9

F o r t h e paintingBu/afc/a/c, P a s c u a l a n d o t h e r m e m b e r s o f C i r c u l o
i e Arte ( a n organization for Visual Artists i n Xavier University,
Ateneo de C a g a y a n ) w e r e c o m m i s i o n e d to m a k e a r t w o r k s r e l a t e d
:o t h e A m e r i c a n p l a y The Vagina Monologues by E v a Ensler when it
w a s f i r s t staged i n C a g a y a n de O r o C i t y i n 2 0 0 4 .
Below is a sample paragraph analysis of the painting. T h e
•s'ork i s o p e n t o " v a r y i n g i n t e r p r e t a t i o n s , " a s w h a t G u l l e r m o
said a n d t h i s i s just one of t h e m .

BULAKLAK BY ANGELA PASCUAL

Analysis by Cathelyn Adajar

(1) Bulaklak by Angela Pascual reveals some aspects pertaining to womanhood. (2)With the
*lower and the image below it that resembles the female reproductive organ, Pascual presents
a metaphor that women are like flowers, lovely, delicate, and are capable of reproduction. (3)
Second, she illustrates two images of women forming the fallopian tubes and ovaries where one
•joman is pregnant and the other is not. (4) This tells us a reality that some women are capable
of hearing a child while others are not. (5) Not to be missed is the striking red color at the center
which looks like a cup, representing the womb or uterus where life of a fetus begins. (6)This
points to the mother who is the source of life and red which signifies blood represents life. (7)
With this womb that looks like a cup, one is also reminded of Dan Brown's Da Vinci Code where
he claims that the Holy Grail (cup) is actually the womb of Mary Magdalene. (8) In sum, the
images in the painting all point to the significant role of women in society, being a mother—the
source of new life.

Y o u w i l l see t h a t t h e entire p a r a g r a p h h a s covered a l l t h e planes of a n a l y s i s a s

suggested by G u i l l e r m o .

Sentence 1 : T o p i c S e n t e n c e '* . ' , •

Sentence 2 a n d 3 : B a s i c S e m i o t i c P l a n e a n d I c o n i c P l a n e

Sentence 4 : E v a l u a t i v e P l a n e

Sentences-. Basic Semiotic Plane and Iconic Plane ..-i

Sentence 6: E v a l u a t i v e P l a n e

Sentence 7: C o n t e x t u a l P l a n e ( R e m e m b e r i t e m # 3 a b o v e w h e r e w e l i s t e d i d e a s t h a t
cross our m i n d upon v i e w i n g the painting? W e included " w i n e glass". I t m a y seem out of
context but it resembles a woman's uterus. A student w h o is not familiar w i t h the novel
m a y n o t be able t o m a k e c o n n e c t i o n s because a c c o r d i n g to G u i l l e r m o , " k n o w l e d g e o f
national and world a r t a n d literatures, mythologies, philosophies, and different cultures
a n d w o r l d v i e w s " w o u l d be a n advantage here.

ART APPRECIATION
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 Sentence 8: C o n c l u s i o n

Read t h e other Sample A n a l y s e s a n d see h o w t h e four planes of a n a l y s i s

incorporated i n the paragraph:

Painting 1 :

^ . 1 A-y-;^'-

Parisian Life (1892) by Juan Luna

Oil on Canvas, 2 2 x 3 1 in.
GSIS Museum
-j> ' Bought by GSIS in 2001 for PhP46 million
Analysis by Cathelyn Adajar

(l)Parisian Life b y J u a n L u n a p r e s e n t s t h e c o n d i t i o n o f t h e P h i l i p p i n e s d u r i n g
S p a n i s h Regime.* ( 2 ) T h e w o m a n c a n be a representation of the M o t h e r l a n d because s
is a m i r r o r image of t h e P h i l i p p i n e m a p w h e n one does a h o r i z o n t a l f l i p o f t h e p a i n t i -

80 ;

32 ART APPRBCIATI
 (3)In addition to this, her a w k w a r d sitting position can portray the uncertainty of the
F i h p i n o s w h e t h e r t o s u b m i t t o S p a i n o r r e v o l t a g a i n s t her. ( 4 ) T h e w o m a n i s u n s u r e w h e t h e r
to r e m a i n s e a t e d o r t o s t a n d . ( 5 ) A l s o , t h e d a r k l i n e o n h e r n e c k s i g n i f i e s t h a t s h e s e e m s t o
be c h o k e d . (6) T h e n t h e l i n e a t h e r b a c k w h i c h i s a c t u a l l y p a r t o f t h e w i n d o w p a n e s e e m s t o
c o n n e c t t o t h i s d a r k l i n e , a p p e a r i n g a s t h o u g h she i s h a n g e d . ( 7 ) T h i s d e p i c t s t h e c o n d i t i o n
of t h e P h i l i p p i n e s a t t h a t t i m e w h i c h e x p e r i e n c e d i n j u s t i c e a n d m a l t r e a t m e n t . ( 8 ) T h e
Philippines i n t h i s condition w a s n o t left unattended b y the Revolutionaries led b y D r . J o s e
R i z a l , J u a n L u n a a n d Dr. A r i s t o n B a u t i s t a L i n w h o also appear i n the corner. (9)Although
t h e y were abroad ( i n Paris), t h e y continued to discuss o n w h a t to do w i t h our country.

Painting 2:

The Great American Nude

by Tom Wesselmann, (1977) 19 % in x 54 In, oil on canvas
Sidney Janis Gallery, New/ York
Analysis by Cathelyn Adajar

il)The Great American Nude b y T o m W e s s e l m a n n gives a n idea t h a t i n society, a

w o m a n m a y n o t h a v e a n i d e n t i t y ; s h e m a y "only be a body". * ( 2 ) T h i s i s p r o v e n i n t h e
w o m a n ' s face w h i c h doesn't h a v e eyes. ( 3 ) L e o n a r d o d a V i n c i once s a i d t h a t t h e eyes a r e
the w i n d o w s t o one's s o u l a n d since W e s s e l m a n n doesn't p u t t h e eyes o n t h e w o m a n ,
the p a i n t i n g m i g h t i m p l y t h a t she's n o t t h a t i m p o r t a n t . ( 4 ) H e r v a l u e i s o n l y h e r b o d y
as s h o w n i n h e r b i g b r e a s t w h i c h i s i n f a c t m u c h b i g g e r t h a n h e r h e a d . ( 5 ) H e r b r e a s t
is f u r t h e r e m p h a s i z e d t h r o u g h t h e u s e o f c h i a r o s c u r o ; i t h a s t h e l i g h t e s t c o l o r i n t h e
p a i n t i n g . ( 6 ) I n a d d i t i o n , t h e m a t e r i a l t h i n g s t h a t s u r r o u n d h e r c a n s y m b o l i z e t h a t she's
just s i m i l a r to a commodity like t h e telephone, perfume, picture frame a n d flower. ( 7 )
Also by giving the p a i n t i n g such title, the artist w a n t s to describe the A m e r i c a n culture
w h i c h p u t s i m p o r t a n c e t o h a v i n g a b e a u t i f u l s e x y body. (8) F i n a l l y , t h e t i m e t h e p a i n t i n g
was made w h i c h is i n 1977, presents a liberated v i e w o n sex, where the hippies believed
i n the saying, "make love not war," a n d t r u l y t h i s p a i n t i n g shows the p h e n o m e n o n of the
s e x u a l r e v o l u t i o n w h i c h p u t e m p h a s i s o n " t h e body".

