MEDIUMS IN VARIOUS FORMS OF

ART
 TWO DIMENSIONAL ART
CONSIST OF HEIGHT AND WIDTH SURFACE ONLY
NCLUDES PAINTING, DRAWING, PRINTMAKING, AND PHOTOGRAPHY
 THREE DIMENSIONAL ART
CONSIST OF HEIGHT, WWEIGHT, AND DEPTH
INCLUDES SCUPLTURE, ARCHITECTURE, LANDSCAPE,
CRAFTS
 VISUAL ARTS

 ARTS THAT CAN PERCEIVED WITH OUR EYES

 THE MOST COMMON VISUAL ARTS ARE PAINTING,
SCULPTURE, AND ARCHITECTURE
 PAINTINGS
 AN ART OF CREATING MEANINGFUL EFFECTS ON A
FLAT SURFACE BY THE USE OF PIGMENTS

 THESE MEDIUM IS APPLIED TO WET PLASTER, CANVAS,

WOOD OR PAPER (CLAY, MINERALS, PLANTS)
 DRAWING
 USUALLY DONE ON PAPER USING PENCIL, PEN AND INK OR
CHARCOAL.
 THE MOST FUNDAMENTAL OF ALL SKILLS NECESSARY IN ARTS
 WATERCOLOR
 PRODUCE WARM AND RICH TONES USING THIS MEDIUM
PROVES TO BE A CHALLENGE

 PIGMENTS IN THIS MEDIUM INVITES BRILLIANCE AND VARIETY

OF HUES
 PASTEL
 PASTEL IS A STICK OF DRIED PASTE MADE OF
PIGMENT GROUND WITH CHALK COMPOUND
 ACRYLIC
 MEDIUM USED BY CONTEMPORARY PAINTERS
 FLEXIBLE OR EASY FOR CHANGED EVEN IT IS QUICK
DRYING
 IT IS NOT EASILY BREAK UNLIKE OIL PAINTS WHICH
TURNS DARKER OVER A PERIOD OF TIME
 OIL
 One of the most expensive art activities today because of the
prohibitive cost of materials.
 It is the heaviest of painting mediums, slow drying, linseed oil
(weed soil) is used in oil painting to make the subject glossy
and long lasting
 ENCAUSTIC
 ONE OF THE EARLY MEDIUM USED BY THE EGYPTIANS
 ANCIENT PROCESS OF MIXING PIGMENTS WITH WAX, AND
THEN IRONING THE MIXTURE TO A SURFACE
 FRESCO
 THIS METHOD DONE ON A PLASTER SURFACE

