Look at this image of the Sto. Nino.

What in the poem "Ode on a Grecian Urn," John Keats writes on

does this tell us of the Spaniards who transforming the instantaneous into the permanent. The
introduced Christianity to us? How then Is paintings outside the Greel< vase show beauty (and truth)
culture related to art? frozen In time.
Sto. Nifio of Carmelite Chapel and Monastery,
Camaman-an Hill, Cagayan de Oro City
Photo ©Cathelyn Adajar.

T h i s is a s t a n z a from J o h n Keats' Ode on a Grecian Urn. Read and f i n d out h o w t h i s

u r n w i t h its paintings can " t r a n s f o r m the instantaneous into the permanent".

Bold Lover, never, never canst thou k i s s ,

T h o u g h w i n n i n g near the goal—yet, do not grieve;

She cannot fade, though t h o u h a s t not t h y bliss,

For ever w i l t t h o u love, a n d she be fair!

For f u r t h e r discussion on the poem s t a n z a :

1. Who are the two characters from these hnes?

2. W h a t is the situation?
3. W h y did the persona say "do not grieve"?
4. W h y did the persona say "She cannot fade"?
5. W h a t does this poem tell us about " F O R E V E R " ?

READING THE IMAGE

Alice G . Guillermo .» . !, , ,

Objectives:
1. To analyze the various ways i n w h i c h images impart ideas and values to people and
consequently heighten their sensitivity to a visual environment
2. To sharpen one's consciousness of the transformative power of art

ART APPRECIATION
15
A t every t u r n , we are surrounded by images on billboards, paintings, sculptures,
drawings, i l l u s t r a t i o n s , p r i n t s , cartoons, posters, m u r a l s , photographs, film, and
computer graphics. T h e y are conveyed through various media - oil, acrylic, watercolor
sculptural m a t e r i a l s , f i l m , m i x e d media, a n d others, a l l of w h i c h have t h e i r o w n
techniques, processes a n d technical approaches to image-making. Understanding a r t
has to do w i t h "reading" the v i s u a l work as a re-presentation of the world, a n a r t i s t i c
construct a n d s i g n i f y i n g practice conveying a complex of ideas, feelings, values, attitudes,
moods, a n d atmospheres that derive from world views a n d ideologies.

Since a r t is a v i t a l p a r t of our lives, it is i m p o r t a n t for us to k n o w a n d understand it

better. Exposure to different k i n d s of a r t forms a n d the practice of w r i t i n g on a r t can
lead to the formulation of methods of a n a l y z i n g i t . T h u s , t h i s introductory essay is a n
effort at shaping a method of analysis. I t is basically a semiotic approach, w h i c h is able
to show how the m a t e r i a l and ideational aspects are closely i n t e r l i n k e d , i f not fused,
i n the work of a r t . L i k e w i s e , t h i s simple semiotic approach goes beyond the formalist
v i e w w h i c h l i m i t s itself to the f o r m a l premises of the work; rather, it advances a broader
aesthetics i n w h i c h the w o r k is situated w i t h i n the coordinates of society a n d h i s t o r y i n
a dynamic relationship of engagement.

Each v i s u a l a r t f o r m has its o w n technical standards of excellence, i n v o l v i n g the

choice and use of a m e d i u m w i t h its p a r t i c u l a r properties and suitable techniques.
Because of t h i s , it is necessary to f a m i l i a r i z e oneself w i t h the

different a r t mediums and techniques through the observation of processes. I t is

essential to understand the mediums and processes involved i n a r t - m a k i n g because
these enter into the meaning of the work.

One can take a practical approach for a p r e l i m i n a r y understanding of the v i s u a l work,

such as a painting. We can begin by going through the basic documentary information
about the work. T h i s k i n d of i n f o r m a t i o n is provided by museums, galleries, a n d other
exhibit venues i n catalogues, brochures, and a r t i s t folios.

Title of the work. T h e title may be significant or i m m a t e r i a l to the meaning of the

work; it is a t e x t u a l element w h i c h may or may not contribute to its meaning. W h a t
is the relation of the title to the work? I t can be a simple label i d e n t i f y i n g the subject,
i n w h i c h case it is merely a convenient n a m i n g device. A t times, however, it bears a n
ironic relationship to the work or m a y c a r r y a sly or w i t t y comment about the w o r k or its
subject. I f significant, the title adds a l i t e r a r y dimension to the work i n the interplay of
the v i s u a l a n d the literary. JtJ e^Jitrt

Artist's name. T h i s brings i n biographical data: To w h a t generation does the a r t i s t

belong? W h o are h i s peers? W h a t were the 'dominant a r t i s t i c trends d u r i n g h i s active
years? W h a t is his personal background a n d t r a i n i n g ? D i d he keep records, diaries, or did
he publish statements w h i c h may shed light on h i s art?!

16 A R T APPRECIATION
Medium and techniques. F i r s t of a l l , t h i s requires t h a t the work be identified as a t w o -
dimensional or a t h r e e - d i m e n s i o n a l work. T w o - d i m e n s i o n a l w o r k s include drawings,
illustrations, paintings, p r i n t s , posters, flat tapestries a n d w a l l hangings, mosaics, mats,
textile paintings (such as batik, glass drawings, or paintings), and any other w o r k w h i c h
is reckoned i n t e r m s of length a n d w i d t h . A l l these forms resist academic hierarchization
since they each have t h e i r o w n standards of a r t i s t i c excellence.

T h r e e - d i m e n s i o n a l forms include sculptures i n various m a t e r i a l s , such as wood,

stone, m e t a l , glass, or they m a y be assemblages of found objects or j u n k p a r t s .
I n s t a l l a t i o n s made of different materials composed w i t h i n a defined space also f a l l under
t h r e e - d i m e n s i o n a l w o r k s . M u c h of folk a r t , such as clay pottery a n d baskets combining
design and f u n c t i o n , are t h r e e - d i m e n s i o n a l i n form. T h i s is also t r u e for indigenous
r i t u a l objects made by wood c a r v i n g , such as the Ifugao bulul.