ART APPRECIATION
33
 P a i n t i n g 3:

May 3,1808
by Francisco de Goya, (1814) 8.8nn x 11.3m, oil on canvas
' Museo del Prado, Madrid
Analysis by Cathelyn Adajar

( l ) M a y 3 , 1 8 0 8 b y F r a n c i s c o de G o y a v i v i d l y depicts m a n ' s i n h u m a n i t y a g a i n s t
( 2 ) T h r o u g h t h e u s e of hnes, color a n d l i g h t i n g , G o y a h a s presented a h o r r i f y i n g
t h a t a person i s capable of k i l l i n g h i s f e l l o w m e n . (3) T h e l a n t e r n o n t h e g r ou n d w
s e r v e s a s l i g h t i l l u m i n a t e s t h e f a c e s o f t h e S p a n i s h i n n o c e n t c i v i l i a n s , t h u s t h e vi
c l e a r l y sees h o w h o r r i f i e d t h e y are. (4) I n spite o f t h e gesture o f t h e m a n a t t h e c
w i t h h i s a r m s extended as though signaling surrender, the French troops wouldn't
to k i l l a s s h o w n i n t h e d i a g o n a l l i n e o f t h e i r b o d i e s i n d i c a t i n g t h e i r i n e v i t a b l e a t t a c k . (
c a n a l s o see o n t h e g r o u n d a s o r t o f d e m a r c a t i o n l i n e t h a t s e p a r a t e s t h e S p a n i a r d s f r
F r e n c h troops, but the F r e n c h soldiers e x t e n d beyond t h i s l i n e as s h o w n i n t h e i r long
w i t h b a y o n e t s . ( 6 ) T h e p r e s e n c e o f t h e m o u n t a i n a t t h e b a c k a l s o i n d i c a t e s t h a t t h e Spa—'
have n o w a y of escaping; t h e y could r u n b u t t h e y w o u l d still be caught eventually. (
difficulty of escaping i s already s h o w n i n the dead bodies l y i n g o n the ground. (8)With
p a i n t i n g based o n a historical event, G o y a h a s s h o w n to u s a timeless problem i n soci
m a n ' s b a r b a r i t y a g a i n s t m a n , t h a t a p e r s o n c a n b e v i o l e n t a n d capable t o k i l l .

*Topic Sentence

For f u r t h e r discussion, the class can have a m e a n i n g f u l discourse o n some h i s t

accounts a n d s o c i a l i s s u e s s u r r o u n d i n g t h e w o r k s . F o r Parisian Life, t h e class
revisit some events i n history a n d o n Rizal's stand o n fighting using the p e n a n d
t h e s w o r d . I n The Great American Nude, issues dealing o n gender, women's role, be
c o m m e r c i a l i s m a n d p r o s t i t u t i o n c a n b e t a c k l e d . L a s t l y , i n r e l a t i o n t o May 3, 1808,
students c a n share about their observations or experiences related to war, massac
any forms of violence i n their community.

ART APPRECIAIMB
34
 .^ACTIVITY; PAINTING ANALYSIS

View the following paintings from Vision Petron and present your analysis using the

p l a n e s f r o m Reading the Image b y A l i c e G u i l l e r m o :

Smile! All is Well! Hapag Ng Kagalalcan Surprise

By Wencyl Urieta By Modesto Samonte Jr. By Arman Jay Arago
Museo ng Bulacan College of the Immaculate Conception Kulay Diwa Gallery
Oi/Acrylic - 121.92 cm x 91.44 cm Oil/Acrylic - 91.44 cm x 121.92 cm Water-based Media
48.26 cm x 66.04 cm

Libre Lang Maging Masaya, IVlay ^ jan sa San Juan Sa Gitna ng Unos (2014)
Sukli Pa By Weriel Mallari By Weriel B. Mallari
By Weriel Mallari Tarlac State University Watercolor 2700 x 3592
Tarlac State University Water-based Media - 1 0 9 cm x 80 cm Grand Prize Winner for Lakbay Pinta:
Oil/Acrylic - 121.92 cm x 91.44 cm My Journey, My Pledge

ART APPRECIATION 35
 Aanhin ang Masarap na Ulam Kung Wala Naman ang Magulang
By Eric Perreras
IVIuseo ng Angeles
Water-based Media - 73.66cm x 53.34 cm

^ A C T I V I T Y 2; ANALYSIS OF AN AD

1. C u t a n a d from t h e magazine or newspaper (or the teacher can provide ads to the
J ^ groups). M a k e sure i t i s big enough for t h e entire class to see d u r i n g the r e p o r t i n g
later.

2. D i s c u s s w i t h t h e group w h a t images y o u see i n t h e a d a n d h o w t h e y are presented

to the viewers/audience.

3. W h o do y o u t h i n k are t h e target audience f o r t h e a d ?

4. W h a t k i n d of society does i t address?

5. D o you t h i n k i t is successful i n their intentions?

6. Discuss the ad i n t e r m s of the four planes of analysis: the basic semiotic, the iconic,
the contextual, a n d the evaluative planes.

BASIC ELEMENTS AND TERMS IN ART

( a d a p t e d f r o m A r t : Perception and Appreciation b y Ortiz, et al)

Since t h i s course emphasizes o n t h e analysis of sample a r t w o r k s , it is necessary to

k n o w the m e a n i n g s of some basic elements a n d t e r m s used i n a r t w h i c h are h e l p f u l for
amateur critics.

WHAT SUBJECT IS

T h e subject of a r t refers to a n y p e r s o n , object, scene, or e v e n t described or represented

i n a w o r k of a r t . Some a r t s h a v e subject, others do n o t . T h e a r t s t h a t h a v e subject a r e
representational o r objective a r t . T h o s e t h a t d o n o t h a v e s u b j e c t a r e k n o w n a s non-
representational o r non-objective arts.

