4LESSON

Subject and Content

Learning Outcomes

Bytheend of this lesson,you should be able to:

diferentiate representational and non-representationalart

art

discuss the difference between an artwork's subject and its

Content
1dentifythe subject matter and content of specific examples of

art and
enumerate the sources of the subjects of some of the most

recognizable works of art in Philippine art history

In the Philippines, which is

predominantly a non-museum-going public, looking
at art has always been a tricky business.This is true not only for novices, but also at
times, confrontsthe long-time art aficionados.One of the major hurdles that spoils
an individual's engagement with an artwork is the notion that in order to appreciate
it, one must be able to extract a specific image, isolate the artist or maker's intention,
and unearth a particular meaning.
Failure to do so automaticallyimpliesa failure of

comprehension and therefore, failure of the experience. This, however, relegates art
engagement and therefore appreciation to the very fewwho had training and instruction
in producing and in
reading art. This should not be the case.

The primary stage of engaging with art is its perception.Looking at art is much
like any instance of taking in information or stimulus that originates from the world
around us. For most art forms,the beginning of engagement is through looking at the
artwork.The eyes play a big role in mechanically making a vision possible. However,
like any tool, is but onecomponent. What makes the difference is the awareness in
it

the process of looking where subjectivity is essential in navigatingthrough theartwork.

Subjectivity is illustrated in the wayperception renders one or two

that selective

details more prominent than others, prompting the viewer to focus on some details as
essential or as standouts.Even the disposition or mood of the viewer, his education,
his background, and his exposure to varying contexts contribute to what information
is taken in and how they are interpreted. To herd all of these into coherence and
intelligibility,
the relationships of visual details presented, the ideas and feelings that
they cull, and other springs of information may be consulted.

37
In most cases, there are clues mediate between the artwork and the viewer,
that

allowing the viewer to more easily comprehend what he is seeing.These cluesare the
three basic components of a work of art: subject, form,and content. These components
are largelyinseparablefrom each usually related to each other.
other and
be
subject and content ill be discussed, while form will
In this chapter,
better
examined in Chapter 6. To differentiate them briefly, subjectrefers to the visual tocus
or the image that may be extracted from examining the artwork,while content is
the
meaning that is communicated by the artist or the artwork.Finally, the development
and configuration of the artwork-how the elements and the medium or
material are
put together-is the form. In simpler terms, the subject is seen as the "what';the
content is the "why"; and the form is the "how."

Let's Get Started

Think-Pair-Share

1. Look at the painting below by artist David Bailly entitled "Selbstbildnis

mit Vanitassymbolen" (Self-Portrait with Vanitas Symbols). List down

of the work. List as many
everything that you see within the four corners
items as you can in 3 minutes. Use the space on the next page for your

answer.

via Wikimedia
Commons
David Baily (Public domain]

Figure 24. David Bailly, "Selbstbildnis

with Vanitas
mit Vanitassymbolen"(Self-Portrait
Symbols), (1651). Oil on panel. Stedelijk Museum De
Lakenhal, Leiden.

38
22 With your seatmate, discuss and compare the items you listed.

3 Based on your answers, write an assumption about what the painting

means in the space below.

Let's Get Down to Business

In the field of the sciences, experimentation is the key to proving a hypothesis
or a larger theory. Often, an experiment is done multiple times to further prove the

reliability
of an outcome. Therein, empirical or observable data in the form of visible
or tactile qualities, events or occurrence, yielding an output or by-product must follow
after a step or a seriesof processes. In the arts, there are also observable qualities

that the artwork holds that will point to its

subject, and sometimes even to its content.
In order to flesh out what the subjectof the artwork is, important to first look at the
it is

constituent figures that are perceivable on the surface of the canvas or the sculpture,
and themanner in which the artist chose to depict those figures. From these, the type
of subjectcan then be inferred.