T h e documentation identifies the m e d i u m a n d sometimes the techniques. I s the

medium academic or conventional, or does it involve a r t i s t i c choice to a greater degree,
as i n m i x e d media or multimedia? L i k e w i s e , there should be a keen awareness of the
painting, sculpture, p r i n t , or other f o r m not j u s t as a completed w o r k but also as a r t i s t i c
process i n v o l v i n g p a r t i c u l a r materials a n d techniques a n d produced under p a r t i c u l a r
social conditions of productions, both personal and social. I t is also necessary to have
knowledge of the properties a n d l i m i t a t i o n s of the different k i n d s of media and their
techniques. For m a t e r i a l s a n d techniques are also conveyors of m e a n i n g a n d not just
superficial or i n c i d e n t a l aspects of the work. T e c h n i c a l innovations do not or should
not e x i s t only for themselves i n the sheer interest of novelty, but should be p a r t of the
work's total meaning. T h e use of indigenous m a t e r i a l s evokes the n a t u r a l and f a m i l i a r
environment and precludes the sense of alienation experienced by o r d i n a r y viewers
before a r t w o r k s made f r o m inaccessible specialist m a t e r i a l s .

A note m u s t be added regarding the ground of a painting. T h e r e are occasions i n

w h i c h description of the ground requires greater specificity t h a n merely canvas, paper,
or wood panel. Different k i n d s of cloth, canvas, a n d wood have been used as ground at
different periods and, as such, they a i d i n s i t u a t i n g the w o r k i n a p a r t i c u l a r time a n d
place. I t is also u s e f u l to identify the p a r t i c u l a r k i n d of paper used, such as the different
art papers a n d hand-made paper produced from a wide v a r i e t y of organic m a t e r i a l s .
T h i s also goes for the pigments and coloring substances, t h e i r compositions a n d origins,
as w e l l as the tools used i n the t e c h n i c a l execution. I t is l i k e w i s e i m p o r t a n t to note
that w i t h the advances i n communications technology, a r t media are continually being
enriched, as i n the use of computers i n digital imaging.

Dimensions, or measurements. T w o - d i m e n s i o n a l works are measured i n length a n d

width; t h r e e - d i m e n s i o n a l w o r k s , i n t e r m s of length, w i d t h , and volume. T h e dimensions
as now measured i n the m e t r i c system may be large scale, m u r a l size, big, average, s m a l l ,
or m i n i a t u r e size. T h e extreme poles of v e r y large a n d v e r y s m a l l are u s u a l l y significant
to the m e a n i n g of the work. One of the smallest paintings on record is t h a t painted on

ART APPRECIATION
17
a g r a i n of rice. I n the n i n e t e e n t h century, m i n i a t u r e paintings of religious subjects and economic,
secular p o r t r a i t s enjoyed a fashion. T h e h i s t o r i c a l a n d mythological paintings of the able to fully
European academies, abstract expressionist w o r k s , and street m u r a l s are large i n scale. w i l l not lead
Some large-scale works are meant to envelop and saturate the spectator i n color fields; study of the
others seek to draw the viewer into the dynamic movements w i t h i n the painting. M u r a l s v i s u a l work as«
t h a t have a n essentially public character seek to address a large open-air crowd regarding this uniquer
issues and concerns of social a n d political importance. I n the case of i n s t a l l a t i o n s , resources of;
however, dimensions may be variable i n relation to t h e i r different sites. of a work is i
reduces m e a n i j
^1 T h e format of the w o r k is p a r t of its dimensions. T h e u s u a l rectangular format of
a complex o f i i
a p a i n t i n g m a y not hold any significance. Symbolism m a y come into play, however, i n a
and to w h i c h I
square, circular, or i r r e g u l a r format. A modular sculpture w i t h exchangeable elements
artistic expc
may manifest architectural concepts. Montage-like, w i t h the influence of the cinematic
the a r t w o r k ,
image, the p a i n t i n g m a y consist of several panels i n juxtaposition. Some contemporary
a range of pos
w o r k s may borrow the format of early Renaissance paintings, as i n diptychs or t r i p t y c h s
suggests sei
or w i t h a p r i n c i p a l image bordered by a predella, or sections p o r t r a y i n g a n a r r a t i v e
T h e analy
sequence.
' fcad to a
Date of the work. T h e date, often the year, i n w h i c h the w o r k was completed situates purely subjc
the work i n a period t h a t provides the h i s t o r i c a l context of the work. W h a t were the
predominant issues, concerns, a n d trends of the period? T h e work is viewed i n relation
H a v i n g ta
to w o r k s of the same period by the same a r t i s t or by other a r t i s t s . L i k e w i s e , it provides
work, we t h e n ]
i n f o r m a t i o n as to w h a t period of the artist's development the work belongs, whether to
contextual,.
the early, middle, or late period of h i s or her career. Finally, the date of the work situates
it i n a r t h i s t o r y : Does it belong to a p a r t i c u l a r t r e n d , school, or environment? W h a t does
THE BASIC SE
it contribute to a r t h i s t o r y ? ioi^^^c >

Provenance. T h i s is indicated by the name of the present owner or collector of the Semiotics 1
of art is the ice
work; it can belong to a m u s e u m , gallery, or p a r t of a private collection. A work, i n fact,
aspect, and i t s '
should have a record of provenance f r o m the present owner to former owners a n d to the
is the " r e f e r e n t i
artist.
two-dimensic
O f course, one m a y not immediately f i n d the answers to a l l these questions.
in which all pi
Understanding a w o r k of a r t m a y involve a great deal of research. Moreover, the m e a n i n g signifiers that
of a n i m p o r t a n t work can grow w i t h t i m e , as v i e w i n g it becomes a process of continual to each other,
discovery w h i c h is p a r t of the pleasure that a r t gives. potential is
II T h e basic
L e t us begin w i t h the basic premise that there are two interrelated aspects i n the aspects of t h e '
study of a r t . T h e f i r s t is t h a t a r t has its specificity, t h a t i s , its p a r t i c u l a r language or v i s u a l element
vocabulary that has to do w i t h the media, techniques, a n d v i s u a l elements of a r t and other physical |
t h a t constitute it as a d i s t i n c t area of h u m a n knowledge and s i g n i f y i n g practice. T h i s is Visual eler
not j u s t w h a t is commonly called the f o r m a l aspect of a r t , but it is w h a t constitutes a r t space, moveme
as a p a r t i c u l a r h u m a n a c t i v i t y different from the others. T h e other aspect is t h a t a r t , realized, conf
w h i l e it has its specificity, is at the same time h i s t o r i c a l l y situated a n d shaped by social. work. W h i l e el

