B

2018 - 01988
TFA 186
Learning Log 4 - Art Theory and the Enlightenment

Guide Questions

1. What ideas or artworks today can be traced to the legacy of the Enlightenment?
Discuss one in detail, between 200-350 words.

In contrast to the rationalism, empiricism, and classicism that guided the styles of
the artworks from the Age of Enlightenment, one of the prominent thinkers of the
period, Karl Marx, influenced many movements and styles later on that were far more
radical and abstract than the popular styles during his time. Marxism became one of
the guiding principles or philosophies of many revolutionary art movements, such
as protest art, social realism, anti-consumerism and anti-capitalism art, and many
others. Art movements succeeding the Age of Enlightenment and then the Industrial
Revolution, took ideas from the Enlightenment while undertaking a drastically
different approach to art production and its underlying philosophies.

Pablo Baens Santos’ Piket (1979), Juan Luna’s Spoliarium (1884), and Antipas
Delovato’s Itak sa Puso ni Mang Juan (1978) are only some of the Filipino paintings
made as social commentary on oppressive institutions such as capitalism,
imperialism, etc. Luna’s Spoliarium is similar to the style of the art from the Age of
Enlightenment, using classical rendering and themes as allusions or references.
Luna used such allusions, though appearing to only be about gladiators from the
Roman Empire, to depict as well the Philippine context and its inhabitants’
experiences of oppression. On the other hand, despite the differences in
iconography, contexts, composition, and style of Santos' Piket and Delovato’s Itak sa
Puso ni Mang Juan, its underlying philosophies and ideas still reference Marx' ideas
in their respective contexts. The assertion of awareness for social injustices and the
fight against oppression through such ideologies and philosophies continue to
develop and inspire many thinkers and artists today, manifesting in moving and
progressive works, even masterpieces.
2. What different methods and perspectives in aesthetics and art history emerged
during this time? Identify two concepts and explain how you understand or
appreciate this today, in your own words. Example: the term “kunstwollen” as used by
Alois Riegl, which means _____, for me, can be applied today as _____.

David Hume asserts in his essay Of the Standard of Taste (1757) that despite varying
tastes from all individuals, influenced by factors such as language, time and
sentiment, there is a standard which reconciles these diverse tastes in judging what
is beautiful and right. These may be seen in people’s perceptions and judgments on
works of art. Today, as there have been further studies on aesthetics, art, culture,
technology, and values, there is now an even more progressive inclusivity in the
appreciation for aesthetics and art. Contextualising and appropriation are vital in
understanding the tastes of people, which have become more normalised or
conventional in today’s society. Hume’s acknowledgement of such varying factors
that may influence taste have been taken by other thinkers and developed,
continuing to be relevant today.

In taking Hume’s conclusions further, Immanuel Kant’s points in Critique of Judgment

(1790) expound how our judgments and perceptions of beauty depend on the
harmony we perceive using our faculties of judgment and cognition (perception and
concept formation, excluding the ethical or moral capacity). Beauty in itself does not
lie in the object or in the mind of the perceiver, but in the interaction of the two. The
beautiful exists because it is necessary, it is seemingly purposive, but it is impartial
and disinterested. In art, the artist must create something similar to nature and its
effect. As artists today continue to begin their creative journey and artistic
endeavours with their appreciation of their environment and of others’ works of art,
Kant’s perspective continues to aid us in better understanding how beauty and our
perception of it may occur. This leads to us not only developing a deeper
understanding of the beauty around us and in determining the beautiful from what is
not, but it also serves as a tool to create beautiful and moving works of art.
3. Look up and do research on the following five (5) works of art and artists during this
period and answer these two questions for each: How do you feel about the artwork
or the artist’s practice? What aspect of Enligtenment thought can this illustrate, in
your opinion?

○ Antonio Canova, Psyche Revived by Cupid's Kiss (1787-1793)

Canova’s Psyche Revived by Cupid’s Kiss, in true Neoclassical style, is

reminiscent and influenced by the classical styles of sculpture from the age
of antiquity, which was very much in fashion during the Age of Enlightenment.
It is closer to the Hellenistic style of classical Greek art with its idealised
features and implications of movement and drama. Though Canova used the
classical style in marble, making it feel to me somewhat distant, untouchable,
ideal, and aloof, it captures an intimate moment between Psyche and Cupid,
showing their love for each other. It makes the work more enamouring, the
drama and emotion capturing my sentiments in the relatability and moving
nature of the pose and act that the two figures are forever frozen in time.

○ William Hogarth, Marriage A-la-Mode (1743-1745)

Hogarth’s Marriage A-la-Mode showcases the emerging philosophies and

ideologies of the time, expressing sentiments against the aristocracy and the
socio-economic order in society. Such acts of decisions such as marital
connections for the sake of money and power may lead to misery and
disaster. Hogarth’s paintings looked to me almost parodic in contrast to the
idealised portrayals in Neoclassical art, and though the works seem amusing
and chaotic at first glance, I felt both disdain and sympathy for the subjects in
the paintings.

