LECTURE 4
Art and Philosophy:
Imitationism and Representationism
Originality is nothing but judicious imitation.
-Voltaire
Objectives:
● Relate the study of art to the field of philosophy.
● Examine imitation theory by Plato as a philosophy of art and beauty
● Compare and contrast imitationism and representationism.
● Identify artworks, styles, artists and philosophers that abide with imitation or
representation theory of art.
● Evaluate the merit or demerit or artworks based on the principles of
imitationism.
● Examine the style of romantic realism in Philippine art based on
representation theory.
● Interpret imitationism as the philosophical basis of ancient Greek art and of
some classical compositions in music.
● Formulate a philosophical approach to Art Appreciation.
● Make works of art where the theory of representationism and the style of
romantic realism are applied.
Lectures
4.1. Imitation Theory of Art and Beauty
4.2. Representation Theory of Art
4.3. Romantic Realism in Philippine Art
Videos
“What is Art? maARTe ako.” In [Link] com/results?search_
query=ma arte+ ako.
“Xiao Time “Fernando Amorsolo: Ang Grand old Man ng Philippine Art” https://
www. [Link]/watch? v=nC9hVHbGCSA
Lecture 4.1.
Imitation Theory of Art and Beauty
According to Gabelo (2018), Plato (428-347 BCE) was a philosopher of
Ancient Greece. He is known for his famous Dialogues that includes his equally
famous teacher, Socrates. She also discussed that Plato was said to have loved
and hated the arts at the same time. Using his Dialogue as basis (e.g. The
Republic), Plato was seen as good literary stylist and a great story teller. In
addition, she mentioned that endowed with these artistic abilities, he is
considered the arts as threatening. He saw how powerful the arts can be in
shaping a person’s character. Then, she said that, Plato contended that although
the arts can be used to train citizens to have an ideal society, using arts to
accomplish this should be strictly controlled.
Gabelo (2018) elaborated her discussion that Plato represented his two
ideas of the art; art is imitation and art is dangerous. She explained that art is an
imitation of physical things which turn are imitations of the Forms. To put simply,
art is a copy of a copy which leads people father from away the truth (or the
forms) and works of art are great for entertainment.
Plato’s philosophy of reality exists in the world of being which is illustrated in
his Allegory of the Cave. For Plato, art is leading to ignorance because artists
just copy the thing in the world of becoming. Before a chair becomes a
metaphysical chair, it is thought out first in the world of being. Then, it is what is
going to be copied by the artist in the form of artworks. It is said that among
philosophers, carpenter and painter, the greatest is the philosopher. The
carpenter will not be able to create the physical chair unless it has been
contemplated by the philosopher. Then, a painter will just paint the chair based
from the appearance of the chair that carpenter made.
Imitationism of Plato focused to the idea that things in this world are beautiful
as appearances of the reality or idea of beauty or the universal form of beauty
existing in the world of being. Also, art is beautiful as imitations of things in this
world and art is the imitation of the appearance of reality. According to Carroll
(1999), for Plato and Aristotle, to be an artwork requires that the piece in
question be an imitation of something. Nothing is an artwork, unless it is an
imitation. It was explained in Carroll’s discussion that under imitation theories of
art, artists are said to attend foremost to mirroring the objective world.
He also added that Batteux wrote, “We will define painting, sculpture and
dance as the imitation of beautiful nature conveyed through colors, through relief
and through attitudes. And music and poetry are the imitation of beautiful nature
conveyed through sounds, or through measured discourse.” Most importantly, he
mentioned that the imitation theory claims that all art is imitative.
Below is the list of definitions of various types of art based from imitationism.
LECTURE 4.2
Theory of Art:Representation
According to Carroll (1999) for centuries,
representation was taken to be the central,
defining feature of art.
Art as representation is an image, an
appearance, a copy, and reproduciton of things,
people, objects, or event. It is said to figurative
art because it represents something that is
known to man. There are ways on how to
represent nature; physical alteration, selective
modification, and perceptual interpretation.
Physical Alteration:
CHANGING the physical appearance of nature, like a natural marble that
turn into a sculpture by carving and cutting.
Selective Modification
ENHANCING the appearance of nature, like a forest that becomes a garden
by arranging and trimming the plants, or a woman beautifying herself by putting
cosmetics on her face.
Perceptual Interpretation
Copying nature according to the CHOICE of the artist, but the resulting
image is still recognizable, like in the style of representation in cubist and fauvist
art.
If perceptual interpretation of nature can represent the subject based from
how the artist wants to represent it, exact representation is the opposite.
Here, the subject is presented in a very realistic manner. This believes in the
idea that the more art resembles nature, the more it becomes beautiful. This idea
is also what is meant by Shakespeare “Art is putting mirror up to nature.”
Similarly, Leonardo da Vinci also said that “Art is a window to nature.”