ART APPRECIATION ART APPRBCIATIOH J

and political forces. B o t h these aspects need to be t a k e n into account to be
to fully understand and appreciate a r t . For a study of the f o r m a l elements alone
not lead to a f u l l understanding of the work, i n the same way t h a t the exclusive
of the social determinants r i s k s collapsing the a r t i s t i c into the sociological. A
work as a n iconic or pictorial sign has a unique a n d highly nuanced meaning, a n d
aniqueness and semantic richness arise f r o m the o r i g i n a l use of the elements and
:es of art. Needless to say, the meaning, signification, or system of significations
ipork is not statemental, nor is the understanding of a work a reductive process that
meaning to a s u m m a r y , statement, or single insight or message. Meaning i n a r t is
of intellectual, emotional, a n d sensory significations, w h i c h the work conveys
to w h i c h the viewer responds, b r i n g i n g i n the breadth of his c u l t u r a l background,
exposure and t r a i n i n g , and h u m a n experience i n a dialogic relationship w i t h
a r t w o r k . One may speak of a work's "horizon of meaning" (Eagleton 1991), i m p l y i n g
of possible significations t h a t a w o r k may accommodate, the same time t h a t it
semantic parameters.

The analytic study of the various elements a n d m a t e r i a l features of the work should
" to a more stable a n d consensual field of meaning, away from erratic, w h i m s i c a l ,
subjective, and impressionistic readings.
Ill
'- i ' . i n g t a k e n note of the i n f o r m a t i o n provided by the basic documentation of the
we then proceed to the four planes of analysis: the basic semiotic, the ionic, the
a l , and the evaluative planes.

RASIC SEMIOTIC PLANE

-^miotics here is used i n its basic formulation for the study of "signs." Here the work
the iconic or pictorial sign. A sign consists of a "signifier," or its m a t e r i a l / physical
c and its "signified," or n o n m a t e r i a l aspect, as concept and value. Related to these
^ t*»e 'referent," or object as it exists i n the real world. A v i s u a l work, whether i t be a
- - d i m e n s i o n a l pictorial plane or a three-dimensional body, is a n embodiment of signs
<iitich a l l physical or m a t e r i a l m a r k s and traces, elements, figures, a n d notations, are
~~i!hers that bear a semantic or meaning-conveying potential and w h i c h , i n relation
^ach other, convey concepts a n d values w h i c h are t h e i r signified. T h e i r semantic
- s t i a l is realized i n the analysis or reading of the integral work.

The basic semiotic plane covers the elements a n d the general technical a n d physical
asoects of the work w i t h their semantic meaning-conveying potential. I t includes (1)
-ssai elements, (2) choice of m e d i u m and technique, (3) format of the work a n d (4)
physical properties and m a r k s .
rual elements. These refer to l i n e , value, color, t e x t u r e , shape, composition i n
^ • C E , movement-and how they are used. Each element has a meaning potential t h a t i s
i - D e d , confirmed, a n d verified i n relation to the other elements f o r m i n g the t e x t of the
rk. W h i l e elements u s u a l l y reinforce one another, there can also e x i s t contrasting or

ArruciATioN
19
contradictory relationships, w h i c h may be p a r t of the meaning of a work. T h e elements
and a l l m a t e r i a l features are t h u s to be viewed i n a highly relational m a n n e r a n d not
isolated or compartmentalized.

Choice of medium and technique. I n a contemporary a r t , m e d i u m enters more a n d more

into the meaning of the work. W h i l e the European academies or salons of the nineteenth
century decreed the choice determined less by its availability as by its semantic potential.
For instance, handmade paper w i t h its organic allure, irregularities of t e x t u r e , and
uneven edges is favored by a number of a r t i s t s because it bears significations conveying
the uniquely personal, h u m a n , and i n t i m a t e , i n contrast to mass-produced standard
paper. Technique, of course, goes h a n d i n h a n d w i t h the nature of the medium. L i k e w i s e ,
there are techniques that valorize the values of spontaneity a n d the play of chance and
accident, w h i l e there are those t h a t emphasize order a n d control.

Format of the work. T h e v e r y format of the work participates i n its meaning. Again,
i n contemporary a r t , format is no longer purely conventional but becomes laden w i t h
meaning. For instance, the choice of a square canvas is no longer a r b i t r a r y but enter
into the meaning of the work as a symbolic element, the square s i g n i f y i n g mathematica.
order a n d precision. ' • = » ;n

Other physical properties and marks of the work. Notations, traces, textural features, marks
(whether random or intentional) are part of the significations of the work.

T h e elements of the v i s u a l arts derive t h e i r semantic, or meaning-conveying

potential, from two large sources, namely, (1) h u m a n psychophysical experiences
(psychological and physical / sensory), w h i c h are commonly shared; and (2) the socio-
c u l t u r a l conventions of a p a r t i c u l a r society and period (Matejka and T i t u n i k 1976). A s
h u m a n beings, our sensory a n d physical experiences i n general are i n t i m a t e l y fused w i t h
our psychological conditions a n d processes. A m o n g our basic psychophysical experiences
involve those of the changing light of day and night, of w a r m t h a n d cold, of weight
gravity, relative distance, pleasure and p a i n , w i t h the complex intellectual and emotio
associations that go w i t h these. Because of these h u m a n l y shared experiences, it is oft
possible to arrive at a general agreement of w h a t these elements and their usage conv
i n a w o r k of a r t .

T h e semantic potential of line, for instance, does not merely lie i n its orientation
h o r i z o n t a l , v e r t i c a l , diagonal, or c u r v i l i n e a r , but also i n its v e r y quality, its t h i c k n
or t h i n n e s s , density a n d porosity, regularity or irregularity, its production by even
uneven pressure on a surface, as w e l l as qualities determined by the i n s t r u m e n t produc'
it. A line made by a technical pen signifies a set of concepts a n d values different f r
that made by a stick of charcoal. L i k e w i s e , the different orientations of l i n e derive t h
meaning from the positions of the body. A sleep or at rest, one is i n a h o r i z o n t a l positi
i n readiness, v e r t i c a l ; a n d i n action, diagonal. I n dance, one creates curved lines i n spa
w i t h one's body a n d l i m b s .

