Republic of the Philippines
CAPIZ STATE UNIVERSITY
Main Campus, Roxas City
COLLEGE OF ENGINEERING AND ARCHITECTURE
S.Y. 2018-2019
LESSON 5: ARTIST and ARTISANS
Bocalid, Bonites, Cervales, Cunada, Vargas
Artists have treaded a long history. Their roots can likewise be traced in one of the
major milestones in human civilization. In the first episode of the video series “New Ways
of Seeing” a project of the New York Times’ T Brand Studio and jewelry giant Tiffany &
Co., art critic Jerry Saltz (2016) underscored the significance of not only the discovery of
the cave paintings, but also the painting themselves. He asserted that “these first artists
invented a way to get the three-dimensional world into two dimensions and attach the
value to their own ideas. And all of the history of art flows forth from this invention.” He
is apparently referring to the drawings and painted images of animals, hunting scenes,
and a variety of symbolic figures created during the Stone Age.
Out of the shadows of these caves, astounding headway was seen moving down
history from Bronze Age down to the Middle Age in terms of how man continued to utilize
his surroundings to create varying expressions of his ideas and feelings. Through the
exploration of his immediate environs, trade, and other experimentations, new modes,
media, and techniques brought to light a wide array of artworks that instantiate the
wealth that can be done when the artist vision is tapped, harnessed, and realized. But
the most integral development that allowed this identity of an “artist” to fully emerge is
the systematization and sophistication that this world, the art world, has become.
The impulse to create is at the core of human civilization, much like the impulse to
communicate through language. Early on, artists were embedded in the development of
culture, and in turn, art was nurtured by the varying culture in which it existed. The
works produced varied from the prosaic to those explored a wide range of aesthetic
possibilities. Seen every day, the interaction with these objects was intimate in the sense
that their presence was experienced in a multitude of ways and in all of the affairs of
man: ornamentation in tools and other surfaces, weaving patterns in textile, visual
features and the design/plan for architectural structures, and ritual and burial
implements, among others. Artist even created places and spaces where communities
may gather. There are numerous monuments and memorials that are plotted over the
world such as the infamous Vietnam Veterans Memorial in Washington DC. There are
others like cave paintings that have an aura of mystery like the Pyramids of Giza, or
have alluded comprehension like the Stonehenge.
The Artisans and the Guilds
Consider the Gothic cathedrals and other mega structures that were built all over
Europe during the Middle Ages. Craftsmen and builders in the past didn’t have
sophisticated terminologies and principles that architects and engineers abide by today.
Yet, they fulfilled overlapping roles such as the draftsman, architect, engineer, and even
as the builder. What they had is how the materials behaved, how the environment, light,
and weather patterns affected structures, and other more intuitive principles of creation.
Gothic cathedrals along with other structures inspired by its architectural tenets have
survived through time, not only by their durability, but more so through the articulation
of the processes that they followed. The example of this would be the Cologne Cathedral.
In Germany, it is but one of the many examples of early Gothic architecture. The account
was that master mason Gerhard Ryle started the project in 1248 but was only completed
roughly 600 years later, claiming the record as one of the longest construction projects
to date.
These guilds were prevalent during middle ages particularly during the thirteenth to
fifteenth century, where towns formalized groups of artisans or craftsmen who took on a
particular specialization or trade: shoemaker, textile and glass workers, carpenters,
carvers, masons, armorers, and weapon-makers, among others. Here, the practice artists
was not grounded on the idea of individual capacities or success; rather, in the
commitment to work together as a collective. Guilds were a type of social fellowship, an
association structured with rules, customs, rights, and responsibilities. With a lifetime
commitment to a particular trade, an artisan develops immense skill and expertise in his
craft. A master artisan or craftsman would then be open to hiring apprentices who would
be under his tutelage and instruction. In these guilds, artistry and technology flourished
under one roof.
In the visual arts, an example of an artist strongly influenced by this was Albrecht
Dürer, born in 1471, his father was a goldsmith; that is why he is also apprenticed as
such. Later on, he shifted to the visual arts.