39
Types of Subject
One of the most and recognizablepaintings all over the world is the "Mona
iconic
Lisa" done by Leonardo da Vinci. Some questions are often raised regarding this
artwork, like "Who is Mona Lisa? "Why was Leonardo da Vinci compelled to paint
her?" But as scholars attempt to solve the true identity of the sitter, is
relevantto
it

note that there is a consensus that the Mona Lisa-whoever she is-is based on a
real person.

Leonardo da Vinci [Pubic domain or Public domain]. via Wikimedia Commons

Figure 25. Leonardo da Vinci, "Mona Lisa" (1503). Musée du Louvre Collection.

Portraits as the "Mona Lisa" are good examples of what is called

such

representationalart. These types of art have subjects that refer to objects or

events
is also termed figurative art, because as
occurring in the real world. Often, it
the
name suggests, the figures depicted are easy to make out and decipher. Despite
not knowing who Mona Lisa is, is clear that the
painting is of a woman that is
it

realistically-proportioned; only the upper torso is shown; a beguiling and mysterious

smile is flashed; and that the background is a landscape-probably a view from a
window. Pushing even further, one can even imagine a scene in which
it
Leonardo
da Vinci alternatesbetween applying dabs of paint on the canvas and looking atthe
sitter in order to capture her features for the portrait.

40
On the other hand, seeing a painting that has nothing in it but continuous drips
of paint or splotches of colors either confounds the viewer or is readily trivialized

as something that access to materials can easily make. The works

anyone with

of Jackson Pollock, who is known for his "action

paintings," are often subjected
to

these remarks. Using large-scale canvasses that were usually laid out on the floor
or resting on a wall, Pollock tilted his paint can and to drip. Assisting it
allowed paint
with movement, he used other
implements such as hardened brushes, knives, sticks,
and trowels to add detail, texture, and dimension to his paintings. There were no clear
figures thatjotout from the canvas; there were only drips and splashes. This kindof
work can be subsumed under the category of non-representational. As the opposite of
the previously discussed type of subject, non-representationalart is also often termed

non-figurative art.

Jackkon Paloak,NumberAed9(1 y ShronMolens TakendnJanuary1a, 2010, (CGEY

26.
Figure Jackson Pollock, detail of "Number 1A" (1948). Oil and enamel paint on canvas.
Museum of Modern Art (MOMA) Collection. Photo courtesy of Sharon Mollerus.

Non-representationalart does not make a reference to the real world, whether

it a person, place, thing, or even a particular event. is stripped down to visual
is It

elements such as shapes, lines, and colors that are employed to translate a particular
feeling, emotion, and even concept.

It is in this light that representational works are

often favored because they are

easier to recognize. Viewers greater degree of

find a
comfort when what they s
registers as something familiar. They then continue to process this understanding,
sometimes even becoming confidentenough to share their insights to others. It can be
then that an is with a strong persuasion of creating works that veers
argued faced
artist
toward representational art.
However, it is not simply an issue of assumed preference;
it cuts across matters relating
rather, to prevailing themes, norms, and practicess of
specific historical moments.

41
Non-representational Art and Abstract Art

h
E02 by Sharon Molerus

on Janaany 18, 206, (CC BY 2.0)

hitps.www.lickr.com/photas/clainty/25104093069

"Head of a Woman, Mougins" (1962). Metal cut-out, folded and painted.

Figure 27. Pablo Picasso,
Musée National Picasso-Paris.

art is
One source of confusion is the notion that non-representational the

same as abstract art. This is essential to discuss because it introducesthe fact that
and non-representational
art art is not a clear-cut divide; rather, they
representational
exist in a spectrum. An abstract work of Pablo Picasso is a great example to illustrate
he also dabbled into other works
this. Although he is more known for his paintings,
including sculptures. Cut metal that is hinged on a metal base, there is a palpable
distortion of whatever is-seems to be melting. Even without reading
the image it

the title from the caption, mere secondsof looking at the combination of lines, shapes,
and colors of the sculpture will point to a head of a woman. Even with the abstraction
of the image, this work is arguably representational. As a guide,an artwork,depending
the degree of distortion or abstraction, may be judged as leaning more toward one
over the other. Abstract art is in itself a departure from reality, but the extent of that
departure determines whether it has reached the end of the spectrum, which is
non-
the world.
representationality-acomplete severance from

A
proponent of non-representational art was Russian artist Vasily
Kandinsky
Although his chosen art form was paintings, he likened
non-representationalart
an art form that he was also very keen to. He
nusic, asserted that with sounds,
musicians are able to evoke imagery in their listeners or audiences. Object-free,he
alludes to the sounds and spiritual experiences that music makes possible in his
paintings. It is therefore not surprising that a lot of his paintings are inspired by music
and are titled as impression, improvisation, and composition.