ART APPRBCIATI
20
\

O u r sense of t o n a l values f r o m light through shades of gray to dark comes from our
experience of the cycle of night and day, f r o m early d a w n through the gradual series of
light changes i n the course of the day u n t i l evening to darkest night. These changes i n the
light and dark or our environment have always affected us psychologically; i n general,
d a w n ushers i n bright o p t i m i s m , w h i l e night creates a sense of mystery, melancholy,
and respite. I n our perception of color around us, w a r m hues that seem to advance are
associated w i t h h u m a n w a r m t h , congeniality, openness, and spontaneity, w h i l e cool
hues t h a t seem to recede are associated w i t h remoteness, self-containment, quietness,
and restraint. Shapes are also l i n k e d to our physical experiences. Geometric shapes,
whether t w o — o r three-dimensional, are measurable a n d circumscribed. Organic shapes
are d r a w n from n a t u r a l l i v i n g a n d growing forms, w h i l e free shapes project, expand a n d
contract i n a l l directions. T e x t u r e is associated w i t h experiences of pleasure and p a i n ,
pleasantness and unpleasantness, i n tactile sensations of h a r d and soft, smooth a n d
rough, s i l k y and gritty. Movement i n the v i s u a l a r t , whether implied or actual, parallels
h u m a n experiences of movement w i t h our o w n bodies or i n relation to things around us.
R h y t h m is part of the body's processes as a n organic whole. O u r sense of composition is
affected by gravity and the relative weights of things, as w e l l as our physical experience
of bodies m a s s i n g , crowding, or i n isolation a n d apartness. I t is also determined by our
sense of the relationship between figures or objects, as w e l l as between figures or objects
and t h e i r ground, as w e l l as the intervallic spaces w i t h i n a given design or field. W h i l e
allowing for a range of differences i n sense perception due to geography a n d climate
(tropical or temperate), it is possible to assume a c e r t a i n degree of u n i v e r s a l i t y i n the
h u m a n response to the elements of a r t .

J u s t as i m p o r t a n t , the meaning-conveying potential of the elements also comes

from t h e i r socio-cultural context w i t h its conventions involve social codes a n d symbolic
systems commonly shared by members of a society or group. Codifying systems include
those of color, for instance, where apart f r o m the significations d r a w n from the basic
psychophysical associations, they acquire socially derived meanings. For the various hues
possess differential semantic inflections i n different societies. A common example is
olack, w h i c h is the color of m o u r n i n g i n W e s t e r n or Western-influenced societies, while it
. 5 white i n m a n y A s i a n societies. L i k e w i s e , groups and societies have their o w n chromatic
;odes that have to do w i t h the range of hues w i t h t h e i r tones a n d saturations t h a t operate
.n their a r t w i t h prevalent or favored color combinations. For instance, the chromatic
rode used by a r t i s t s i n u r b a n areas has been largely determined by the s t a n d a r d sets of
rolors i n d u s t r i a l l y produced i n the West. O n the other h a n d , the chromatic codes of the
ultural communities are determined by their lore of local dyes derived from available
r.ants and m i n e r a l s . Each c u l t u r a l community has its o w n p a r t i c u l a r chromatic code
: ecause it has its o w n lore of dyes, although there m a y be general similarities between a
imber of communities. B y b r i n g i n g out the distinctiveness of each, one does not lump

I
digenous a r t i s t i c qualities into one homogenous category, noil J •

An APPRECIATION
Conventions m a y also include formats, as i n the Chinese h o r i z o n t a l or v e r t i c a l
hanging scroll. T h e different w r i t i n g conventions i n different societies may influence
composition i n space. A l s o i m p o r t a n t are c u l t u r a l conventions i n the use of space that
is l i n k e d w i t h world v i e w s . T h e r e i s , for instance, the dialogue between figure a n d space
i n the arts of C h i n a a n d J a p a n , on one h a n d , and the phenomenon of horror v a c u i i n the
arts of I n d i a a n d Southeast A s i a , on the other. I n abstract a r t , i t i s the basic semiotic
plane w h i c h alone operates i n general, but i n figurative a r t , one proceeds to t w o other
planes.

According to de Saussure (1974), m e a n i n g i s produced from the interplay of the

signifiers of the work. Following t h i s , a number of observations arise. T h e f i r s t i s that
a r t i s t i c analysis takes into account not only the elements but also other m a t e r i a l aspects,
such as dimension, format, m e d i u m , frame, a n d techniques, as signifiers or conveyors
of meaning. T h e second is that there is developed a finer a n d more sensitive perception
of the elements as they are specifically and m a t e r i a l l y found i n a p a r t i c u l a r work. Line,
for instance, i s not j u s t seen i n its v e r t i c a l , h o r i z o n t a l , or diagonal orientation, but i s
e x a m i n e d i n its p a r t i c u l a r properties of density, porosity, relative sharpness, a n d other
such matters. T h i r d , the elements are not studied i n a sequential a n d compartmentalized
m a n n e r but i n a highly relational a n d interactive way i n w h i c h the use of line, color,
texture, a n d composition i n space confirms or verifies meanings or create semantic
relationship of s i m i l a r i t y or contrast. A n d f o u r t h , the signifiers go h a n d i n h a n d w i t h
their signifieds, and thus one does not l i m i t oneself to a description of the elements i n
the way they are used; one, instead, l i n k s t h e i r particularities of usage w i t h t h e i r p r i m a r y
significations based on h u m a n psychophysical experiences, as w e l l as t h e i r i n t e l l e c t u a l
a n d emotional associations w i t h i n the society. I n the images of the a r t and the media,
the use of the elements affects us s u b l i m i n a l l y or unconsciously a n d , especially i n the
media, i s p a r t of w h a t have been called the "hidden persuaders" t h a t influence choice
and behavior. However, i t i s i n a r t c r i t i c i s m t h a t we become highly conscious of the
means and t h e i r effects a n d w h a t they signify. I t is also i n semiotic analysis that we work
w i t h i n the specific language of a r t . I n contrast, the classical approach often overlooks
the basic language of a r t and bears heavily on the image, its iconography a n d descriptive
details, as w e l l as its iconology a n d its narratives.

THE ICONIC PLANE, OR THE IMAGE ITSELF

T h i s level is s t i l l p a r t of the semiotic approach since it is s t i l l based on the signifier-

signified relationship. Here, however, it is not the m a t e r i a l elements of the work t h a t are
dealt w i t h as i n the semiotic plane; it has to do w i t h the p a r t i c u l a r features, aspects, a n d
qualities of the image, w h i c h are t h e second-level signifiers. T h e image is regarded as
a n "iconic sign," w h i c h means - beyond its n a r r o w association w i t h religious images i n
the B y z a n t i n e style - t h a t is unique sign w i t h a unique, p a r t i c u l a r , and highly nuanced
meaning, as different from a conventional sign, such as t r a f f i c or street sign t h a t has a
single literal m e a n i n g agreed upon by social convention.