36 ART APPRECIATION
WAYS OF REPRESENTING THE SUBJECT

The m a n n e r of representing subject m a t t e r varies according to t h e inventiveness

a n d p u r p o s e o f e a c h a r t i s t . H e m a y e m p l o y realism, abstraction, or distortion.

W h e n things are depicted i n the w a y they w o u l d n a t u r a l l y appear i n nature, the

r e p r e s e n t a t i o n i s s a i d to be realistic.

S t r i c t l y speaking, n o w o r k of a r t i s t r u l y realistic, since n o w o r k of a r t i s a n accurate

copy of w h a t exists i n t h e n a t u r a l world. A n y o n e w h o h a s watched a painter at w o r k
k n o w s h o w m a n y details he leaves out, alters, a n d adds, d e p a r t i n g f r o m recording optical
r e a l i t y . M a n y great a r t i s t s h a v e b e e n able t o create t h e i l l u s i o n o f r e a l i t y t h r o u g h a
selective use of details.

S o m e p a i n t i n g s s e e m to be photographic r e n d e r i n g of facts. B u t m o s t p a i n t i n g s a n d
s c u l p t u r e s are a b s t r a c t to a c e r t a i n degree. A b s t r a c t i o n i s t h e process of s i m p l i f y i n g a n d /
or r e o r g a n i z i n g objects a n d elements according to t h e d e m a n d s of a r t i s t i c e x p r e s s i o n .
T h e a r t i s t selects a n d renders t h e object w i t h t h e i r shapes, colors, a n d positions altered.

I n some abstract works, enough of a likeness h a s been retained to represent real

t h i n g s . I n others, t h e o r i g i n a l objects have been reduced to simple geometric shapes a n d
they can rarely be identified unless t h e artist has n a m e d t h e m i n h i s title. H i s concern is
the rendering of t h e essence of the subject r a t h e r t h a n t h e n a t u r a l f o r m itself.

W h e n t h e figures h a v e b e e n so a r r a n g e d t h a t p r o p o r t i o n s differ noticeably from

n a t u r a l m e a s u r e m e n t s , t h e objects a r e s a i d to be distorted. D i s t o r t i o n could also m e a n
t w i s t i n g , s t r e t c h i n g , o r d e f o r m i n g t h e n a t u r a l shape o f the object.

T h e relief sculptures a n d paintings of ancient E g y p t were distorted. T h e head a n d

the lower p a r t of the body were s h o w n i n profile, w h i l e t h e eye a n d t h e upper p a r t of the
body were i n frontal position.

D i s t o r t i o n is u s u a l l y done to d r a m a t i z e the shape of a figure or to create a n emotional

effect. E l Greco elongated t h e bodies of C h r i s t a n d t h e s a i n t s i n h i s p a i n t i n g s to e n h a n c e
the i l l u s i o n of spirituality. Caricatures employ distortions so t h a t t h e i r targets of ridicule
w o u l d appear grotesque a n d hateful.

L o o k a t t h e images below. Tell h o w t h e images are presented. W h a t could be the

reasons behind such representation?

One of the Stations of the Cross by IVIanansala,

found inside The Parish of the Holy Sacrifice in UP
Diliman

ART APPRECIATION
37
SUBJECT AND CONTENT

Recognizing is not necessarily grasping t h e content of a w o r k of a r t . Subject a n d

content are t w o different things. W h i l e subject refers to t h e objects depicted b y t h e
a r t i s t , content refers to w h a t t h e a r t i s t expresses or communicates on the whole i n h i s
w o r k . Sometimes it is spoken of as t h e " m e a n i n g " of t h e work. I n literature i t is called
t h e " t h e m e " . I n f a c t , w e m a y d e f i n e i t a s t h e s t a t e m e n t w e a p p r e h e n d o r t h e f e e l i n g or
mood we experience w i t h the work of art. Content reveals t h e artist's attitude toward
his subject.

T h e s u b j e c t o f t h e p a i n t i n g Bmvehearts by J o e y Velasco is the bald J e s u s w i t h cancer-

stricken kids. Its content is on the u n u s u a l portrayal of J e s u s w h o frequently appears
i n other a r t w o r k s as a long-haired m a n . W h y d i d Velasco depict J e s u s w i t h t h i s image?
W h a t is C h r i s t ' s relationship w i t h these children? W h a t is t h e u n d e r l y i n g message of the
a r t i s t ? A n s w e r s t o t h e s e q u e s t i o n s a r e c o n s i d e r e d t o b e t h e Content. Once y o u ask, "So
w h a t ? " or " W h a t s i g n i f i c a n t h u m a n experience is conveyed i n t h e w o r k ? " y o u are dealing
w i t h content.

Bravehearts by Joey Velasco

ART APPRECIATIO V
38
MEDIUM DEFINED
T h e t e r m m e d i u m refers to the materials w h i c h a n a r t i s t uses. According to m e d i u m ,
the a r t s are classified into:

1. Visual or space arts - t h o s e w h o s e m e d i u m s c a n b e s e e n a n d w h i c h o c c u p y s p a c e .

T h e s e i n t u r n are grouped into t w o categories:

a. T h e two-dimensional a r t s , such as p a i n t i n g , d r a w i n g , p r i n t m a k i n g , a n d
photography, and

b. T h e three-dimensional arts, such as sculpture, architecture, landscaping,

c o m m u n i t y p l a n n i n g , i n d u s t r i a l design, a n d t h e crafts like ceramics, a n d
furniture-making.

2. Auditory or time arts - t h o s e w h o s e m e d i u m s c a n b e h e a r d a n d w h i c h a r e e x p r e s s e d

i n time. T h e s e are music a n d literature.
3. The combined arts - t h o s e w h o s e m e d i u m s c a n b e b o t h s e e n a n d h e a r d , a n d w h i c h
e x i s t i n b o t h space a n d t i m e . T h e s e include the dance, the d r a m a , t h e opera, a n d
the movies.

THE ARTIST AND HIS TECHNIQUE ^ '^^

A good a r t i s t m a k e s h i s m e d i u m w o r k for h i m to produce effects h e cannot possibly
attain by any other means. A n artist's knowledge of his m e d i u m a n d h i s s k i l l i n m a k i n g
it a c h i e v e w h a t h e w a n t s i t t o , m a k e u p w h a t i s c a l l e d t e c h n i q u e . A p o e t ' s technique
is h i s w a y o f p u t t i n g w o r d s t o g e t h e r t o expres.s a n e m o t i o n o r n a r r a t e a s t o r y . A
pianist's technique is his skill i n handling the i n s t r u m e n t and i n interpreting a musical
composition.

