LESSON 4:
SUBJECT AND
CONTENT
SUBJECT
• Refers to the visual focus or the image that may be
extracted from examining the artwork
CONTENT
• Is the meaning that is communicated by the artist
of artwork. Finally, the development and
configuration of the artwork- how the elements
and the medium or the material are put together-
is the form. In simpler terms, the subject is seen as
the “why”, and the form is the “how”.
REPRESENTATIONAL ART
• It is also termed figurative art, because • Good example is Mona Lisa.
as the name suggest, the figures
depicted are easy to make out and These types of art have
decipher. Despite not knowing Mona Lisa subjects that refers to
is, is it clear that the painting is a woman
object or events occurring
that is realistically- proportioned; only
the upper torso is shown; a beguiling and in the real word.
mysterious smile is flashed; and the
background is landscape-probably a view
from a window.
MONA LISA- Leonardo da Vinci
NON-REPRESENTATIONAL ART
• It is also termed non-figurative art, • These types of art were no
because does not make reference clear figures that jot out
to the real world, whether it is a
person, place thing, or even a
from the canvas; there were
particular event. It is stripped down only drips and splashes
to visual elements such as shapes,
lines and colors that are employed
to translate a particular feeling,
emotion and even concept
Jackson Pollock, detail of “Number 1A” (1948).
Oil and enamel paint on canvas.
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- representationality- a
complete severance from the
Pablo Picasso, Head of a
world. Woman, Mougins, 1962
SOURCES AND KINDS OF
SUBJECT
For non-representation art, 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
arts work 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 subject in artwork, it is important to note
that these two are often inextricably related.
Often, even a singular source of inspiration
can yield multiple translation. A good starting
point is of course, the nature.
• One artist who was attuned with nature was
Vincent van Gogh. In it (working in the
middle of unspoiled fields) and painting from
it (landscape). In a letter to his brother Theo,
he wrote “… if I flet no love for nature and
my work, then I would be unhappy.”(Van
Gogh Museum,1882)
“Die Ebene von Auvers” (Wheat Fields Near
Auvers) - Vincent van Gogh
• Other artist with a considerable number of
landscapes and seascapes are Claude
Monet, Camille Pissarro, Paul Cézanne, and
JMW Tuner. In the Philippines, National
Artists for painting Fernando Amorsolo and
Fabian de la Rosa gained prominence from
their painted rural scenes such as women in
the fields gathering harvest.
• Breaking nature into smaller parts is Jan van
Kessel the Elder who did numerous still
lives and small-scale, highly detailded
studies, and scientific illustrations of flower,
insect, shells, fruit, garlands, and bouquets.
“A Cockchafer, Beetle, Woodlice and Other Insects with a
Sprig of Auricala(early 1650s) – Jan van Kessel
• Greek and Roman mythology were also ripe with
references: from episodes the transport the viewer to
heroic encounter Achilles and Aeneas; warnings about
man’s folly like the vanity of Icarus; the wit and
cunning of Odysseus; the beauty of Aphrodite and the
athleticism of Myron. From narrations in literature,
artist, on the other hand, gave faces to Greek and
Roman deities or the gods and goddesses whose fates
are seemingly as tragic as tragic as those of men. Some
of the art forms they took on were wall paintings or
frescos and sculptural works such as busts, statuaries,
and ceramics and Pottery, .among others.
“Discolobus” (roman, 2nd century AD), after greek
original by the sculptor Myron of 450-440 BC.
• Another integral aspect of human life is the distinct relationship with a
higher controlling power. if the belief system of Greeks and roman was
polytheism with a multitude of gods and goddesses, the Judeo-
Christian tradition stems from a belief in a lone creator of the universe
or what is called monotheism. this tradition had an immense influence
in western civilization especially in art. Guided by a host of styles and
techniques, various media and art forms were also experimented with:
paintings, frescos, church architecture (over-all plan of the space,
stained glass windows, tabernacles, and altars), sarcophagus, icons
and others carvings, vestments, tapestry, illuminated manuscripts, and
other sacred scriptures, among others.
Commissioned by pope Julius II, the intricate fresco that lines
the Sistine Chapel was created by Michelangelo. The immense detail and
vast surface he wad to cover had him working on it from 1508 to 1512.
Michelangelo, “Sistine Chapel” (1508-1512)
Unlike in Islam for example, practicing Jews and Christians were allowed
to depict their God and other important biblical figures: laying visual
foundations in inculcating the faith. But perhaps the influence of this
tradition is most intriguingly manifested in the architectural marvels that
are spread out all over the word.
The formative years of church architecture can be traced in fourth and
fifth century but different styles and plans were developed since then.
prevailing ideas and philosophies became resources that were used by
architects to reimagine what the church should look like. For instance,
Gothic churches were characterized by three things: soaring heights
(ceilings), volume (flying buttresses and ribbed vaults), and light 9bright
stained glass windows, airy and pleasant interiors). Gothic style
architecture is often attributed as the brainchild of abbot SUGER. There
is definitive sense that pointed of God-all of which happened during the
time when religion was at heart of everyday life. This echoes her belief
that “art was central to religious experience.