A R T APPRECIATION
1 T h e iconic plane includes the choice of the subject, w h i c h may bear social and political
implications. A n example i n a r t h i s t o r y is the F r e n c h realist a r t i s t Gustave Courbets'
choice of workers a n d o r d i n a r y people i n h i s paintings, instead of the O l y m p i a n gods
and goddesses or heroes from Greek and R o m a n antiquity that were the staple of classical
and academic a r t up to the nineteenth century. We can ask the questions: Is the subject
m e a n i n g f u l i n terms of the socio-cultural context? Does it reflect or have a bearing on
the values a n d ideologies a r i s i n g i n a p a r t i c u l a r place and time?

One proceeds to consider the presentation of the image and its relationship to the
viewer. I f the subject is a h u m a n figure, does it address the viewer directly or is i t self-
contained or self-absorbed? W h a t k i n d of subject-viewer relationship is implied by the
subject through his facial expression, body language, costume and accessories, n a t u r a l
or social background? Is it a relationship of peers or one of dominance and subordination?
Is it a friendly, ironic, aggressive, or hostile relationship, a n d a l l possible nuances
thereof? Most examples of Philippine genre, for instance, are based on the concept of the
stage or tableau that is oriented toward a large public audience, w h i c h it seems to address
directly — a m a r k of the social cohesiveness of the r u r a l peasant society as w e l l as of the
extended F i l i p i n o f a m i l y system i n w h i c h a l l members of the society have t h e i r k i n s h i p
appellations. J o h n Berger, i n h i s Ways of Seeing
(1972), h a s a n engrossing study of the paintings,
w i t h the female nude as subject, i n w h i c h he
demonstrates sexist attitude toward women from
the implied male viewer.

Also p a r t of the iconic plane is the positioning

of the figure or figures, whether f r o n t a l , i n profile,
t h r e e - f o u r t h , a n d so f o r t h , a n d the significations
that arise from these different presentations. Does
the p a i n t i n g show strong central focusing with
Tampuhan (1895) by Juan Luna
the p r i n c i p a l figure occupying the center space,
Oil on Canvas
or is it decentered a n d the p a i n t i n g a s y m m e t r i c a l Rosalinda Orosa Collection
in composition? H o w do these presentations
contribute to different meaning? Does the subject or
subjects have f o r m a l of a casual air? How does one
describe the central figure's stance: poised, relaxed,
indifferent, provocative, or aloof? How much
importance is given to psychological insight into
character by the a r t i s t ? To costume a n d accessories?
To the s e t t i n g — n a t u r a l social, or domestic? W h a t
is the relative scaling of the figures from large to
small? W h a t bearing does t h i s have on the meaning
of the work? Luna's Tampuhan (1895) brings to the A Woman with chrysanthemums
, . ^. . ^ 1 J 1 T T |or A Woman Seated
fore the a r t i s t s s e n s i t i v i t y to body language. H o w ^^31^6 a vase of Flowers, 1865)

do the postures of the m a n and the w o m a n convey By Edgar Degas

oil on canvas, 29 x 36 1/2 in.
their emotional attitudes? Metropolitan Museum of Art, New York

APPRECIATION ART APPRECIATION

23
I n portraits, where is the gaze of the subject directed? T h i s is i m p o r t a n t not only
i n defining the relationship of subject a n d viewer but also i n describing pictorial space.
Degas's Woman with Chrysanthemums, for example, shows a middle-aged w o m a n beside
a large vase of the flowers. More important, her intense and scheming look projects a n
i m a g i n a r y line to a figure or figures t h a t are the objects of her gaze outside the pictorial
field of the p a i n t i n g into a n implied open a n d expanded space.

Is there cropping of the figure or figures? W h a t is the significance of the k i n d of

cropping used? Some k i n d s of cropping are intended to create a random, a r b i t r a r y effect
as against the deliberate a n d controlled. Other k i n d s isolate a segment of the subject,
such as the h a n d or the feet, i n order to draw attention to its physical qualities — w h e n a
p a r t stands for the whole, a peasant's bare feet can tell us about a n entire life of the labor
a n d exploitation. L i k e w i s e , some a r t i s t s use cropping as a device to imply the extension
of the figure into the viewer's space.

Here one also takes into account the relationship of the figures to one another,
whether massed, isolated, or juxtaposed i n t e r m s of a f f i n i t y or contrast. A p a i n t i n g m a y
expand or m u l t i p l y its space by h a v i n g not j u s t one integral image but several sets of
images i n montage f o r m , from the same of different times and places. These m a y occur
i n temporal sequence to constitute a n a r r a t i v e or m a y take the f o r m of simultaneous
facets or aspects of the reality. S e r i a l images showing a n image multiplied m a n y times,
as i n A n d y Warhol's Campbell Soup cans, convey significations a r i s i n g from the blatant
consumerism of advanced capitalist societies.

T h e style of figuration is a n important p a r t of the iconic plane. T h e figurative style

is not mere caprice, passing fashion, or the artist's personal ecriture; beyond these, it
implies a p a r t i c u l a r re-presentation of the world, a world view, i f not ideology. Classical
figuration basically follows the proportion of 7 and h a l f to 8 heads to entire figure i n
its p u r s u i t of ideal f o r m , as i n a f o r m a l studio p o r t r a i t w i t h the subject enhanced by
makeup, a l l imperfections concealed. Realist figuration is based on the keen observation
of the people, nature, and society i n the concern for t r u t h of representation, thus
creating portraits of i n d i v i d u a l w i t h o u t glossing over physical imperfections a n d defects
or exposing the e n v i r o n m e n t a l squalor that arises from social inequities. Impressionist
figuration is f l u i d a n d i n f o r m a l , often catching the subject unaware l i k e a candid camera.
Expressionist figuration follows emotional impulses a n d drives, t h u s often i n v o l v i n g
distortion and clashing colors t h a t come from strong emotion. T h e viewer, however,
should not be too a n x i o u s to f i n d precise s t y l i s t i c labels, for contemporary a r t has seen
the development of highly o r i g i n a l styles t h a t have gone f a r beyond the t u r n - o f - t h e -
century styles of the School of P a r i s . I t is important to be sensitive to the m e a n i n g -
conveying potential of highly i n d i v i d u a l a n d contemporary styles. I n the basic semiotic
plane, w h i c h deals w i t h the m a t e r i a l aspects of the work, and i n the iconic plane, w h i c h
deals w i t h the aspects of the image itself, one can see t h a t as the signifier cannot be

ill:, •-•:•?*••>

ART APPRECIATION
24
separated from the signified, concrete fact or m a t e r i a l data cannot be divorced from
value; i n other words, as J a n e t Wolff (1983) asserts, fact i s value laden and value, or
ideological meaning, is derived from m a t e r i a l fact.