TROMPE L’OEIL is term which means “trick the eye” Painting that looks so
realistic that it fools the eye as if it sees the real thing. According to Adams
(2011), trompe l’oeil is reflected in many anecdotes perhaps not literally true but
illustrating underlying truths. She gave the example of the ancient Greek artist
Zeuxis was said to have painted grapes so realistically that birds pecked at
them. Carroll (1999) also said the painter Zeuxis, for instance, applaud him
because he was able to draw pictures of grapes of such surpassing likeness that
birds tried to
eat them.
In the anecdote, Zeuxis and Parrhasius held a contest to finally determine
who was the better painter between the two of them. During the contest, each
canvass was covered with curtain to hold the excitement of the audience. It was
Zeuxis who first presented his painting of grapes. It looked so real that there
were birds that pecked on his painting. Everyone was impressed with what they
witnessed. Then, Parrhasius was called to present his painting. The audience
waited for few seconds for him to unveil his painting. They were already
becoming impatient because Parrhsius was not displaying his painting that the
curtain was still there covering his artwork. Parrhasius finally had broken his
silence that made him won the contest. The image of the curtain was his
painting.
Exact representation is also apparent in Chinese art, the drawing of forms
which answer to natural form. According to Brommer (1997), central to Chinese
beliefs is their deep respect for nature. He also explained that the Ancient
Chinese believed that nature was willed with spirits. Humanity did not become
the conqueror of nature, but rather took its rightful place in it. In addition, he said
that in Chinese art, humans were seen as insignificant figures against vastness
of their natural surroundings.
LECTURE 4.3
Romantic Realism in Philippine Art
Why do you think everyone can relate to the image below? Who does not
experience to draw a landscape with trees, clouds, mountains, as well as bahay
kubo, and rice field?
It is the result of romantic realism in Philippine art.
According to Adajar, et al. (2018), realism is the
depiction of subject a they appear in everyday life
without embellishment of interpretation. It describes
works of art which in revealing truth may emphasize the
ugly and sordid. Then, Panisan, Bongabong, Boongaling
and Trinidad (2018) discussed that romanticism strongly
placed emphasis on emotion and glorification of the past
and of nature. With romantic realism, it is characterized
with idyllic and exotic rural sceneries (buhay sa bukid,
buhay sa probinsya). The two known artists for this art
movement are Fabian de la Rosa and Fernando
Amorsolo. They utilized forms of light and shadow on their paintings.
During their time, they did not only gain popularity because of their various
recognitions in the field of painting. They also became famous because of how
they portray lives of Filipinos. Icagasi (1998) explained that to please patron-
customers, many of whom were Americans, that Amorsolo chose to paint rural
scenes where farmers and barrio lasses are shown joyously doing their tasks
amid clean bright, and idyllic surroundings.
With this, critics noticed that they only showed on their paintings aspects of
beauty similar to a commercial or advertisement.
Icagasi (1998) said that Amorsolo’s style is definitely naturalistic but his
subjects are not true to life. He added that critics have pointed out the vast
difference between Amorsolo’s happy peasants and the poverty-stricken farmers
who are the constant losers in the continuing struggle between landlords and
tenants.
“But, nevertheless, Amorsolo did paint pictures where the sun
did not always shine (literally and figuratively) like the war scenes
showing dead soldiers and burning buildings, products of his actual
experience during the terrifying days when the Japanese bombed and
looted Manila, leaving a mound of rape and massacre victims amidst the ruins.”
(Icagasi, 1998)
The paintings by Amorsolo are “true reflection of the Filipino soul.” However,
it is highly commercialized, and is meant for political propaganda by hiding the
social reality under the appearance of order and beauty.
References:
Adams, L. (2011). A History of Western Art. 5th ed. New York: McGraw-Hills Companies, Inc.
Adajar, C. C. et al. (2018). Art Appreciation. Malabon City: Mutya Publishing House Inc.
Brommer, G. (1997). Discovering Art History. 3rd ed. Massachusetts: Davis Publications, Inc.
Carroll, N. (1999). Philosophy of Art: A Contemporary Introduction. London: Routledge Taylor & Francis Group.
Gabelo, (2018). Art Appreciation. Muntinlupa City: Panday Lahi Publishing House, Inc.
Icagasi, R. M. M. (1998). “Philippine Painting and Society”. Humanities: Art& Society Handbook. Quezon City: UP Press.
p.62-69.
Harman, C. (1956). A Popular History of Music from Gregorian Chant to Jazz. New York: Dell Publishing Co., Inc.
Orate, A. C. (2010). “Lecture Notes on Aesthetics: Theories of Art and Beauty,” from Blended Learning Modules.
Panisan, W. K., M. C. Bongabong, C. C. Boongaling & M. A. Trinidad. (2018). Art Appreciation. Mandaluyong City: Mutya
Publishing House, Inc.
