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    Gemay Danglay

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    Gemay Danglay
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    Handouts

    Uploaded by

    Gemay Danglay

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    © All Rights Reserved
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    INTRODUCTION TO ART APPRECIATION [ART APPRECIATION LECTURE OY ENGR. JOMARIA, PICAR ART APPRECIATION + tis the abity to interpret or understand man-made ats and enjoy them ether rvough actual work experience wham tools and materials of possesion of these works of or ‘ones amiaton and eaitaction HUMANITIES Caine’ from the Latin words Aumanus snd humanitas ‘meaning humans + The fled of humanties. provides human beings the copportunfy to think ertieally nd creatively, In order 10 Understand the values and curs ofthe world snd to bring ‘lant tothe future (Stanford Humantes, 2015) ART rom the Latin werd ars or arts meaning “skit + AZ the application oF the principles of apaleation of ski ‘rowledge, ec, n'a creative efor to produce works that nave the form of beauty. aesthetic expression of fein, ete a8 mn music, painting, sculpture, iterature, architecture, and ‘he dance (rom Webster Comprehensive Dictonary, 1985), + Atle expiession ss not Intenion of talent (Benedetto ‘Croche) + Artisan attempt to create pleasing forms (Herbert Reas) + Atmos our actual fe of feting, by gang form to the wor, ‘¢atcultes human nature. seneiity, energy. passion, and rmotay. (Susanne Langer) ASSUMPTIONS OF ART ‘ARTIS UNIVERSAL ‘rt has been crated by all people regardless of origin, time, and pace, and stayed on because itis ked and enjoyed by ‘eople continuousty + Timeless, spanning generations and continents through and ough ARTIS NOT NATURE. . + Artis man's expression of his reception of nate. Art ié man's way ofirprting nature. Arts no nature, + tis made by man whereas nature ig gen around us. ARTINVOLVES EXPERIENCE, tis just an experience By experience, we mean the actual ‘ong of someting (Ouse, Faey. and Company 1960, 6) + Arveatayzes emotions and, thecelore, experiences, [ART IMAGINATION AND EXPRESSION IMAGINATION *Thisanabatretion of 2 eetain thought or eeing hat produces ‘9o0d at based on realty or experience (Holick, 2014) ION + Mis an automatic response fo the imagination CREATIVITY AND ART APPRECIATION GREATITY This @ metacognave ski, @ form of divergent thinking that ‘allows ‘us to generate relalenstips, inlegrate concepts, flaborate information, and brainstorm issues with Mency, ‘lenbity, and onginaliy (Johnson, 2010), ART APPRECIATION BY ENGR. JOMARI A. PICAR PuRPOsE OF ART The Greek philosopher Aristotle claimed that every paticular subatance in the world has an end, feos in Greek, which tranalatesto"purpoce” + Recording to Aristotle. ffos is intictely inked nth function, For a thing fo each fs purpose, f must aio ful a function = Man inAtstele« view of fealty, bourd to achieve aie of futliment and happiness, orn Greek, eudalmenia PURPOSE OF ART (Create Beauty Provide Decoration Reveal Truth Expres Values CCommemarate Expenence (Create Harmony FUNCTIONS OF ART 3 ce punetion of artisan inary into ats fr PERSONAL FUNCTION Used to provide comfor, hapriness, and convenience to human beings. + Satie indiviaual nade for personal expresion ‘+ Eccates our senses and sharpens our perception of colors, forms, textures, designs, tc PHYSICAL FUNCTION Tends to adress ou physical needs for utitaran objects an stuctutes + Need for beauty in funcional objects for everyday use + “Pranning of communties according to enuronmental anc 4° operational eiiency ~ sociat FUNCTION ‘Used for social needs for display, celebration, and ccammunication + Seeks to infucnce the colectve behavior of people + Expresses. or descrbes socal or colectve aspects of fexstence 26 opposed to indivdal and personal kinds of experience PHILOSOPHICAL PERSPECTIVE OF ART ART AS MIMESIS + By Plato + “AMIS an imation of the real that was an iitaton of the iaeal”™ + “Artis an tation of an imitation ART AS REPRESENTATION oe by Atte + "The aim of art