Obviously, artists differ from each other i n technique even i f they work w i t h the
= ame m e d i u m . E a c h a r t i s t , w o r k i n g w i t h t h e s a m e m e d i u m , m a y e m p l o y a d i f f e r e n t
technique at another t i m e for another purpose. Technique is adapted as the need arises.

THE MEDIUMS OF THE VISUAL ARTS

M a n y m e d i u m s have been u s e d b y painters, b u t w e s h a l l consider only four: fresco.
in w h i c h pigment is m i x e d w i t h water a n d applied to w e t plaster; tempera, i n w h i c h
pigment i s m i x e d w i t h egg a n d applied to a v e r y h a r d s m o o t h surface, u s u a l l y s e v e r a l
layers of r u b b e d p l a s t e r (gesso); o i l o n c a n v a s or p r e p a r e d w o o d p a n e l ; a n d w a t e r color
w h i c h i s p i g m e n t m i x e d w i t h w a t e r a n d applied to s m o o t h or rough w h i t e paper. E a c h
medium has certain advantages a n d limitations.

Fresco. Fresco, t h e m o s t noble a n d m o n u m e n t a l , is adapted to large w a l l surfaces. I t

is t h e m o s t e x a c t i n g b e c a u s e i t m u s t b e d o n e q u i c k l y w h i l e t h e p l a s t e r i s w e t , a n d o n c e
applied c a n n o t be changed. O n l y e a r t h colors a n d c e r t a i n others l i k e cobalt blue w i l l
m i x w i t h the l i m e i n the plaster; hence the colors are n e v e r intense but t e n d to fuse i n a

ART APPRECIATION
39
n a t u r a l harmony. A g a i n , plaster has a tendency to crack or is often r u i n e d b y dampness.
T h e greatest frescoes lie w e l l w i t h i n t h e Renaissance l i k e those of Michelangelo i n t h e
Sistine Chapel. Leonardo da V i n c i painted his " L a s t Supper" on the refectory w a l l on the
Santa M a r i a della Grazie Convent i n M i l a n . However, h i sexperiment i n painting o n a
d r y w a l l w i t h a medium that was n o t m i x e d w i t h water resulted i n a work that began to
deteriorate n o t long after he h a d finished it. I n A s i a t h e paintings are executed o n d r y
w a l l s u r f a c e s - w h a t t h e I t a l i a n s c a l l f r e s c o secco. T h e t e c h n i q u e u s e d h a r d l y d i f f e r s
f r o m p a i n t i n g o n paper or silk.

1. Tempera. Tempera painting, popular during the medieval and early Renaissance
periods, requires t h e m e t i c u l o u s s k i l l of a c r a f t s m a n . T h e color i s applied w i t h
tiny strokes of pointed brushes a n d dries immediately. Gold is often applied
first as a background. I n t h e past, tempera was most often used o n v e l l u m i n t h e
production of books. Now tempera is n o r m a l l y applied o n wooden panels carefully
s u r f a c e d w i t h gesso, a c o m b i n a t i o n o f g y p s u m o r c h a l k a n d g e l a t i n o r glue.
2. Oil O i l i s t h e m o s t p o p u l a r m e d i u m t o d a y b e c a u s e t h e p i g m e n t c o m e s r e a d y -
m i x e d i n tubes. I t dries slowly, so t h a t i f the a r t i s t i s d i s s a t i s f i e d h e c a n r e p a i n t
his errors or scrape a l l off for a fresh start. > . ' ^ ,. -
3. Water Color. T r u e w a t e r c o l o r d i d n o t r e v e a l i t s e l f u n t i l t h e m i d - l S " * c e n t u r y . I t i s a
very difficult medium but i n the lands of a master isboth fluid and transparent.
Since t h e artist m u s t w o r k rapidly a n d cannot change a n y t h i n g , there is a
freshness a n d spontaneity i n w a t e r color n o t felt i n oil.

"Horror Vacui" is a n identifying m a r k of a Filipino painting. Critics contend that

F i l i p i n o painters love to f i l l u p a l l available spaces w i t h shapes a n d colors, g i v i n g a
crowded effect, a s s e r t i n g f u r t h e r t h a t t h i s i s native to t h e F i l i p i n o sensibility w h i c h
equates a filled-space w i t h abundance a n d generosity, a n d a n e m p t y one w i t h p o v e r t y
and misery. f

, Mong/ng/sdo (1957) by Carlos "Botong" V. Francisco, Oil on Canvas ,

' is a painting that ennploys horror vacui. 0 3 Jqc

40 ARTAFPRBCIATION
PAINTINGS ON CEILINGS

The ceiling paintings of Mt. C a r m e l C h u r c h i n

B a l i l i h a n , Bohol were done b y R a y m u n d o " R a y "
Francia from Cebu. Unfortunately, very little
information is k n o w n about h i m i n spite h i s
enormous projects. According to Aldor (2013), "At
his peak i n t h e 1 9 2 0 s a n d 1 9 3 0 s , h e p a i n t e d t h e
church ceilings of Pitalo, Sibonga a n d Argao i n
Cebu, as w e l l a s t h e ceilings o f t h e c h u r c h e s of
Dauis, Cortes, Maribojoc, Loon, Tubigon,
Found in the choir loft 0 .
Alburquerque, Loay, Loboc, Dimiao, Carmen,
Balilihan, Bohol, this bears the name of the
Balilihan, Jagna and Anda in Bohol." The artist Ray Francia at the lower right corner of the
painting. (Photo © Cathelyn Adajar) (Photo ©
a n o n y m i t y of t h e painter reflects t h e society's
Cathelyn Adajar)
attitude towards a r t at that time, w h e n the painter
was regarded as a craftsman whose work w a s
s i g n i f i c a n t i n s o f a r a s i t p e r f o r m e d i t s f u n c t i o n as
claimed by Rosa Maria Magno-Icagasi from
Philippine Painting and Society.

Ray Francia is later dubbed as "The Michelangelo of Cebu and Bohol"

for his ceiling paintings of churches.

In your local community, can you still find churches

with paintings on the ceiling? Tell the class about it.

Materials Used i n Sculpture. T h e materials

used i n sculpture are stone, wood, m e t a l , a n d ,
recently j u n k . Marble has always been the favorite This is another example of paintings on ceilings in
Cebu where the Magellan's cross is found.
material, especially i n countries like Greece
and Italy where there is plentiful supply near at h a n d . Because of its hardness, i t h a s
great p e r m a n e n c e , b u t w h e n polished to a h i g h gloss i t looks soft a n d y i e l d i n g a s i n
Michelangelo's "Pieta". I n W e s t e r n Europe, statues were frequently made of t h e same
m a t e r i a l as t h e c h u r c h , u s u a l l y limestone, or t h e y were sculptured i n w o o d a n d painted.