THE CONTEXTUAL PLANE

Here one proceeds from the basic semiotic and iconic planes a n d the knowledge a n d
insights one has gained from these into the social and h i s t o r i c a l context of the work a r t .
Resituating the work i n its context w i l l b r i n g out the f u l l meaning of the work i n t e r m s
of its h u m a n a n d social implications. T h e viewer draws out the dialogic relationship of
a r t and society. A r t sources its energy and v i t a l i t y from its social context and r e t u r n to i t
as a cognitive force and catalyst for change. I f one does not v i e w the work i n relation to
its context - but chooses to confine analysis to the i n t e r n a l s t r u c t u r e of the w o r k - one
truncates its meaning by refusing to follow the trajectories of the w o r k into the larger
reality t h a t has produced it. One precludes the work from reverberating i n the real world.

A s has been said earlier, the meaning of a work is a complex t h a t involves concepts,
values, emotions, attitudes, atmospheres, a n d sensory experiences t h a t arise from the
three planes. T h e experience of a w o r k cannot be reduced or paraphrased i n a statement,
such as a m o r a l lesson or message, but it is a t o t a l experience i n v o l v i n g the faculties of
the whole person - not j u s t his eyes or h i s senses, but h i s m i n d and emotions as well.
T h e work of a r t has its h o r i z o n of meaning that is n a r r o w e r or larger depending o n the
degree of v i s u a l literacy, c u l t u r a l breadth, a r t exposure a n d t r a i n i n g , a n d intellectual a n d
emotional m a t u r i t y of the viewer. A r t involves cognition or l e a r n i n g ; it is a n i m p o r t a n t
way of l e a r n i n g about people, life, and society. Does the w o r k expand our knowledge of
reality as a whole? I s its experience i n s i g h t f u l and t r a n s f o r m a t i v e w i t h respect to l i v i n g
i n the world?

A broad knowledge of a society's h i s t o r y a n d its economic, political, a n d c u l t u r a l

conditions, past and present, i s called upon i n the contextual plane. W i t h t h i s comes
a knowledge of n a t i o n a l a n d world a r t and literatures, mythologies, philosophies, a n d
different cultures and w o r l d views. T h e work of a r t may contain references and allusions,
direct or indirect, to h i s t o r i c a l figures and events, as w e l l as to religious, literary, and
philosophical ideas and values t h a t are part of the meaning of the work.

T h e different symbolic systems, w h i c h are culture-bound, also come into play.

Although we have been strongly influenced by Western symbolic systems, we have to
move toward a greater awareness of our m a n y indigenous and A s i a n / Southeast A s i a n ,
Malay a n i m i s t and I s l a m i c symbolic systems that must be valorized as they are p a r t
of our social context. These systems may have to do w i t h color, shape, design, as w e l l
as c u l t u r a l symbols associated w i t h the belief systems of the different ethnic groups.
Figures may also have r i c h and d i s t i n c t intellectual a n d emotional associations built
around t h e m i n the course of the h i s t o r y of a group.

A R T APPRECIATION
25
m T h e contextual plane l i k e w i s e situates the work i n the personal a n d social
circumstances of its production. T h e work m a y contain allusions to personal or public
events, conditions, stages, as w e l l as influences (such as persons and l i t e r a r y texts) that
have been p a r t i c u l a r l y m e a n i n g f u l to the a r t i s t . Themes and sub themes may be derived
from personal life experiences significant to the a r t i s t a n d p a r t i c u l a r biographical data
may play a n i m p o r t a n t p a r t i n understanding the work and its view of reality.

T h e w o r k i s f i r m l y situated i n a p a r t i c u l a r society a n d time, " i n its social a n d

historical coordinates" (Wolff 1983). T h e w o r k i s viewed or studied i n relation to i t s
epoch, to the p r e v a i l i n g world v i e w s , ideologies, issues, concerns, trends, a n d events
of the day. I t situates the a r t i s t w i t h respect to the debates of h i s time. T h e w o r k may
have allusions or references to the personalities and events of a p a r t i c u l a r period, and
convey attitudes of espousal, approval, indifference, or rejection w i t h respect to these
for the work of a r t conveys values, a r t i s t i c , religious, social, or political. A r t t h e n is not
value free. A l l a r t contains values of one k i n d or another. Abstract a r t , l i k e w i s e , m a y
express w o r l d views a n d values, as Mondrian's abstraction, for instance, conveyed his
neo-platonism, as he considered h i s paintings symbolic of the underlying h a r m o n y and
order i n the universe. O n the contrary. Pollock's gestural abstraction places value on
spontaneity a n d the release of k i n e t i c energy a n d n o n - r a t i o n a l impulses. Values - such
as spontaneity as against discipline a n d order, m y s t e r y and elusiveness as against clear
definition, i n f o r m a l i t y as against t h e f o r m a l , transitoriness as against permanence -
m a y be found i n abstract a r t , at the same t i m e t h a t these can be viewed i n the light of
the intellectual trends of the time.

Finally, a single w o r k of a r t i s often more completely understood w h e n i t is viewed

i n the context of the artist's entire body of work, w h e n i t i s juxtaposed and compared
on the semiotic, iconic, a n d contextual planes w i t h works of a r t i s t s i n the same period,
i n different periods of h i s career, a n d t h e n w i t h the w o r k of his contemporaries. T h i s
is because the meaning of one work may become part of a larger body of w o r k or of
a n integral a r t i s t i c v i s i o n . I n comparative i n t e r t e x t u a l i t y , the work of a r t reveals i t s
numerous ramifications of meaning, at the same time t h a t i t related to its referents i n
the real world.