42
Sources and Kinds of Subject

When hit with a a block, the writer is often advised to look back and take
wall or

from what he knows. From there, a well and wealth of materials may be drawn. But
for artists, where do they source the subjectsof their paintings?What do they paint?
For non-representationalart, a higher level of perceptiveness and insight might
be required to fully grasp the feeling, emotion, or concept behind the work. It is perhaps
easier to infer where the subject matter comes from if the artwork is an example of
representational art. From the figure(s) depicted in the artwork, there is already a
suggestion as to its
inspiration.

However, in discussing the sources and kinds of subjectin artworks, it is important

to note that these two are often inextricably related. Often, even a singular source of

inspiration can yield multiple translations. A good starting point is, of course, the nature.

There is nothing more rudimentary than human interaction with the physical world
around the artist.
Early childhood often revolves around getting to know not just the
body and what it can do, but also in getting accustomed to a multitude of sensory
prompts around the artist especially those situated in his environment.

Artists throughout history have explored diverse ways of representing nature:

from plants to animals;the qualities of bodies of water and the terrain of landmasses;

and even the perceivablecycles and changing of seasons. Often, these depictions are
seen as expressions of the sacred or the profane, sired by reality or supplemented by
the artist's inmagination. One artist who was attuned with nature was Vincent van Gogh.
He saw art and nature as inseparable,often finding solace and happiness in painting
in (working in the middle of unspoiled fields) and painting from
it
(landscapes). In a it

letter to his he wrote ".if felt no love for nature and my work, then
brotherTheo, I
would be unhappy." (Van Gogh Museum, 1882)

Vincentv
Public kormaial vla Wikrmedia Commons

Figure 28. Vincent van Gogh, "Die Ebene von Auvers" (Wheat Fields Near Auvers) (1890). Oil on canvas.
Österreichische Galerie Belvedere Collection.

43
Other artists with a considerablenumber of landscapes and seascapes are Claude

t,
Arusts
amille Pissarro, Paul Cézanne, and
JMW Turner. In the Philippines, National
for Painting Fernando Amorsolo and Fabian de la Rosa gained prominençe
from their painted rural scenes such as women in the fields gathering harvest.

Jan van Kessel the Elder

who did
numerous
Breaking nature into smaller parts is
of
still lives and and scientific illustrations flowers,
small-scale, highly detailed studies,
insects,shells, fruits, garlands, and bouquets.

Jan van Kessel the Elder [Publicdomain]. via Wikimedia Commons

"A Cockchafer, Beetle, Woodlice and Other Insects, with a of Auricula"

Figure 29. Jan van Kessel, Sprig (early

1650s). Oll on copper. Museum

of Art and Archaeology. University of Oxford Collectio.

Greek and Roman mythology were also ripe with references:from episodes that
to heroic encounters and Aeneas; warnings about
of Achilles
transport the viewer
the wit and cunning of Odysseus; the beauty of
man's folly like the vanity of lcarus;

Aphrodite and
the athleticism oft Myron. From narrations in literature, artists, on
and Roman deities or the gods and goddesses whose
n
other hand,gave faces to Greek
as those of men. Some of the art forms they took on were
fatesare seemingly as tragic
wall paintings or
frescos and sculptural works such as busts, statuaries, and ceramics

and among others.

pottery,

A4
yBennison

Figure 30."Discobolus" (Roman, 2nd CenturyAD), after a Greek original by the sculptor Myron of 450-440 BC
British Museum Collection, London.

