Subject and Content

SUBJECT
AND
CONTENT
WMSU
1
LEARNING OUTCOMES
1. Differentiate representational art and non-representational art
2. Discuss the difference between an artwork’s subject and its

content
3. Identify the subject-matter and content of specific examples or

art
4. Enumerate the sources of the subjects of some of the most

recognizable works of art in Philippine art history
2
Three Basic Components of Art
1. Subject
– the visual focus or the image that
may be extracted from examining the artwork
2. Content
– the meaning that is communicated
by the artist or the artwork
3. Form
– the development put together
3
David Bailly, “Self-Portrait with Vanitas Symbols (1651)
4
In order to flesh out what the subject of
the art is, it is important to first look at the
constituent figures that are perceivable on the
surface of the canvas or the sculpture, and the
manner in which the artist chose to depict those
figures.
5
TYPES OF SUBJECT
1. Representational art
– have subjects that refer to objects
or events occurring in the real world
-- also termed as figurative art

because the figures depicted are easy to make
out and decipher
6
Leonardo da Vinci, “Mona Lisa” (1503) 7
2. Non-representational art/non-figurative art
– does not make a reference to the real
world
-- stripped down to visual elements

such as shapes, lines, and colors that are
employed to translate a particular feeling, emotion,
and even concept
8
Jackson Pollock, detail of Number 1A (1948)
9
3. Abstract art
– is a departure from reality, but the
extent of that departure determines whether it
has reached the end of the spectrum, which is
non-representationality
10
Pablo Picasso, “Head of a Woman, Mougins” (1962) 11
SOURCES AND KINDS OF SUBJECT
1. The Nature
– artists throughout history have
explored diverse ways of representing nature
• Plants
• Animals
• Qualities of bodies of water
• Terrain of landmasses
• Cycles and changing seasons
12
Vincent van Gogh, “Wheat Fields Near Auvers” (1890)
13
Other artists with a considerable number of

landscapes and seascapes:
• Claude Monet
• Camille Pissarro
• Paul Cēzanne
• JMW Tunner
• Fernando Amorsolo
• Fabian dela Rosa
14
Jan Van Kessel, “A Cockchafer, Beetle, Woodlice and Other
Insects, with a Sprig of Auricula” (early 1650’s) 15
2. Greek and Roman Mythology

Achilles
Icarus
Odysseus
Aphrodite
Myron, etc.
16
“Discobolus” (Roman, 2nd Century AD), after a Greek original by the 17
sculptor Myron of 450-440 BC
3. Prevailing ideas and philosophies became

resources that were used by architects to
reimagine what the church should look like
 E.g.: Gothic churches were characterized by 3

things: soaring heights (ceilings), volume (flying
buttresses and ribbed vaults), and light (bright
stained glass windows, airy and pleasant
interiors)
18
19
Interior of Westmister 20
4. Proceeding from a kind of a hybrid

between literature and sacred text is India’s
miniature paintings
21
“Shah Jahan Receiving Dara Shikoh”, Folio from the Late Shah
22
Jahan Album (circa 1650)
5.
Historically
significant
event
Francisco de Goya,
“El Tres de Mayo”
(1814)
23
 During the Spanish colonial period in the

Philippines, art was predominantly
representational
• The visual arts, from paintings to early

sculptures such as santos and other votive
figures and icons, were created to assist
Catholic ministry.
24
CONTENT IN ART
 Why was the artwork created?
LEVELS OF MEANING
1. Factual meaning– 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
25
CONTENT IN ART
LEVELS OF MEANING
2. Conventional meaning– the acknowledged

interpretation of the artwork using motifs, signs,
symbols and other cyphers as the bases of its
meanings
26
CONTENT IN ART
LEVELS OF MEANING
3. Subjective meaning– stem from the

viewer’s or audience’s circumstances that
come into play when engaging with art
Meaning may not be singular; a painting may

communicate multiple meanings to its viewers
27
Michaelangelo, “Creation of Adam” from the ceiling of the Sistine
Chapel 28
• From a factual
perspective:
• depicted a scene from

the Creation Story
• an example of biblical
art
29
• Conventional
meaning:
• The specific poses of

God and Adam allude
to the correspondence
of the body and the
commonly held belief
that man was created in
the image and likeness
of God
30
• Subjective meaning:
• An image and a
message were hidden
in plain sight:
How the silhouette of
God, the shroud and the
drapery that trail behind,
all seemingly align with
the shape of the human
brain
31
• 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
32

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SUBJECT

2. Discuss the difference between an artwork’s subject and its

3. Identify the subject-matter and content of specific examples or

4. Enumerate the sources of the subjects of some of the most

-- also termed as figurative art

-- stripped down to visual elements

Other artists with a considerable number of

2. Greek and Roman Mythology

3. Prevailing ideas and philosophies became

 E.g.: Gothic churches were characterized by 3

4. Proceeding from a kind of a hybrid

 During the Spanish colonial period in the

• The visual arts, from paintings to early

 Why was the artwork created?

1. Factual meaning– the most rudimentary

2. Conventional meaning– the acknowledged

3. Subjective meaning– stem from the

Meaning may not be singular; a painting may

• depicted a scene from

• The specific poses of

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