ART APPRECIATION
41
 Of the metals, bronze has always been t h e favorite.
W o r k i n g i n metal requires a special technique. While
the sculptor i n stone chisels h i s figure directly f r o m
the block, (the process i s called c a r v i n g ) t h e sculptor
in bronze makes a clay model, builds a furnace around
it, a n d pours t h e molten m e t a l a r o u n d t h e model (this
process i s called casting). ^'' '

For Research o n t h e U . R Oblation b y Guillermo

1. W h a t material was used by Tolentino i n creating

this statue?

2. W h a t was t h e basis of Tolentino i n m a k i n g this

sculpture?
The original Oblation by Guillermo
Tolentino located at the U.P. Diliman 3. W h a t c a n be t h e s y m b o l i s m f o r t h i s statue?
Main Library building.
F i l i p i n o c h u r c h e s a l s o h a v e retablo where statues of
saints are found.

The retablo is t h e upright carved a n d decorated

w o o d e n screen o r f r a m e c o n t a i n i n g ledges a n d panels j u s t
b e h i n d a n d above t h e altar table. I t displays t h e p a t r o n
s a i n t i n t h e m i d d l e flanked b y s e c o n d a r y s a i n t s .

'A MATERIALS USED IN ARCHITECTURE

Up until modern times, architects have generally
used the materials w h i c h they found readily available.
A retablo in St. Joseph's Cathedral, I n Italy, churches, public buildings, and even country
Tagbilaran City (photo © Cathelyn
villas of t h e Renaissance merchant princes were
Adajar)
built of marble. T h e r e is also i n Italy a n abundance
o f r e d d i s h c l a y c a l l e d pazzuolia out of w h i c h roof tiles
are made. I n low lying countries like Holland a n d
England, brick is generally used for dwellings because
local clay is adapted to b r i c k m a k i n g . A m e r i c a n s have
used wood because it w a s plentiful. I n this century,
however, structural steel, reinforced concrete, a n d
glass have revolutionized architecture. I n t h e future
The Church of Immaculada Concepcion
in Baclayon, Bohol is considered to be we m a y be l i v i n g i n plastic houses.
one of the oldest in the Philippines.
Coral blocks from the sea along with
millions of white eggs that served as
cement completed the structure in 1727.
However, it was damaged due to the 7.2
earthquake that hit the province.

Task: Research on the restoration work

.l>t» i done on the church.

ART APPRECIATION
 This is the San Nicolas de Tolentino Parish Church in
Mambajao, Camiguin. The original church was built using
adobe and coral stones contributed by townfolks who

jrii
lived near the shores. The stones were mixed with local
clay and molasses hardened by fire.

Filipino houses past a n d present:

The Vega house in Balingasag, Misamis Oriental built In

the 1800s is made of tugas balayong.

The white house in Mambajao, Camiguin was originally •

owned by Don Leon Borromeo and Sefiora Sivera Reyes.
The types of wood used are apitong and tugas. The
ground floor served as bodega for copras and garage for
the tartanilla.

tT:an.} XJJOV ni z'ivuoa bio barl . i

o!

.i

Racho-Lomantas house in Balilihan, Bohol

Photo ©Cathelyn Adajar
In spite of modernity, owners want to preserve the
original look of their house.

.9-

AKT APPRECIATION
43
 The bahay kubo Typical Filipino houses in the province. This is shot in
Bohol.

The Labtang Residence in Balilihan, Bohol Many houses in Bohol are only used as bahay bakasyonan
Photo ©Cathelyn Adajar since their ow^ners are working abroad or in other places
in the country. This house in the poblacion of Balilihan,
Bohol is fully occupied only during Christmas, summer, or
the town fiesta in July.
Residence of Aurelio M. Pana, Jr.
Photo ©Cathelyn Adajar

YlrACTIVITY \

1. I n your o w n community, investigate h o w your church, chapel or mosque w a s

constructed. Relate to the class a n d s h o w t h e m pictures.

2. F i n d o l d h o u s e s i n y o u r c o m m u n i t y ( t h e older, t h e b e t t e r ) a n d a s k o w n e r s a n d
local residents the m a t e r i a l s used i n the construction. T a k e pictures a n d compile.

^ACTIVITY 2 ON DIFFERENT ARCHITECTURAL DESIGNS:

1. Students f o r m a group a n d m u s t prepare a Power Point presentation after doing

research work o n the following topic/s.

a. Classical and Neo-classical Architecture

b. Romanesque and Gothic Architecture

c. Baroque a n d Rococo Architecture

' d. Middle Bast and African Architecture

e. East Asian Architecture: India, China and Japan

44 ART APPRECIATION
 f. Victorian Architecture

g. Modern Architecture

h. Post M o d e r n Architecture

2. Focus o n the A r c h i t e c t u r a l Design's detailed characteristics/features a n d N O T o n

its history.
3. Include clear pictures, b o t h local (if found i n t h e Philippines a n d i n t e r n a t i o n a l )
as e x a m p l e s .
4. A s each feature/characteristic is mentioned, a picture should accompany it.

• ^ .rtr fifi --J 3f;r

\Y 3 gf,r r-vv brn, . a m i oitJ ni boyi-r" o

A f t e r k n o w i n g the different architectural designs (from A c t i v i t y 2 ) , students w i l l

create a d o c u m e n t a r y f i l m f e a t u r i n g t h e different designs found i n a c o m m u n i t y of
--heir c h o i c e . A s i d e f r o m t h e a c c u r a t e a n d c o m p r e h e n s i v e d e s c r i p t i o n s o f e a c h s t r u c t u r e /
-oilding, students m u s t also incorporate INSIGHTS or R E F L E C T I O N of members
:-?rtaining to the s t r u c t u r e s t h e y h a v e d o c u m e n t e d . T h e y c a n feature at least 2 houses, 1
^Mise o f w o r s h i p ( c h u r c h o r m o s q u e ) a n d 1 b u i l d i n g w h i c h t h e y f i n d s t r i k i n g . T h e v i d e o
c a n be good f o r 1 0 m i n u t e s o n l y a n d w i l l b e v i e w e d b y t h e c l a s s . I n t h i s p e r f o r m a n c e t a s k ,
students need to showcase a n i n f o r m a t i v e a n d i n s i g h t f u l d o c u m e n t a r y o n A r c h i t e c t u r a l
Designs as applied i n local buildings/structures.