Although the timeline is a bit skewed, the culture of artisans became prevalent in the
Philippines as well, particularly during the Spanish colonial period. Formerly done with
the spirit of the communal and the everyday, patronship changed the way art was
perceived. This was both the case for religious and secular art, wherein the existence of
artisans proved to be immense use. It was through mimesis or copying that artisans first
to learn to depict religious images and scenes. During the propagation of faith, Spanish
friars commissioned a lot of artisans to carve, paint, and engrave images for churches
and public sites.
From the church, the next patrons of the arts were the then new elite. The Ilustrados or
the middle class, along with the foreign guest who wanted souvenirs to take along with
them. Two other important genres for painting at that time were the tipos del pais and
letras y figuras. The former watercolour paintings that showcased the different local
inhabitants of the country in different garbs, and clues to their occupation and status;
while the latter combined the principle of tipos del pais and incorporated it as a means to
illustrate the letters of one’s name or surname.
The Artist and His Studio
Today, artist studio have been a place of interest for the public. It is interesting to see
and learn where the creativity manifest itself, especially since artist’s studio is an
extension to the artist himself. The studio model dates back from the Renaissance.
Therein, artist flexed their relationship with their patron as a site where negotiations and
works were made. There were those whose work stations were segmented into two, the
studiolo and the bottega; the latter is where the work usually happened. Apprentices
studied under masters, assisting with menial tasks or the preparation of the painting
surfaces. In the seventeenth century, these demarcations became lose eventually
merging together. This was especially true with artists who explored oil painting
techniques whose long process can be described by cycles of mixing, layering, and
drying of paint. This format remained throughout the latter part of the 1800s.
The beginnings of the Industrial Revolution had an interesting ramification for artists. A
compendium of events released the artist from the limitations that affected the way in
which they produced their works. These included the availability and portability of
materials and the reliance on the wealthy patrons to place a commission. More painters
enjoyed painting on their own behalf, creating works they wanted to create. It was
during this time that a host of styles developed side by side, allowing artist to fully grasp
the potential of artistic license, with minimal consideration for the prevailing tastes and
stylistic preferences. During the latter part of 1800s, artist began to question the merits
of stringent artistic training and education, but it was during the 1900s that art was truly
liberated from the traditions of the past. Perhaps, it was then that artists found freedom
to articulate their distinct aesthetic way of creative production.
Others Players in the World of Art
In Howard S. Becker’s Arts World (1982). He asserted that “all artistic work, like all
human activity, involves the joint activity of a number, often large number, of people.
Through their cooperation, the artwork we eventually see or hear comes to be and
continues to be. The work always shows signs of that cooperation. The forms of
cooperation may be ephemeral, but often become more or less routine; producing
patterns of collective activity we can call art world. The existence of art worlds, as well
as the way their existence affects both the production and consumption of artworks,
suggest a sociological approach to the arts. It is not an approach that produces aesthetic
judgments; although that is a task many sociologist of art have set for themselves.”
There is an assumption that an artist works in solitary; that the only time the external
world is allowed in would be when the work is displayed and when in circulation. This
would necessitate the seemingly central position that the artist enjoys in the grand
scheme of art experience. Although a popular opinion still, it has considerably waned,
with the emergence of another art player as a super power – the curator.
It is important to note with the complexity of the art world, players are no longer
limited to those who undertook formal instruction in either production and/or study of
art. Take for instance administrative or managerial roles, both of which can exist in
either institutional or non-institutional scenarios. These roles may be broken down to
working boards; directors and assistant directors; managing curators; and other posts art
spaces. For independent artists, those outside the wing of a gallery as a “stable artist,”
sometimes require the assistance of an artist manager in order to manage their career
and sometimes to help them in promoting themselves to the art world as well.
Curator - is one of the elusive of roles to pin down. Institutional curators are typically
affiliated with museums and galleries, while independent or freelance curators have the
leeway to move around various projects. Generally the role of the curator is more of the
interpretation and development of the artwork(s) or collection(s) through establishing
the significance, relationship, and relevance of these materials in isolation and/or as part
of a wider narrative.
Buyers and Collectors – buyers are those who initially assess and survey the artwork
that collectors are interested in. Buyers and collectors are those who acquire and
purchase artworks for variety of reasons: appreciation and enjoyment of art; scholarship
and educational opportunity it may provide; safeguard and preservation of their
posterity; for investment; communicating a way of life/lifestyle; among others.