isnot to represent the outward appearance of ‘things but ther nuavd signeance." ART AS A DISINTERESTED JUDGMENT By Immanuel Kant + Antor Ate Sake + "Arthas ts ovm reason for being” ART AS & COMMUNICATION OF EMOTION + By Leo Tolstoy + Att plays 3 huge role in communication to ts audience's femotions thatthe arist prevoualy expenenced PHILOSOPHICAL THEMES IN ART INTEGRITY —refers to one's penciples + PROPORTION or CONSONANCE ~ implies balance or ‘consistency of the elements + RADIANCE or CLARITY - something to dewith the meaning ‘rimpact upon the observer ESSENTIAL COMPONENTS IN TH ESSENTI IE CREATION OF ART Ts te compare that seks fo answer te "what lope image, focus) of the artwork lose ‘Sources of Subject oo Nature + People and Worls Events + Myths and Legends + Sprtual aed Religious Beliefs + Ideas Commissioned by Employers + Arrangement of Objects (Ste) Apetracion FORM + This the component that seeks to antver the "how ofthe artwork which suggests the artist's sategies in terms of ‘evelopment, composition, an substation + Two-dimensional Media Drawings, Parting) 2 Three-dimensional Media (Sculpture, Assembling, Modeing. Carveg, Casting, Crafts, Archtecure) chnological Meda (Photegrsphy, Fis and Videos, Computer Ars) ‘CONTENT Irethe component that seeks te answer the why’ of an att ‘Tin Seexs to descnbe the ariste ably fo communicate Nis Conscious and unconscious ifentons, meanings. or roctecness, and context FORMS OF ART PERFORMING ARTS PER se a are those forms in which the atts used hither | Sn body, face, and presence ab a medium, Music ~ the art of combining and reguiating sounds of 2 ‘api pin to produce compostions, expressive of vaous ‘eas and emotions. ‘Dance ~ uses the body a8 2 medum to express eotion ‘rough bodily gestures and hythmic movement «Dramas an art wnere a gfoup cf people acts out 2 plot to fc across to the audience the idea the author's trying to ress, ts pefcemed in a theater or stage lm ~ Ths orm of 2” allows us to exglare he complexities tthe human atuaton. Ths is used tg workout our emotions. fo make history comes alve, slence explained, and ikeray work are brought na ie. «Play tisa form ofteriure parcrmed where scenery and Costume provide the Veual ars, and music may serve a8 & Eackground to ee the med or Seve asa part cf the pot. + Opera's drama setfe musi It combines several as tke music. dance, and ara. Gratory -'s ibe at of making frmal speeches that stiongly ‘tect people's teoigs and belts. + Magica performing afin wich audenices ace entertained By ike, fects, or tusions of seemingly impossible feats, {ing rata means « Gireus Arts ~ several dusters of both performance and, trator ats dcipines such 98 arobates, aetas. downing, ‘quis, and objet manipulation VISUAL ARTS. TO it ate perceve through ou eyes Classifications of Visual Art ‘TWO-DIMENSIONAL ART 2 aso called graphic ats. + flat and has two cimensions: height and with ‘TYPES OF TWO-DIMENSIONAL ART [ART APPRECIATION BY ENGR. JOMARI A. PICAR + Drawing oprevering someting by hes made ona surface thing pence pn, eayans, + Paimang =e proces of epplrg pigment toa surtace fo Scere sacs wncang rm and coo, = Engraving-reatng »cenign using 2 cuteg oo hat eaves shaped tough ee ium Or at or process of pentng tom a tt stone dre ton epuson between grease and wate. The Seog on the surface and then treated s0 that ink Serctes'e acon were the sang has been done nk hen tnstered tote paperin pinta Sinscrean sik s eetched over a are and unwanted arora nie design ate Decked out The pgrentis forced Frough te cer ares. For mulple color ps,» separate screen ved oF eve coor 4 « Garmmerciel art netiee designing books, averisemerts frac actoges, sore, poner, ara cier depays 10 Fromate esas of acontance of 2 oduct service oF 'Se0 «Photography ~ 2 chemea:mecbarical process by which rrased oe Puce on eyed suraces by the action right Prine may ben Back an wht ofl ls THREE-DIMENSIONAL ART. STI 3s0 called plastic arts. fas three dmencions height, width, and thickness ‘TYPES OF THREE-DINENSIONAL ART see Seulpture refers to the design and constructon of thres-

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