Another integral aspect of human life the distinct relationship with a higher
is

controlling power. If the belief

system of Greeks and Romans was polytheism with a
multitude of gods and goddesses, the Judeo-Christian tradition stems from a belief
ina lone creator of the universe or what is called monotheism. This tradition had an
immense influencein Western civilization especially in art. Guided by a host of styles
and techniques, various media and at forms were also experimented with:
paintings
frescos, church architecture plan of the space, stained glass windows,
(over-all

tabernacles,and altars), sarcophagus, icons and other carvings, vestments, tapestry.

iluminated manuscripts, and other sacred scriptures, among others.

Commissioned by Pope Julius 1,the intricate fresco that lines the Sistine Chapel
was created by Michelangelo. The immense detail and vast surface he had to cover
had him working on from 1508 to 1512
it

Michelangeio0c BY SA30(htps:/creativecommons. censes/by sa/3.0}via

Wikimedia Commons

Figure 31. Michelangelo, "Sistine Chapel" (1508-1512)

45
Unlike in Islam for were allowed to
example, practicing Jews and Christians depid
depict
their God and other important biblical visual foundations in
figures: laying inculcating
ulcating
the faith. But
perhaps the influence of this tradition is most intriguingly manifested
stedin
in
the architectural
marvels that are spread out all over the world.

ne
rormative years of church architecture can be traced in the fourth and
fifth

century but different styles and plans were developed since then. Prevailing ideas
and
became resources that to reimagine what
were used by architects
piosophies the
should look For
instance, Gothic churches
like. were characterized bythree
church
things: soaring heights
(ceilings), volume (flying buttressesand ribbed vaults), and
light
(bright stained glass windows,
airy and pleasant interiors). Gothic style architecture
is often attributed as the brainchild of Abbot Suger. There is a definitive sense
that
pointed to the feeling of awe on the part of the believer and the
percelved majesty and
power of God-all of which happened the time when religion was at the
during heart
of everyday This echoes her
life. belief that "art was central to religious
experience.

Canaletto [Pablic domain,via Wikimedia Commons

Figure 32. Interior of Westminster

Proceeding from a kind of a hybrid between literature and sacred text is India's

miniature paintings. In Central was produced was deeply

lIndia, the kind of art that

rooted in Vedic texts such as Upanishads, Puranas, and other important texts like
the Sanskrit epics Mahabharata and Ramayana. Indian artists had a wide array of

A6
materials to work with in
showcasing not just their artistry and skill. The significanceof
these paintings rests on its
ability to foster devotion and the observance of a code of
ethics through the visualizations of heroic narratives. These paintings were smal but
were highly and employed a good contrastof colors. Some artists
pictorial, stylized,
included verse from the
also
epics as part of the cartouche which added interest and
meaning to the paintings.

By Hunhar Pu domain yia Wikimedia Commons

Figure 33. "Shah Jahan Receiving Dara Shikoh," Folio from the Late Shah Jahan Album (circa 1650). Watercolor,
Opaque watercolor, gold, and ink on paper. Nasli and Alice Heeramaneck Collection, Museum Associates Purchase.

Historically significant events particularly in the affairs of humanity are abundant

references for art production.From early breakthroughs such as the discovery of fire
and the overthrow of geocentrictheory in favorof a sun-centered universe,succeeding
advancements brought about by discovery,innovation,and man's incessant search
for glory plotted a dynamic course of history.

47
domain), via Wikimedia Commons
Francisco de Goya Public

de Goya, "El Tres de Mayo" (1814)Oil on Museo Prado Collection.

Figure 34. Francisco canvas. del

An example is Goya's EI Tres de Mayo which captures the death of Madrilenes,the

localinsurgentsduring the PeninsularVWar. Former allies in the overrun of Portugal and
France turned againstSpain. Napoleonic forcesinvaded Madrid without much
difficulty
and the painting captures thedramatic demise of its people under a firing squad.