GUIDELINES IN MAKING THE DOCUMENTARY FILM

ON ARCHITECTURAL DESIGNS
ired by Cathelyn Adajar
• - •

PLANNING STAGE AND BEFORE SHOOTING

1. P l a n w i t h t h e g r o u p w h e r e t o go a n d s h o o t t h e d o c u m e n t a r y .

2. Consider the budget o f the group.

3. A l w a y s seek p e r m i s s i o n f r o m parents/guardians.

4. V i e w other documentaries to get ideas. f

5. R e s e a r c h o n t h e place a n d t h e s t r u c t u r e s / b u i l d i n g s t o b e d o c u m e n t e d .

8. K n o w your limits a n d boundaries.

9. Give letter to formally ask p e r m i s s i o n .

10. M a k e sure y o u have agreed o n certain principles for operating the camera, g

1 1 . Set u p rules i n your group.

12. Decide o n the following:

a. W h e t h e r or n o t the interviewer should be visible i n the picture;

b. W h e t h e r the camera movements should be swift or calm;

c. W h e t h e r the persons should be f i l m e d f r o m below, a t eye level, f r o m above;

d. W h e t h e r to include footage of t h e i n t e r v i e w o r y o u j u s t paraphrase a n d

narrate i n f o r m a t i o n obtained through voice-over.

An APPRECIATION At:
 1 3 . B e w i l l i n g to m a k e c h a n g e s a l o n g t h e w a y .

1 4 . R e m e m b e r t h a t m a k i n g t h e d o c u m e n t a r y f i l m c o m e s o m e m o r a l obliga
r e s p o n s i b i l i t y for t h e p e o p l e i n v o l v e d goes b e y o n d t h e f i n i s h e d f i l m . R
the people i n v o l v e d (which includes a n honest representation of them) n
before m a k i n g a great f i l m .

15. Be accurate i n giving data.

16. Decide on the style of m u s i c ( i f a n y ) y o u w a n t i n the f i l m . Y o u r choice c

plays a n i m p o r t a n t part i n the overall impression of the f i l m , a n d these discus,
s h o u l d n o t be p o s t p o n e d u n t i l t h e e d i t i n g p h a s e . M u s i c i s a n i m p o r t a n t f a c .
w h e n i t c o m e s to c r e a t i n g a " m o o d " i n t h e f i l m , a n d t h e w r o n g c h o i c e o f m u s i c l
r u i n the production.

1 7 . P l a n o n t h e o u t f i t o f t h e h o s t / i n t e r v i e w e r . S / h e l o o k p r e s e n t a b l e a n d m u s t be a
m e m b e r of the group.

1 8 . A s t o r y b o a r d m i g h t be u s e f u l e v e n t h o u g h y o u a r e m a k i n g a d o c u m e n t a r y . By
m a k i n g a s t o r y b o a r d ( i n s t e a d o f i m p r o v i s i n g y o u r w a y t h r o u g h ) y o u get a h i g h
degree o f c o n t r o l . T h i s e n s u r e s t h a t t h e p r o j e c t i s r e a l i s t i c w i t h i n t h e g i v e n t i m e .

19. B y u s i n g a storyboard, y o u reduce the r i s k of l a c k i n g i m p o r t a n t shots i n the editing

room.
2 0 . H o w e v e r , t h e s t o r y b o a r d s h o u l d a l w a y s be r e g a r d e d as a preliminary script that can
be a d j u s t e d o n l o c a t i o n .

2 1 . M a k i n g a d o c u m e n t a r y i s t e l l i n g a s t o r y . E x p l o r e o n t h e What, Where, When, Why

and How o f t h e c h o s e n s t r u c t u r e .

SHOOTING

1. B e polite a n d courteous w h e n dealing w i t h people.

2. W h e n a particular architectural design or p a r t of the structure is mentioned,

c a m e r a s h o w s w h a t is described ( E x a m p l e : the voice-over describes t h e c e n t u r y ol
belfry tower, the camera also shows i t ) .
3. B e careful about the t e c h n i c a l side of t h e production. M a k i n g a documentary
f i l m i n g "reality" - is not a n excuse for poor technical quality.

4. I n general, i t is good to m a k e the shots a little longer t h a n f i r s t i n t e n d e d - y -

never know w h a t you might need i n the editing room.

5. I f y o u use such camera m o v e m e n t s as p a n n i n g a n d tilting, m a k e sure y o u h a

several takes of each shot i n w h i c h the c a m e r a is m o v e d at different speeds. T '
w i l l give y o u m o r e possibilities i n the editing r o o m .

6. W h e n s o m e o n e n a r r a t e s f r o m t h e w r i t t e n s c r i p t , a l w a y s m a k e s u r e to folio
s t a n d a r d usage o f t h e l a n g u a g e i n c l u d i n g p r o n u n c i a t i o n a n d i n t o n a t i o n .
7. Use the accurate a n d appropriate terminologies i n Architecture. .
8. E x t r a pictures come i n handy.
•if' :

46 ART APPRBCIATI
 9. Be ready to m a k e changes - maybe to give up the original concept of the f i l m ( t h r o w
away the storyboard) i f y o u f i n d out that w h a t y o u planned doesn't really work.
T h i s goes f o r t h e s h o o t i n g p h a s e a n d t h e e d i t i n g p h a s e .

1 0 . I n c l u d e i n t h e n a r r a t i o n o r v o i c e o v e r t h e INSIGHTS o f the members i n m a k i n g the

documentary. \

1 1 . T h e r e should be m o m e n t s i n the f i l m where the n a r r a t o r / h o s t should be seen.

12. I n c l u d e a s h o t w h e r e a l l m e m b e r s o f t h e g r o u p a r e s e e n i n f r o n t o f t h e s t r u c t u r e /
building.

riTING in!''!-:

Basically, the editing principles o f fiction a n d d o c u m e n t a r y are the same.

I n t h e b o o k In the BUnk of an Eye: A Perspective on Film Editing (1995), Walter Murch

said ( i n relation to the fiction f i l m ) t h a t i n order f o r a f i l m to be f u n d a m e n t a l l y
interesting, t h e m a i n thing to strive for i n t h e editing r o o m is the evoking of
emotion.

W h e n editing a documentary, i t i s good to search for a n d identify the 'bad bits.'

S o m e shots t h a t y o u p r e v i o u s l y t h o u g h t were e s s e n t i a l to the f i l m often t u r n out to
be ' b a d b i t s ' w h e n t h e f i l m b e g i n s t o t a k e f o r m . A l s o , r e m e m b e r t h e o l d s l o g a n : " K i l l
Your Darlings."

I t can be difficult to identify the u n n e c e s s a r y "darlings" or "bad bits," especially i f

you have become h y p n o t i z e d b y the m a t e r i a l a n d are n o longer able t o see w h a t
works a n d w h a t doesn't. I t i s always a good idea to get somebody to v i e w your
p r o d u c t i o n w i t h a f r e s h eye.
M a k e s u r e a u d i o i s clear.

