An Introduction to Philippine Art and Art Theory
Philippine Contemporary Art: A Historical Overview
The late 1960s and early 1970s are recognized as a pivotal era for contemporary arts in the Philippines.
The pre-war era in the Philippines witnessed the emergence of the “Triumvirate”: Victorio Edades, Carlos “Botong” Francisco, and Galo Ocampo.
The post-war period saw significant contributions from six artists associated with the Philippine Art Gallery (PAG) in Ermita, Manila. Cesar Legaspi, Hernando Ocampo, Ramon Estella, Romeo Tabuena, Vicente Manansala, and Victor Oteyza were instrumental in furthering the modernist movement. Each brought their unique perspective and innovative techniques to the fore.
The international stage took notice of Philippine art with the landmark participation of Jose Joya and Napoleon Abueva at the 1964 Venice Biennale.
Key Institutions in Philippine Art
- Cultural Center of the Philippines (CCP)
- Independent Art Spaces & Collectives
Etymology and Definitions
Art
The term “art” is related to the Latin word “ars” meaning, art, skill, or craft. The first known use of the word comes from 13th-century manuscripts. However, the word art and its many variants (artem, eart, etc.) have probably existed since the founding of Rome.
Humanities
The term “humanities” comes from the Latin word, “humanitas“.
It generally refers to art, literature, music, architecture, dance, and theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized.
The Essence of Art
The activity of art is based on the fact that a person, receiving through their sense of hearing or sight another person’s expression of feeling, is capable of experiencing the emotion which moved the person who expressed it.
Plato’s Mimesis
Plato first developed the idea of art as “mimesis,” which, in Greek, means copying or imitation.
Art was valued on the basis of how faithfully it replicated its subject.
Aristotle’s Catharsis
Aristotle’s “catharsis.” The term itself comes from the Greek katharsis meaning “purification” or “cleansing.”
Immanuel Kant’s Formalism
Immanuel Kant (1724-1804) believed that art should not have a concept but should be judged only on its formal qualities because the content of a work of art is not of aesthetic interest.
Evolving Definitions of Art
- Skill-Based Definition (11th to 17th century): The definition of art was anything done with skill as the result of knowledge and practice.
- Emotion and Beauty (Romantic period/18th century): Art began to be described as not just being something done with skill but something that was also created in the pursuit of beauty and to express the artist’s emotions.
- Originality of Vision (Avant-garde): Innovative approaches to artmaking and the definition of what is art expanded to include the idea of the originality of vision. (Avant-garde movements: cubism, realism, surrealism).
Values of Art
Material Value
Works of art may be valued because they are made of a precious material.
Intrinsic Value
A work of art may contain valuable material, but that is not the primary basis on which its quality is judged.
Religious Value
One important way of communicating Bible stories and legends of the saints to a largely illiterate population was through the sculptures, paintings, mosaics, wall hangings, and stained-glass windows in churches.
Nationalistic Value
Works of art have nationalistic value inasmuch as they express the pride and accomplishment of a particular culture.
Psychological Value
Our reactions to art span virtually the entire range of human emotion. They include pleasure, fright, amusement, avoidance, and outrage.
Form in Art
Form means (1) elements of art (2) the principles of design (3) medium of the artist.
Problems with the Theory of Imitation
- Universality of Imitation: It claims that imitation is common to all works of art, making imitation the criterion for their value.
- Questioning Imitation: It is even doubtful whether all works of art are imitative. After all, visual arts like landscape painting and portrait sculpture may be imitative.
Elements and Principles of Art
Color
Consists of Hue (another word for color), Intensity (brightness), and Value (lightness or darkness).
Shape
An enclosed area defined and determined by other art elements; 2-dimensional.
Form
A 3-dimensional object; or something in a 2-dimensional artwork that appears to be 3-dimensional.
Space
The distance or area between, around, above, below, or within things.
Texture
The surface quality or “feel” of an object, its smoothness, roughness, softness, etc. Textures may be actual or implied.
Balance
The way the elements are arranged to create a feeling of stability in a work.
Symmetrical Balance
The parts of an image are organized so that one side mirrors the other.
Asymmetrical Balance
When one side of a composition does not reflect the design of the other.
Emphasis
The focal point of an image, or when one area or element stands out the most.
Contrast
A large difference between two things to create visual interest.
Rhythm
A regular repetition of elements to produce the look and feel of movement.
Pattern and Repetition
Repetition of a design.
Variety
The use of differences and change to increase the visual interest of the work.
Proportion
The comparative relationship of one part to another with respect to size, quantity, or degree; scale.
Unity
When all the elements and principles work together to create a pleasing image.