THE EVALUATIVE PLANE

T h e evaluative plane h a s to do w i t h a n a l y z i n g the values of a work. A f t e r the

understanding of the w o r k is the difficult t a s k of evaluating i t . O f t e n , i t is facile to say
t h a t evaluation involves the t w o aspects of f o r m and content. However, t h i s division
is theoretically conservative since the t w o are regarded as conceptually separate. I t is
semiotic analysis i n v o l v i n g the basic semiotic plane, the iconic plane, and the contextual
plane t h a t shows how meaning i s produced through the inter-relationship of the
signifiers ( m a t e r i a l features) a n d signified (concepts, values) i n the unique pictorial

A R T APPRECIATION
sign that is the work of art. A t a l l points, meaning is anchored i n m a t e r i a l from. A g a i n ,
empirical, physical fact is value-laden, a n d value a n d m e a n i n g ensue from m a t e r i a l fact.
, the f i r s t consideration i n evaluation would be to w h a t degree the m a t e r i a l basis of
work conveys m e a n i n g or p a r t i c u l a r i n t e l l e c t u a l / emotional contents.

T h e evaluation of the m a t e r i a l basis of the w o r k reckons w i t h standards of excellence

the use of the m e d i u m a n d its related techniques. Some questions may be posed. I s
m e d i u m (which includes surface, ground, or m a t e r i a l block, i n s t r u m e n t s , tools,
lents - a l l these calling for appropriate techniques) used w i t h a h i g h degree of a r t i s t i c
', creativity, and insight? Was the p a r t i c u l a r m e d i u m chosen as most appropriate i n
eying general or specific significations? W i t h respect to m e d i u m , the v i e w e r / c r i t i c
the t r a d i t i o n a l hierarchies l a i d down by the nineteenth-century academies i n
I oil on canvas a n d sculpture i n marble were considered superior to other media. For
v i s u a l forms - whether paintings, p r i n t s , posters, illustrations, cartoons, and comics
observe standards of technical excellence to w h i c h a w o r k may be on par below par.
erstanding a n d evaluating the technical side of the work requires a f a m i l i a r i t y w i t h
sensitivity to the properties of m e d i u m . T h u s the v i e w e r / c r i t i c should devote time
researching on a n d observing a r t m a k i n g , even doing exercises or producing h i s o r
o w n work. A t the same time, one m u s t be open to the transgressing of conventional
sses a n d n o r m s i n the quest for new creative a n d expressive resources. ,

T h e t r a d i t i o n a l and u s u a l consideration of f o r m touches upon the principle of

ization, w h i c h are t r a d i t i o n a l l y identified as r h y t h m , harmony, balance, a n d
r t i o n . One has to bear i n m i n d , however, t h a t these tenets were laid down by the
pean classical academies to preserve the hierarchic order of m o n a r c h i a l society. I n
philosophical framework the ideals of harmony, balance, and proportion were not
aesthetic values but also sociopolitical values, w h i l e they r e t a i n a continuing but
[ validity, are often erroneously absolutized as the u l t i m a t e objectives of a r t . (.j

As has been stated, the m e a n i n g of a work is a complex of concepts, values, a n d

, w h i c h derive from h u m a n life and the real world and have a bearing upon t h e m ,
a n i m p o r t a n t aspect of the evaluation of a work necessarily includes the analysis
e x a m i n a t i o n of its significations a n d values that become fully articulated on the
tual plane, although these h a d already been shaping up on the basic semiotic
iconic planes. A n d since values are expressed i n the w o r k that holds a dialogic
•^nship w i t h reality, the assessment of these values is a necessary p a r t of critical
tion. Now, the values of the artist as conveyed i n the work and those of the viewer
coincide i n mutual agreement or may not quite coincide or may even be contradictory,
exists, of course, a whole range of attitudes on the part of the viewer/critic to the work,
full espousal and enthusiastic agreement at one pole, through degrees of appreciation
indifference growing toward annoyance and to vigorous rejection at the opposite pole.

ArruciATiON
27
.' It becomes clear that, on one h a n d , the a r t i s t is not or should not be a mere t e c h n i c i a n
but expresses a v i e w of life i n h i s work. O n the other h a n d , the v i e w e r / c r i t i c is also not
a mere connoisseur confined to the analysis of the elements, techniques, and processes.
T h e v i e w e r / c r i t i c is one who must have, after long reflection and experience, a r r i v e d at
the formulation of h i s o w n value system, his view of the world a n d h u m a n i t y he has come
to feel deeply a n d even strongly about. A s the a r t i s t enjoys a r t i s t i c independence, the
c r i t i c / v i e w e r also enjoys h i s o w n autonomy. For, to be sure, the critic is not a n appendage
of the a r t i s t or a promoter or publicist, but one who v i t a l l y contributes to the dynamic
dialogue, interaction, a n d debate i n the field of a r t and culture as these intersect w i t h
other h u m a n concerns - the political, social, a n d economic.

A n underlying premise t h e n is t h a t the viewer of a r t , i n p a r t i c u l a r the a r t critic, needs

to have thought out f u l l y h i s o w n values by w h i c h he or she lives as a total h u m a n person.
T h e a r t i s t l i k e w i s e creates a r t not as a fragmented h u m a n being or purely technical
specialist, but as a total t h i n k i n g and feeling i n d i v i d u a l . I f the critic simply describes
a n d appreciates the work's technical excellence, i f it is indeed w o r t h appreciating on
t h i s level, and stops short of m a k i n g value judgments, then he isolates the work from its
larger social environment - i n w h i c h case, he divorces a r t from life a n d its concerns a n d
promotes the condition of a r t feeding upon itself. Yet, w h e n the critic evaluates the work
relative to h i s o w n philosophy and division of life and the world, he is only f u l l y r e a l i z i n g
the dialogue between the w o r k and the viewer, after completing the process of semiotic
reading, understanding, a n d contextualizing the work.

Since a r t directly or indirectly conveys meaning and seeks to influence one's ideas
and values i n s u b l i m i n a l ways, t h e n it is but a n essential role of the v i e w e r / c r i t i c to be
able to recognize these subtle semiotic devices and to articulate these a n d bring t h e m
to light. A s the c r i t i c / v i e w e r f u l l y recognizes and respects the prerogative of the a r t i s t
to express h i s ideas a n d feelings, the former also reserves the right to agree or have
reservations w i t h respect to the work i n relation to h i s o w n values and v i e w of the world.
It is to be pointed out, however, t h a t it is possible for a critic to understand a n d appreciate
a work viewed i n its specific socio-cultural context without necessarily espousing its
ideas, i n the same way t h a t one can deeply appreciate a Z e n w o r k of a r t w i t h o u t being
a Z e n Buddhist oneself. However, i n contemporary a r t produced i n the context of our
time and place, the expression of the critic's differential v i e w is not to be constructed as
a manipulative strategy but as only bringing out alternative viewpoints i n the dialogic
relationship of a r t a n d viewer, a r t a n d reality.