Your documentary m u s t stick to the t i m e l i m i t specified i n class. "

.e s h a p e o f a w o r k o f a r t m a y b e d e f i n e d b y l i n e . L i n e s h a v e m a n y q u a l i t i e s w h i c h
•-St e x p l o i t s . T h e y m a y b e s h o r t o r l o n g , f i n e o r t h i c k , h e a v y o r l i g h t , w a v y o r
straight or curved. T h e y u s u a l l y delineate shapes. U s e d across or w i t h i n shape,
we t h e e f f e c t o f s o l i d i t y o r c r e a t e a n i l l u s i o n o f v o l u m e , o r r o u g h o r s m o o t h t e x t u r e .
; of h e a v y l i n e s d r a w n close to each other creates a n i m p r e s s i o n o f roughness. O n
• h a n d , a few strokes c a n give a s e n s a t i o n o f softness a n d delicacy.

; m a y m o v e i n s e v e r a l d i r e c t i o n s . W h e n the l i n e continues i n only one d i r e c t i o n

^ 1^ i t a straight line. T h e straight line m a y proceed vertically, horizontally, or
^!?TOaIly. T h e s e d i r e c t i o n s o f l i n e c a n e x p r e s s e m o t i o n a l s t a t e s o r e v o k e emotional
.gooses.

fk horizontal line c r e a t e s a n i m p r e s s i o n o f s e r e n i t y a n d p e r f e c t s t a b i l i t y , s i n c e w e
te i t w i t h f o r m s i n n a t u r e , s u c h a s t h a t o f a s l e e p i n g p e r s o n , o r w i t h t h e h o r i z o n .

'O • -solo:-. y-fOvid .:3uid '^i(=L J O

ArVUCIATION
47
 A vertical line a p p e a r s p o i s e d a n d s t a b l e . W e g e n e r a
feel t h a t a straight tree i s a strong one, or t h a t a pers
who stands t a l l is one w h o h a s confidence i n h i m s e
T h e v e r t i c a l direction of Michelangelo's " D a v i d " or
R i z a l statue at R i z a l Park conveys thefeeling of stren
and stability.

A diagonal line i m p l i e s a c t i o n . A m a n w h o i s r u n n '

bends forward a n d thus assumes a diagonal positior
A tree t h a t is about to fall takes a diagonal directio"
Diagonal lines show movement a n d , consequen'
instability. A l s o , w i t h diagonal l i n e s a r t i s t c a n convey
feeling of unrest, uncertainly, and movement.

A curved line r e s u l t s w h e n t h e r e i s g r a d u a l c h
of direction. Because i t is gradual, i t shows fluidity,
Bonifacio Monument in Caioocan by see t h i s i n c u r v e s o f t h e w o m a n ' s f i g u r e , i n t h e r o u "
Guillermo Tolentino, 1933 cast bronze
petals of flowers, a n d i n t h e shape of the crescent m
T h e c u r v e d l i n e gives u s a f e e l i n g of grace a n d m o v e m e n t .

W h e n t h e change i n direction is abrupt, a n angular line results. T h e abru,

creates tension a n d a n impression of chaos, confusion, or conflict.

L i n e s , whatever t h e i r direction, control our eye movement a n d help u s relate

v a r i o u s elements i n a w o r k of a r t w i t h one another.

W h a t l i n e s do y o u s e e i n t h i s s c u l p t u r e b y G u i l l e r m o T o l e n t i n o ? W h a t d o t h e y c

COLOR
Color is a series of wave lengths w h i c h s t r i k e o u r r e t i n a . E v e r y ray of light c
from t h e s u n i s composed of different waves w h i c h vibrate a t different speeds,
c o n f i r m t h i s scientific fact i f we allow a b e a m of light to pass through a p r i s m . T h e
l i g h t w i l l b r e a k u p a n d b e s e e n o n a s h e e t o f w h i t e p a p e r a s b a n d s o f d i f f e r e n t colo
colors - red, orange, blue, indigo, a n d violet - constitute t h e color s p e c t r u m .

S i n c e a b e a m of l i g h t c o n t a i n s a l l t h e d i f f e r e n t colors, w h y do w e see n a t u r a l
a s h a v i n g o n e c o l o r ? A n y o b j e c t h a s a c o l o r q u a l i t y c a l l e d p i g m e n t a t i o n , w h i c h e-
to absorb s o m e o f t h e colors a n d r e f l e c t o n l y one.

S o m e objects do n o t h a v e color. S o m e a r e b l a c k , w h i t e o r gray. T h e s e are n o t

i n t h e color s p e c t r u m . T h e y do n o t h a v e a n y color quality. I n s t e a d t h e y differ
q u a n t i t y o f l i g h t a n d t h e y r e f l e c t . T h e y are c a l l e d n e u t r a l s s i n c e t h e y do n o t ref
o n e d i s t i n c t color. B l a c k r e f l e c t s n o l i g h t a t a l l ; w h i t e r e f l e c t s a l l c o l o r s , a n d g r a y
from a partial reflection of light.

Physical Properties of Color. T h e c o l o r s p e c t r u m s h o w s u s a f e w c o l o r s a n d y e t

t h a t there are m a n y m o r e color v a r i a t i o n s t h a t e x i s t . T h e r e are, f o r i n s t a n c e , mairr
o f b l u e w h i c h d i f f e r i n c h a r a c t e r f r o m p u r e b l u e . W e h a v e s k y b l u e , l i g h t b l u e , na-r
or d a r k blue. E v e r y color w e see m a y be described i n t e r m s of its p h y s i c a l p r o
hue, value, a n d intensity.

48
 Hue. H u e i s t h e q u a l i t y w h i c h gives a color its n a m e . T h e colors of s p e c t r u m a r e
therefore called hues.

Value. A d d i n g n e u t r a l s , s u c h a s b l a c k o r w h i t e , t o a n y h u e r e s u l t s i n c h a n g i n g the
q u a n t i t y of light it reflects. A color c o m b i n e d w i t h b l a c k w i l l reflect less light t h a t
t h e s a m e c o l o r c o m b i n e d w i t h w h i t e . W h e n b l a c k i s c o m b i n e d w i t h a color, a s h a d e i s
fircKiuced; w h e n w h i t e i s a d d e d t o i t , a t i n t r e s u l t s . B l a c k a d d e d t o b l u e r e s u l t s i n d a r k
H u e ; w h e n w h i t e i s a d d e d , w e get a l i g h t b l u e . T h e l i g h t n e s s o r d a r k n e s s o f a c o l o r i s
called v a l u e .