Mixing pigments with

plaster (walls, ceilings)
Buon “true” Fresco:
paint is bound in the
wet plaster
Fresco secco: paint is
applied to dry plaster.
 TEMPERA
 TEMPERA PAINTS ARE MINERAL PIGMENTS MIXED WITH EGG
YOLK OR EGG WHITE
 ONE OF THE MOST USED IN MIDDLES AGES, ALSO FAST DRYING
 MOSAIC
 IT IS THE ART OF PUTTING TOGETHER THE SMALL
PIECES OF COLORED STONES OR GLASS THAT IS
CALLED “TESSERAE” TO CREATE AN IMAGE.
 CLAY
 USED IN MAKING BRICKS AND CERAMICS
 GENERALLY FRAGILE SO IT BECOMES NECESSARY TO
CAST IT IN ANOTHER DURABLE CERAMICS
 WOOD
 IT IS EASIER TO CARVE THAN ANY OTHER MEDIUMS
AVAILABLE BECAUSE IT CAN BE SUBJECTED INTO A
VARIETY OF TREATMENT
 PRINT MAKING
 A PRINT IS ANYTHING PRINTED ON A SURFACE THAT
IS A DIRECT RESULT FROM THE DUPLICATION
PROCESS
 USUALLY PAINTING, GRAPHIC IMAGE OR TEXT
1. Painting medium used popularly by contemporary
painters because of the transparency and quick drying
characteristics of water color and the flexibility of oil
combined.
A. Pastel B. Acrylic
C. Encaustic D. Oil
2. It is the heaviest of the painting medium
A. Pastel B. Acrylic
C. Encaustic D. Oil
3 Is a stick of dried paste made of pigment ground with
chalk and compounded with gum water
A. Pastel B. Acrylic
C. Encaustic D. Oil
with heat
A. Pastel B. Acrylic
C. Encaustic
D. Oil
5. The use of these pigments incite brilliance and a
variety of hues
A. Water color B.Tempera
C. Fresco
D. Pastel
6. A painting method done on a moist plaster surface
with colors ground in water or a limewater mixture.
A. Water color B.Tempera
C. Fresco
D. Pastel
7. Mineral pigments mixed with egg yolk or egg white and
ore.
A. Water color B.Tempera
C. Fresco D. Pastel
8. Art which is usually done on paper using pencil, pen, and
ink or charcoal.
A. Tapestry B. Stained glass
C. Drawing D. Mosaic
9. The most fundamental of all skills necessary in arts.
A. Sculpture B. Print making
C. Drawing D. Lithography
10. The duplication process that resulted directly into
anything printed on a surface.
Sculpture B. Print making
C. Drawing D. Lithography
MODERN ART STYLES OF 20TH
CENTURY
 IMPRESSIONISM
second half of the 19th century among a group of
Paris-based artists.
duration of the impressionist movement :less than 20
years from 1872 to the mid-1880s.
The name impressionism was coined from the title of a
work by French painter Claude Monet, Impression
(Impression, Sunrise) Oil on canvas
 IMPRESSIONISM
the viewer’s momentary “impression” of an image
- founder and most productive
practitioner of the French Impressionist
movement
- He believed that art should express the
fleeting moments and quality of nature.
-landscape paintings, seascapes, and
cityscapes at different times of the day and
year, showing impermanence of natural
environment
 POST-IMPRESSIONISM
continued using the basic qualities of the
impressionists before them—the vivid colors, heavy
brush strokes, and true-to-life subjects.
Added geometric approach, fragmenting objects and
distorting people’s faces and body parts, and applying
colors that were not necessarily realistic or natural
 
POST-IMPRESSIONISM
He used Post-impressionism as his
style and he was also the pioneer of
expressionism.
impasto technique - where thick
paint is applied on the surface leaving
the brush strokes or painting knife
strokes visible
the difficulties of the world through
his art: REJECTION = RECREATE
HIS WORLD IN ART
DISTORTED PICTURES AND
COLOR = INNER FEELINGS
POST-IMPRESSIONISM
IMPRESSIONISM
EXPRESSIONISM
 EXPRESSIONISM
deeply personal style in art
artist communicates personal feelings about the
subject rather than just painting what he/she sees.
(impasto)
evoke and intense and violent mood of the work.
Colors are usually bold, often strong, and
unnatural.
distorted or sometimes be replaced with imagery -
visual symbolism for better communication of
artist’s opinion. This results the artwork very
expressive and subjective.
EXPRESSIONISM
Edvard Munch – Norweigian
expressionist painter, and printer.
he played a great role in German
expressionism,
because of the strong mental
anguish that was displayed in many
of the pieces that he created.
Their father raised them with the fears
of deep-seated issues, which is part of
the reason why the work of Edvard
Munch took a deeper tone, and why
the artist was known to have so many
repressed emotions as he grew up.
EXPRESSIONISM
SYMBOLISM – DEEP SEATED
FEELINGS
“should reflect an emotion or
idea rather than represent the
natural world”
SUB-MOVEMENT OF
EXPRESSIONISM
NEOPRIMITIVISM
wood carvings of
African tribes which
suddenly became
popular at that time.
the oval faces and
elongated shapes of
African art in both his
sculptures and paintings.
Amedeo Modigliani
FAUVISM
used bold, vibrant colors and
visual distortions. Its name
was derived from les fauves
(“wild beasts”), referring to
the group of French
expressionist painters who
painted in this style.
Highly fashionable, bold use
of color, play use of lines and
colors.
Henri Matisse
DADAISM
A style characterized by dream
fantasies, memory images, and
visual tricks and surprises
Anti-art, anti-war, had political
affinities with the radical left and
was also anti-bourgeois
(capitalist).
Marc Chagall and Giorgio de
Chirico
I and the Village Marc Chagall,
1911 Oil on Canvas
SURREALISM
came from the term “super
realism,” with its artworks
clearly expressing a departure
from reality—as though the
artists were dreaming, seeing
illusions, or experiencing an
altered mental state. 