History, as a resource for artists in search of subjects, brings into

consideration
events that and sometimes even common or shared in world context:the
are familiar

establishment of nations and states (discovery, conquests, and colonization), and the
resulting ideologiesthat they breed (democracy, liberty, freedom, and rights). These
works serve as documentary and commemorative artworksthat illustrate subjects such
as important leaders and figures; events as they were recorded to have happened;
and representationsof ideologies or values.

In importantto remember that the source and kind of subjects

the history ofart, it is

were not merely a product of the artist's inclination and choice.A closerexamination of
the various art movements and artworks created within those movements will indicate
that notions of freedom and independence, which are presumed to be enjoyed by
artists, were not without limits or restrictions. For instance,a particular kind of subject

and the way is visually translated may be traced in relation to the art patrons (those
it

who commission the artworks), the favored artistic style and canon, and more
the norms and trends prevailing in the artist's milieu.
importantly,

48
During the Spanish colonial period in the Philippines, art was predominantly
representational. During the first century of their dominance, art came as an aid for

communication a means of propagating religion to locals who spoke a different

language. The visual arts, from paintings sculpturessuch as santos and other
to early

votive figures and icons,were created to assist Catholic ministry. Existing art and craft

traditions persisted, with some augmented and infused with foreign influencesthat
were not limited to the Spanish culture through contact.
The momentum that secular (or non-religious) gained in the nineteenth
art later

century can also be attributed to this contact, with the opening of the Suez Canal and
the growth of export economy The consequence of these developments
in agriculture.
was the rise of the middle class. With their new-found economic and social mobility,
patrons of the art were no longer limited to the clergy, but brought about a demand
coming from these wealthy ilustrado families. Of interest was the increase in demand
for commissioned portraits (of an individual or an entire family), finding necessary it

to document themselves in light of their elevated status. Wearing the most intricate

and elaborate of garbs, significant adornments such as jewelry and embroidered

implements, among others, completed the intended narrative. This artistic trend
cemented the distinction of artists such as Simon Flores, JustinianoAscuncion, and
Antonio Malantic who became the foremost portraitists of the time. Here, it is evident
how during the Spanish colonial period, the subjects of artworks,even the manner in
which they are translated, were mostly dictated by the patrons who commission them
for religious and secular art.

Content in Art

As outlined in the beginning,in discussingworks of art, the subjectmay simply be

referred to as the 'what-what is readily seen and relates to the artwork,its inspiration,
and the many kinds of translation. But apart from what is made explicit, to recognize
and grasp the message of the artwork,the viewer may sometimes need to go beyond
what is visible. Why was the artwork created in the first place? When this question is
asked, we are the meaning or message that is expressed or communicated by
after

the artwork. One of the foremost scholars that expounded on content analysisor how
meaning is arived at is art historian Erwin Panofsky in his seminal work Meaning in
the Visual Arts (1983). His methodology will be later identified as lconology through
the interpretation of iconography.

To take on the challenge of understanding the content of art, it must be

reiterated
there are various of meaning. Perhaps the most common is what we call
levels
that
factual meaning. This pertains to the most be
rudimentary level of meaning for it may
from the identifiable or recognizable forms in theartwork and
extracted understanding
now these elements relate to one another. Conventional meaning, on the otherhand,

49
pertains to the acknowledged interpretation of the artwork using motifs, signs,symbols
and other cyphers as bases conventions are established through
ofits meaning. These
time, strengthened by recurrent use and wide acceptance by its viewers or audience
and scholars who study them. Finally, when subjectivities are consulted, a variety of
meaning may arise when a particular work of art is read. These meanings stem from
the viewer's or audience's circumstances that come into play when engaging with
art. When at a particular painting for example, perception and meaning are
looking

always informed (and even colored)by a manifoldof contexts:what we know; what we

learned;what we experienced; and thevalues we stand for. It is therefore expected that
meaning may not be singular; rather, a painting may communicate multiple meanings
to its many viewers. This is what we call
subjectivemeaning of art.