Intensity. I n t e n s i t y i s t h e s t r e n g t h of t h e color's hue. I t refers to t h e q u a l i t y of l i g h t

m a color. R e d , f o r i n s t a n c e , m a y s e e n a s b r i g h t r e d i f o n l y r e d r a y s o f l i g h t a r e r e f l e c t e d .
But i f a n y of t h e c o m p l i m e n t a r y g r e e n r a y s w e r e r e f l e c t e d i n i t , the effect w i l l be a d u l l e r
CDk)r. I f g r e e n a n d r e d w e r e b a l a n c e d , t h e r e s u l t a n t c o l o r w i l l b e a n e u t r a l g r a y .

Hues become less intense (dull) w h e n pigments are m i x e d w i t h t h e m . W h e n w e add

• h i t e , the color becomes lighter i n v a l u e a n d therefore loses its i n t e n s i t y . W h e n b l a c k is
added, the i n t e n s i t y d i m i n i s h e s as the v a l u e d a r k n e s s . W h e n gray is added, the r e s u l t
w i l l be a v a r i a t i o n i n i n t e n s i t y w i t h o u t a n y c h a n g e i n v a l u e . T h e c o l o r b e c o m e s l e s s b r i g h t
W t neither lighter nor darker i n tone.

M a n y colors may be f o r m e d b y m i x i n g t w o or m o r e colors. T h e r e are, however, t h r e e

o l o r s w h i c h we c a n n o t f o r m f r o m m i x t u r e s because t h e y are, i n a sense, pure colors.
Ifcese are red, blue, a n d yellow. T h e s e colors are called p r i m a r i e s . W h e n these colors are
i n p a i r s , t h e y c a n p r o d u c e c o l o r s t h a t w e k n o w of. A m i x t u r e o f a l l t h e s e r e s u l t s

gray-
T h e c o l o r f o r m e d out t h e c o m b i n a t i o n o f t w o p r i m a r i e s i s c a l l e d a s e c o n d a r y c o l o r ,
i, w e d e r i v e o r a n g e f r o m t h e m i x t u r e o f y e l l o w a n d r e d ; g r e e n , f r o m y e l l o w a n d b l u e ;
violet, f r o m blue and red.

We c o n t i n u e to f o r m other colors by m i x i n g a p r i m a r y and a secondary color.

'WQow and green c o m b i n e d produced yellow-green. T h e colors that result f r o m such
• m b i n a t i o n s a r e c a l l e d intermediate colors.

T h e r e l a t i o n b e t w e e n the p r i m a r y and the colors p r o d u c e d b y m i x i n g or combining

A e m is s h o w n i n the d i a g r a m .

Primary
intermediate intermediate
 T h e r e i s a c t u a l l y n o l i m i t to t h e n u m b e r of i n t e r m e d i a t e colors w e c a n f o r m because
the color produced depends largely o n t h e p r o p o r t i o n s of t h e a m o u n t of p r i m a r y or
s e c o n d a r y colors w e use. I f m o r e green i s m i x e d w i t h a s m a l l a m o u n t of yellow, the color
produced w i l l differ from t h a t achieved b y m i x i n g more yellow w i t h green.

T h e c o l o r s o p p o s i t e e a c h o t h e r i n t h e c o l o r d i a g r a m a r e c a l l e d complimentary colors.
T h e y a f f o r d t h e greatest c o n t r a s t a n d t h e best h a r m o n i e s o f colors f o r as l o n g as t h e y
are m i x e d w i t h e q u a l v a l u e a n d i n t e n s i t y . I n t h e color w h e e l , blue i s t h e c o m p l i m e n t of
orange. W h e n c o m p l e m e n t a r i e s a r e p l a c e d adjacent to e a c h other, t h e y do n o t o n l y create
v i b r a t i n g contrast of opposites but also produce a n effect of m u t u a l e n h a n c e m e n t .

USES OF COLOR

H o w do t h e a r t i s t s use color t o e x p r e s s t h e i r ideas a n d elicit r e a c t i o n f r o m u s ?

Color m a y be u s e d to give the p i c t o r i a l field a t h r e e - d i m e n s i o n a l quality, or to create

interest t h r o u g h t h e counter-balance of b a c k w a r d a n d f o r w a r d m o v e m e n t s . A spot of
red o n a flat surface appears to t a k e a position i n front of t h a t surface; a blue spot o n the
same surface o n the other h a n d , seems to s i n k back.

Color m a y create a m o o d a n d s y m b o l i z e ideas a n d express p e r s o n a l emotions. Light,

b r i g h t colors m a k e u s feel h a p p y a n d angry. Cool, somber ones c a n depress u s . T h e
d i f f e r e n t h u e s o n t h e color s p e c t r u m h a v e d i f f e r e n t e m o t i o n a l i m p a c t s . H o w o f t e n do w e
s a y t h a t w e s e e red w h e n w e a r e a n g r y , o r t h a t w e f e e l blue w h e n w e a r e d e p r e s s e d ? R e d i s
i n t e n s e a n d e x c i t i n g , w h i l e blue i s serene, d i g n i f i e d , or s a d .

Hues are often u s e d to s y m b o l i z e ideas or abstract

qualities s u c h as a v i r t u e , loyalty, evil, a n d cowardice.
Blue i s associated w i t h l o y a l t y a n d honesty. I t also
stands for nobility. W e speak of a m a n as "blue-
blooded" w h e n w e refer to h i s noble origin. R e d is
identified w i t h danger, passion, or violent, death.
T h u s , w e are w a r n e d n o t to move f o r w a r d w h e n w e
see r e d t r a f f i c l i g h t o n . Y e l l o w m e a n s c o w a r d i c e , b l a c k
is a sign of death, a n d green is identified w i t h life a n d
hope. W h i t e i s equated w i t h p u r i t y or innocence a n d
purple is often identified w i t h w e a l t h and royalty.
Fall (1963)
Color h a s t h e ability to arouse sensations of Bridget Riley
Emulsion on Hardboard, 551/2x551/4 in.
pleasure because of a well-ordered s y s t e m of tonality. Kawamura Memorial Museum of Art (Chiba,
Japan): Bridget Riley: Stripes, Curves and
I n op a r t . Color provokes p h y s i c a l s e n s a t i o n s , s u c h as
Shapes
e x h i l a r a t i o n o r e u p h o r i a . I n B r i d g e t R i l e y ' s Fall, for From http://www.tate.org.uk/art/artworks/
riley-fall-t00616
example s t r i p e d sequences of red, green, a n d w h i t e ,
a n d red, blue, a n d w h i t e create a k i n d of s h i m m e r i n g c u r t a i n w h i c h seems to advance
a n d envelop u s like creepers a n d v i n e s .

cn ART APPRECIATION