○ Joseph Wright of Derby, A Philosopher Giving A Lecture at the Orrery (1765)

Wright’s artwork looks to me almost like an intellectual solitude in the coming

together of intellectuals and curious children in dramatic chiaroschuro,
illuminating the faces and emotions on the figures’ faces of fascination and
determination. Highlighted are the faces of the two children and the man
looking at the contraption in the middle, absorbed and fixated on what they
were seeing and learning, as well as the colourful clothes of the figure in the
middle who appears to be the philosopher or lecturer. Besides the classical
rendering of the figures in Neoclassical style, the work clearly portrays the
value towards knowledge, empiricism, and rationalism. Through a work of art,
the importance of science and the pursuit of knowledge is clearly depicted.
○ Maria Sibylla Merian, illustrations from Metamorphosis insectorum
Surinamensium ('The transformation of the insects of Suriname') published
in Amsterdam in 1705

Merian’s illustrations of insects and botany show a keen eye for detail in
providing justice for the depiction of such natural objects and creatures. The
illustrations from Metamorphosis insectorum Surinamensium approach the
subjects in a rational and empirical manner, yet somehow the illustrations
appear lively and bursting with different colours. Not only was she able to
portray such plants and insects in a scientific way, but also in an artistic
fashion which truly deserves credit. Though used in scientific studies, her
illustrations make me feel happy, as if her passion and genuine interest in her
work were radiating from the dedication in her illustrations.

○ Caspar David Friedrich, Wanderer above the Sea of Fog (1818)

Truly, Friedrich’s Wanderer above the Sea of Fog embodies the experience of
being faced with the sublime. Observing the artwork, I am immediately taken
by the boldness of the figure at the centre of the work in facing the vast and
raging waters ahead of him. There is the appreciation of the beautiful and of
the grandeur of nature, yet there is the thrill of the dangers and disinterest or
impartiality of such forces of nature. Friedrich’s painting truly embodies and
allows the reviewer to experience the sublime, the mingling of terror and
pleasure in Burke’s words, and what Kant describes as representation of
limitlessness that cannot be contained in sensuous form.
4. The Philippines was a colony of Spain during this period (1685-1815) from the 17th
to the 18th centuries. What kind of art was being produced here during that time? Did
the Enlightenment have an impact on Philippine society and culture? Why or why
not?

During the for the majority of the 17th to the 19th centuries, the Philippine art
landscape was still mostly dominated by the Catholic Church as a major art patron,
therefore many artworks that were produced were fashioned after medieval religious
art and objects. Many Filipino artists and craftsmen were provided with models and
references of medieval art to fashion their own creations after such pieces, and due
to the time spent in transport and trade, there was a large delay in the arrival of such
progress and ideas from Europe to the Philippines. Slowly, the ideas of the Age of
Enlightenment began to be introduced to Filipinos, especially to those of the middle
and upper classes who had the resources to study abroad in Europe. Through trade
and the dissemination of those ideas learned by the privileged Filipinos, art methods,
styles, and philosophies trickled down into the Filipino culture. Neoclassical and
classical standards began to be self-taught by the Filipino artists, and eventually
taught by masters and academies.
B. Sensing Segment

The ideas or topics I found interesting were the discussions on the sublime and on
aesthetics because these concepts continue to be debated today. Despite attempts on
arriving at the most objective approach or methodology in art appreciation and aesthetics,
there is an inevitable relativity and subjectivity in the individual experience, with their unique
and varying contexts. Depending on one’s preference or the appropriateness and
applicability of an approach or perspective in art, aesthetics, and taste, there are so many to
consider without having a single best way to approach all matters of art and aesthetics.

I used to think that the ideas and philosophies from the Age of Enlightenment were cold,
rational, scientific, and idealistic, but through their passionate endeavours to seek the
sublime, philosophies against oppressive forces and institutions, some dramatic portrayals
of art and figures through the classical style and rendering, there proves to be much
emotion and subjectivity that was also considered in the emerging ideas at the time.

Now, I know more about the various perspectives and theories on how people perceive art,
aesthetics, taste, and how artists could apply art to empirical matters, and vice versa. This
will aid me in not only producing better art that may appeal to more people or communicate
better to my target audience, but it will also guide me as a tool in visual perception and
simply perceiving the world in general.

I don’t know or am not sure about zeitgeist. I would like to read more about it and its
correlation to culture and art.

I would like to know more about more philosophies by other prominent intellectuals at the
time. I would like to read more about monographs and critiques on art and artists of the
time written by their contemporaries.

I feel refreshed by the topics discussed because some notions, prejudices, and opinions I
previously had about the Age of Enlightenment and their contributions and ideas were
somehow changed into a less rigid perspective on the time.
References

Flores, P. 2013. “Social Realism: The Turns of a Term in the Philippines”. Afterall Journal No.

34. Retrieved from

https://www.afterall.org/article/social-realism-the-turns-of-a-term-in-the-philippines

Hume, D. 1757. “Of the Standard of Taste”. Retrieved from

https://open.library.okstate.edu/introphilosophy/chapter/david-hume-on-opinion-and-taste

The Metropolitan Museum of Art. “Cupid and Psyche (1794)”. Retrieved from

https://www.metmuseum.org/art/collection/search/188954