Art Dealers- those whose direct hand is in distribution and circulation of the artworks
through a variety of means, such as direct sales, through galleries, and the more recent
player in the Philippines, auction houses.
Production Process
The process is essentially tripartite (1) preproduction, (2) production, and (3)
postproduction.
Preproduction - The artist always begins with an idea that he wants to express or
communicate with his audience.
Production – the execution of the art may take a variety of forms such as painting,
sculpture, tapestry, photograph, film, routine, or track composition.
Postproduction – once the artwork is finished it will be decided on how it will be
circulated not only in the art world, but the many publics.
Medium and Technique
Medium is the mode of expression in which the concept idea, idea, or message is
conveyed. It may be concrete and tangible, such as paintings, sculptures, monuments,
and structures; or it may be ephemeral or something transient, such as track, a film, or a
performance.
Engagement with Art
Exhibitions may be long term or permanent hangs, or it may temporary or periodically
changing. An artist may have a solo exhibition or may be included in a two person
showing or even a group exhibition. There are some instances when an artwork is a
stand-alone or site specific work that renders its display under a different structure or
format.
Aside from exhibitions, other opportunities for art engagement transpire in the
classroom; studio visits; lectures, workshops, and other events that augment exhibitions;
auction sales; art fairs, biennials, and triennials, and other large showings of not only
artworks but also where art personalities can flex their influence and authority.
Publications are also a good way to introduce the artwork and opens it up for
appreciation, critique, and analysis.
Awards and Citations
The two major awards given to the artist in the Philippines are the Orden ng
Pambansang Alagad ng Sining (Order of the National Artist) and the Gawad sa Manlilikha
ng Bayan (National Living Treasures Award).
The conferment of the Order of National Artist is the “highest national recognition
given to Filipino individuals who have made significant contributions to the development
of Philippine arts; namely, music, dance, theatre, visual arts, literature, film, broadcast
arts, and architecture and allied arts. The order is jointly administered by the National
Commission for the Culture and the Arts (NCCA) and the Cultural Center for the
Philippines (CCP) and conferred by the President of the Philippines upon
recommendation by both institutions. The very first recipient of this award was painter
Fernando Amorsolo, who was touted as the “Grand Old Man of Philippine Art”. He was
the sole awardee in the year 1972, a National Artist for Visual Arts.
Some of the honors and privileges that a National Artist awardee receives the
following:
1. The rank and title, as proclaimed by the President of the Philippines
2. A medallion or insignia and a citation that will be read during the conferment
3. Cash awards and a host of benefits (monthly life pension. Medical, and
hospitalization benefits, life insurance coverage)
4. A state funeral and burial at the Libingan ng Mga Bayani
5. A place or honor or designated area during national state functions, along with
recognition or acknowledgement at cultural events.
The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in
1992 under the Republic Act No. 7355. Also under the jurisdiction of the National
Commission for Culture and the Arts (NCCA). It was first conferred to three outstanding
artist in music and poetry back in 1993. They are Ginaw Bilog, a master of ambahan
poetry; Masino Intaray, a master of various traditional musical instruments of the
Palawan people; and Samaon Sulaiman, a master of the kutyapi and other instruments.
The recipients of the GAMABA are sought under the qualification of a “Manlilikha ng
Bayan” who is “citizen engaged in any tradition art uniquely Filipino whose distinctive
skills have reached such a high level of technical and artistic excellence and have been
passed on to and widely practiced by the present generation in his/her community with
the same degree of technical and artistic competence.” This artists’ practice may fall
under the following categories: folk, architecture, maritime transport, weaving, carving,
performing arts, ornament, textile or fiber art, pottery and other artistic expressions of
traditional culture.
Some of the incentives accorded to the awardee are the following:
1. A specially designed gold medallion
2. An initial grant of Php. 100,000 and a Php. 10,000 monthly stipend for life, which
was later increased to Php. 14,000
3. Benefits such as a maximum cumulative amount of Php. 750,000 medical
hospitalization benefits
4. Funeral assistance or tribute fit for a National Living Treasure.