Indeed, the responsible v i e w e r / c r i t i c draws from a r i c h f u n d of knowledge a n d

h u m a n i s m . T h e F i l i p i n o a r t critic m a y uphold values reflecting the quest for n a t i o n a l
identity and placing p r e m i u m on the people's interests' v i s - a - v i s foreign interests that
seek to dominate our n a t i o n a l life. T h e democratization of a r t may be promoted i n
themes that enhance the sense of h u m a n dignity especially of those engaged i n basic
production a n d t h a t espouse liberative causes a n d projects. Democratization can also

ART APPRECIATION
28
\
be c a r r i e d out i n the use of popular forms and media t h a t make a r t accessible to the
larger number. T h e r e is, l i k e w i s e , a liberative t h r u s t i n themes t h a t espouse the cause of
traditional m a r g i n a l i z e d sectors, such as women and children, as w e l l as n o n - C h r i s t i a n
ethnic and M u s l i m groups i n the Philippines. T h e critic may uphold the role of a r t as a n
emancipating influence rather as pure commodity or decoration catering to the elite.

Yet w h a t if, as may sometimes be the case, interpretations of the w o r k by different

critics do not coincide or are contradictory? Does t h i s mean t h e n t h a t our critical process
is unreliable? T h e r e may be general consensus on the basic semiotic a n d iconic planes, but
differences may lie i n the contextual a n d , especially, i n the evaluative plane of analysis.
T h i s is so i n a l l class societies r i v e n by conflicting interests, such as ours, it is only to be
expected t h a t a r t i s t s and viewers/critics adhere to diverse value systems t h a t coincide,
overlap, or are i n opposition, thus affecting the way they make a r t or look at a r t .

T h u s , after the c r i t i c / v i e w e r has gone through the four planes - the semiotic, the
iconic, the contextual, a n d the evaluative - i t i s possible to determine the semantic
focus a n d parameters of the w o r k and from these project its horizons of m e a n i n g , i t s
boundaries and l i m i t a t i o n s , i t s semantic implications a n d ideological orientations, i t s
conservative or t r a n s f o r m a t i v e tendencies w i t h respect to h u m a n life a n d society. T h e
c r i t i c / v i e w e r thus arrives at a more focused understanding of the work of a r t w h i c h , w h i l e
it has a semantic core, has parameters t h a t are f l u i d and continually being expanded a n d
elaborated on i n the ever-continuing dialogic experience of a r t .

T h i s essay i s a considerably revised a n d modified version of "Reading the Image,"

w h i c h appeared i n H u m a n i t i e s : A r t a n d Society handbook (Quezon City: U P College
of A r t s a n d Letters Foundation, T e c h n i c a l Panel on H u m a n i t i e s , Social Sciences, a n d
Communication, Commission on higher Education, 1998), appendix A , 255-74.

HOW TO WRITE A PARAGRAPH ANALYSIS OF A PAINTING

By Cathelyn Adajar

L e a r n i n g Outcome: To analyze a p a i n t i n g based

on aesthetic value, h i s t o r i c a l context, t r a d i t i o n , and
social relevance
Here are the steps i n w r i t i n g a paragraph
analysis of a painting:

1. View the painting.

2. Spend a longer time looking at it.
Bulaklak
3. J o t down words, phrases, ideas that cross By Angela Pascual, (2004) 14 in x 10 in, pastel
on paper
your m i n d w h e n viewing the painting.

Suppose you are asked to analyze the p a i n t i n g Bulaklak by Angela Pascual.

AKT APPRECIATION
T h e words you can list after v i e w i n g it could be the following: • .

1. Flower 5. Fallopian tubes

2. Women .^>J ?!. g Ovaries

3. Pregnant woman 7. Wme glass

4. Uterus ^
The last item may seem odd; however, that is what you see, so feel free to list it.

4. F r o m the list that you made, find a unifying element. I t is possible that the words
womanhood or femininity is the common t e r m or the u n i f y i n g element.
5. Compose a topic sentence f r o m the u n i f y i n g element i n #4. . i- jj ^ ^ r vj
A s a n amateur critic, make this topic sentence as your f i r s t sentence i n the
paragraph. Be reminded t h a t a topic sentence contains a subject, a verb a n d a
controlling idea w h i c h is your opinion, judgment or v i e w on the subject matter. I t
is not factual. T h u s , i f you say, "Spoliarium by J u a n L u n a is found at the National
Museum," cannot pass as a topic sentence because i t is a fact t h a t t h e p a i n t i n g
is there. T h e r e is n o t h i n g to prove or argue about. B u t i f y o u say, "Spoliarium
by J u a n L u n a reveals the maltreatment of the Spaniards on the Indios," is
acceptable. A s a writer, y o u are c l a i m i n g that the message of the p a i n t i n g is on
the b r u t a l i t y of the Spaniards and the hopelessness of our ancestors. Your reader
expects that your succeeding sentences w i l l prove t h i s s t a n d as y o u point out
elements from the painting.

Topic Sentence:

(Subject) (Verb) Controlling idea

O n the painting Bulaklak, your topic sentence can be:

Bulaklak by Angela Pascual reveals some aspects pertaining to womanhood.
(Subject) (verb) (Controlling idea)

6. After formulating the topic sentence, construct your succeeding sentences which
support your claim. Apply the planes of analysis suggested by Alice Guillermo i n
Reading the Image.
7. Remember that your supporting sentences should stick to the topic sentence.
8. Apply the qualities of a good paragraph that you previously learned like coherence,
emphasis, logical order, etc. Normally a paragraph has 5 to 8 sentences.
9. E n d your paragraph properly w i t h a conclusion that can be a summary of your m a i n
points, a striking statement or an apt quotation.
10. Review grammar and spelling.

Before you w r i t e your analysis, G u i l l e r m o suggests t h a t we need to k n o w the Basic

D o c u m e n t a r y I n f o r m a t i o n of the work. W h y do you t h i n k it is necessary to do so?

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