By Jorg Bittner Unna (Own work)CC BYao (htp://creativecommensorglsenses.bykBO,

Commons
AWIimedh
35. Michelangelo, "Creation of from the ceiling of the Sistine
Figure Adam Chapel

Michelangelo's "Creationof Adam" can be read using various levels of meaning

previouslydiscussed, There, Adam is figured
with an aged God, both of them
with an
arm stretched and their respectiveindex fingers appearing to be fixed at an impending
contact.Apart from God who is wearing a tunic, everyone else is in the nude, God is
afloat, surrounded by drapery and figures presumed to be angels and cherubs. Adam

on the other hand is earth-bound, siting and reclined, positioned diagonally parallel
to that of God. From a factual perspective, Michelangelo depicted a scene from the

Creation Story, in particular, the creation of man. Apart from being a key element of
at the ceiling of the Chapel, the subjectmatter suggests
Michelangelo's fresco
Sistine

that this is an example of biblical art.

This work is indeed iconic, and this is asserted by the conventional meanings

attached to it. Here, theposes of God and Adam (convex and concave
specific
to the correspondence of the body and the
postures, respectively) allude commonly
held belief that man was created image and likeness of God. During this time,
in the

50
the ideals of humanism were underscored and the arts and sciences were furthered.
Itis therefore understandable that the classical canons of the form of the body (ideally

proportioned and muscular) are portrayed,especially by Michelangelo who was first

and foremost a sculptor. Here, the view is that the greatness of old civilizations such
as that of the Greeks and the Romans may not only be replicated, but even surpassed.
Some scholars noted how Michelangelo exhibited just that--an elevated artistry
art
in that the dynamism and energy of thefigures in the frescoes in the Sistine chapel are
unlike the works of predecessors.

An interesting overlap between the conventionaland subjectivemeanings is the

Frank Lynn Meshberger, whose published essay appeared
proposalfrom gynecologist
in the October 1990 issue of the Journal
of American Medical Association.Written was
his theory that an image and a message were hidden in plain sight: how the silhouette
the and the drapery that trail behind, all seemingly align with the shape
of God, shroud
of the human brain.
According to Meshberger, the work can also be aptly called "The
Endowment of Adam for it brought to light that as God's creation, the most important
qualities imparted to man was intellect. Like most Renaissance artists, Michelangelo
unlocked the secrets and precision of human anatomy assisting in dissections
during
his time. For Meshberger, it was with his medical background and
perhaps exposure
to art and history that allow him to catch the
symbol, hidden in Michelangelo's work.

Let's Wrap It Up

There is sense of panic when one is confounded with the question, "What am
seeing?" or rather, "What am supposed to see?" Perhaps, addressing this stigma
I
i
the first
step in inviting more Filipinos to engage with art and have a more enduring
appreciation for it.

In gaining the basics of deciphering the subject and content of art, it is hoped
that an individual's sensitivity and perceptiveness to art will be developed. As was
discussed the chapter, one may begin by looking at perceivable features of the
in

wll provide clues as to what the intended

artwork.Taking note of what is apparent
meaning of the artist might be. Knowing more about the context of its creation--from
the artist's inspiration, reference or source, will prove useful in
understanding the
of the one must forget that each viewer is armed with
meaning artwork. However,
his or her experience, background and education. These will assist in out fleshing
different levels of meaning that maybe derived from the artwork. These might not be
as evident as say, the figures depicted on the surface; however, these alternative
readings contribute to the significance of the artwork.

The majority ofthe public are consumers and not producers ofart, and so ensuring
the readiness ofthe public to not only
successfullyengage with the art, but meaningfully
do so, is the primary functionof art appreciationand education.Throughout this book,

51
t is hoped that the specialized language of art will unfold for the learning pleasure of

the students, enabling theease and encouraging the predilection of engaging

with at
through its description, analysis, interpretation, and even critique.

Let's Work on This

1. What are the hurdles of accessing art in terms of its subjectand content?

2. Where do artists source their subjects?

3.
3. Name an example of an artwork and speculate on the content
of the
artwork based on its factual, conventional, and subjective meanings.

52