Interior of
Westminster
• Proceeding from a kind of a hybrid between literature and
sacred text is India’s miniature paintings. In Central India, the
kind of art that was produced was deeply rooted in Vedic texts
such as Upanishads, PURANAS, and other important texts like
the Sanskrit epics Mahabharata and RAMAYA. Indian artists had
a wide array of materials to work with in showcasing not just
the artistry and skill. The significance of these paintings rets on
its ability to foster devotion and the observance of a code of
ethics through the visualizations of heroic narratives. These
painting were small but were highly pictorial, stylized, and
employed a good contrast of COLORS. Some artists Also
included verse from the epics as parts of the cartouche which
added interest and meaning to the to painting.
“Shah Jahan Receiving Dara Shikoh,” Folio
from the late Shah Jahan Album (Circa 1650)
• Historically significant events particularly in the
affairs of humanity are abundant references
for art production. From early breakthrough
such as the discovery of the fire and the
overthrow of geocentric theory in favour of the
sun-centered universe, succeeding
advancement brought about by discovery,
innovation, and man’s incessant search for
glory plotted a dynamic course of history.
“El Tres de Mayo,”- Francisco de Goya (1814)
• An example is Goya’s El Tres de Mayo which
captures the death of Madrilenes, the local
insurgents during the Peninsular War.
Former allies in the overrun of Portugal and
France turned against Spain. Napoleonic
forces invaded Madrid without much
difficulty and the painting captures the
dramatic demise of its people under the
firing squad.
• History, as a source for artists in search of
subjects, bring into consideration events that are
familiar and sometimes even common or shared
in world context: the establishment of nations and
states (discovery, conquests, and colonization),
and the resulting ideologies that they breed
(democracy, liberty, freedom, and rights). These
works serve as documentary and commemorative
artworks that illustrates subjects such as
important leaders and figures; events as they
were recorded to have happened and
representations of ideologies or values.
• In the history of art, it is important to remember that
the source and kind of subjects were not merely a
product of the artist’s inclination and choice. A closer
examination 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 it is visually translated may be
traced in relation to the art patrons (those who
commissions the artwork), the favoured artistic style and
canons, and more importantly, the norms and trends
prevailing in the artist’s milieu.
• CONTENT IN ART
• As outlined in the beginning, in discussing work s of art, the subject
may simply be references to as the “what- what is ready 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 is
expressed or communicated by the artwork. One of the foremost
scholars that expounded on content analysis or how meaning is
arrived at historian Erwin Panofsky in his seminal work Meaning in
the Visual Arts (1983), His methodology will be later Identified as
Iconology through the interpretation of Iconography. To take on the
challenge of understanding the content of art, it must be
reiterated that there are various levels of meaning, Perhaps the
must be reiterated that there are various levels of meaning,
Perhaps the most the common is what we call factual meaning.
• This pertains to the most rudimentary level of meaning for it may be
extracted from the identifiable or recognizable forms in the artwork and
understanding how these elements relate to one another. Conventional
meaning , on the other hand pertains to the acknowledge interpretation
of the artwork using motifs, signs, symbols and other cyphers as bases of
its meaning. Theses conventions are established through time ,
strengthened by recurrent use and wide acceptance by its viewer or
audience and scholars who study them. Finally, when subjectivities are
are consulted, a variety of meaning may arise when a particular work of
art is read. Theses meaning stem from tee viewer’s or audience’s
Circumstances that come into play when engaging with art. When looking
at a particular painting for example, perception and meaning are always
informed (and even colored) by a manifold of context; what we know;
what we learned; what we experienced; and the value 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 subject meaning of art.
Michelangelo, “Creation of Adam” from the ceiling
of the Sistine Chapel
• The ideals of humanism were understanding and the arts
and science were furthered. It is therefore
understandable that the classical canons of the from 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 civilization such as that of the Greek and the
romans many not only be replicated but even
surpassed. Some art scholar noted how Michelangelo
exhibited just that-an elevated artistry- in that the
dynamism and energy of the figures in the frescoes in
the Sistine chapel are unlike the works of predecessors.
•
• An interesting overlap between the conventional and subjective
meanings is the proposal from gynaecologist Frank Lynn
Meshberger, whose published essay appeared in the October
1990 issue of the Journal of American Medical Association.
Written was his theory that Journal of American Medical
Association. Written was his theory that an image and the a
message were hidden in plain Sigth; how the silhouette of the
human brain. According to MESHBERGER, the work can also be
most important qualities imparted to man was intellect. Like most
Renaissance artist, Michelangelo unlocked the secrets and
precision of human anatomy assisting in dissections during his
time. For MESBERGER, 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
QUESTIONS:
1. These types of art have subjects that refers
to object or events occurring in the real word.
• 2. Refers to the visual focus or the image
that may be extracted from examining the
artwork.
• 3. The subject is seen as the______, and
the form is the______.
• 4. Representational art is also termed as
_______________.
• 5. These types of art were no clear figures
that jot out from the canvas; there were only
drips and splashes.
• 6. The artist who was attuned in nature.
He wrote this quotes to his brother Theo
“… if I flet no love for nature and my work,
then I would be unhappy.”
• 7.
• 8.
• 9. In the Philippines, National Artists for
painting _______________and
_________gained prominence from their
painted rural scenes such as women in the
fields gathering harvest.
• 10.
• 11.
• 12.
• 13. 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
_______________.
14. Who was the first and
foremost sculptor?
• 15.