Persistence of Memory
Salvador Dali, 1931
Oil on canvas
SOCIAL REALISM
artist’s role in social reform. Here,
artists used their works to protest
against the injustices, inequalities,
immorality, and ugliness of the
human condition.
war, poverty, corruption, industrial
and environmental hazards, and
more—in the hope of raising
people’s awareness and pushing
society to seek reforms.
Miners’ Wives
Ben Shahn, 1948
Egg tempera on board
CUBISM
derived its name from the cube, a
three- dimensional geometric
figure composed of strictly
measured lines, planes, and angles.
a play of planes and angles on a
flat surface in a three-dimensional
manner formed by light and
shadow.
contemporary view that things are
actually seen hastily in fragments
and from different points of view
at the same time.
ABSTRACT EXPRESSIONISM
non-objective art or non-
representational art, painting,
sculpture, or graphic art. Abstract
Expressionism is divided into
two distinct styles:
ACTION PAINTING- energetic
style in which the paint is
splashed, dripped, or spilled onto
the canvas. (JACKSON
POLLOCK)
WATERY PATHS (OIL ON
CANVAS)
ABSTRACT EXPRESSIONISM
color-field painting. This style
is more passive. fields of color,
inviting the viewers to
contemplate and create an
emotional response. (MARK
ROTHKO)
White Center (Yellow, Pink and
Lavender on Rose) OIL
SUB-MOVEMENT OF ABSTRACT
EXPRESSIONISM
OPTICAL ART (OP ART)
systematic and precise
manipulation of shapes and
colors, the effects of Op art can
be based either on perspective
illusion or on chromatic tension
Bridget Riley. This British artist
is known for her artworks that
produce dizziness to the viewers
causing them to look away.
HESITATE OIL ON CANVASS
POST-MODERNISM ART
 POST-MODERNISM
a reaction against modernism
was brought about by the disillusionment and the brutality of
World War 2.
fragility of peace made people cynical about life and purpose
of art.
“art is for everybody”

CONTEMPORARY ART - art of the present. It started on

1960s as some art movements such as Pop Art were starting
to move away from the aesthetics and ideology of the modern
period. Some of the important examples of postmodern and
contemporary art forms and styles are the following:
POP ART
label an art movement
that began to emerge in
New York and London
that uses images from
popular culture and
products were used as
subject matter and were
often physically
incorporated into the
work.
LAWRENCE
ALLOWAY
PERFORMANCE ART
the actions of an individual or a
group at a particular place and in
a particular time constitute the
work.
art gallery or museum presented
to an audience, may be either
scripted or unscripted, random or
carefully orchestrated;
follows a traditional story line or
plot. It might be a series of
intimate gestures, a grand
theatrical act, or the performer
remaining totally still. It may
last for just a few minutes or
extend for several hours.
INSTALLATION ART
arrangement of objects in a space.
it allows the viewer to be “in” the
artwork. The viewer can move
around and sometimes interact
with the different components in
the space or with the space itself.
It activates not only your sense of
seeing but also involves the sense
of touch, sound, smell, and even
taste.
designed for a specific area while
some are exhibited anywhere
depending on the artist’s ideas and
objectives.