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Humanities ii


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  • 2. PAINTING -one of the fine arts that depicts variousintrinsic values of man throughimaginative aggregation of lines andcolor.-expresses the artist’s perceptions andfeelings on a particular selected subject.-the artist selection of a subject comesfrom his understanding andinterpretation of his feelings andemotions.
  • 3. PAINTING -beautiful expression of the artist’s inner feeling– sadness, happiness, fear, anger, anxiety,stillness or peacefulness, turbulence or chaos. -what he thinks and feels, giving the subject itsmeaning for the art lover to enjoy and drawmeaning as well. Art of applying pigments to surface in order topresent a picture of the subject.
  • 6. SUBJECT answers the what of the piece of painting. Whatis the painting about?PortraitureAnimals and plantsStill lifeCountry lifeLandscapeSeascapeCityscapeEvent religiousOthers
  • 7. SUBJECT PORTRAITURE – pictures of men or womensingly or collectively
  • 8. SUBJECT ANIMALS AND PLANTS – because of constantcontact with their interest in these livingorganisms, it was inevitable for them to paintthese things they needed to survive
  • 9. SUBJECT STILL LIFE – painting of an inanimate object ornon-living thing placed on a table or anothersetting. Availability and capability to be organized.
  • 10. SUBJECT COUNTRY LIFE – scenes in countrysidehappening daily in the community.Barrio fiestaParadeHarvestBig catch of fishesNatural calamity
  • 11. SUBJECT LANDSCAPE- any land forms including volcano,mountain, hill, valley, plain, cliff, etc.
  • 12. SUBJECT SEASCAPE- any of the water forms: ocean, sea,river, lake, brook, pond, falls etc.
  • 13. SUBJECT CITYSCAPE- aerial view of a city or a portion ofit can be the subject
  • 15. SUBJECT RELIGIOUS ITEMS – common during theRenaissance period Holy family Madonna and child Jesus Christ Angels Saints
  • 16. SUBJECT OTHERS- mythological, fictional, cartooncharacters
  • 17. MEDIUM Differ not only in their inherent qualities but alsoin the effects they produce. Refers to the materials used by the artist.
  • 18. MEDIUM Fresco- pigment is mixed with water andapplied to wet plaster. Italian for Fresh Done with the use of earth pigments mixed inwater and applied to fresh plaster or glue whichattaches the color to the surface like the wall. Biggest advantage is its durability.
  • 19. FRESCO Buon fresco/ true fresco – when the plaster is wet Fresco secco- when the plaster is dry. Advantages / Disadvantages: Quick to dry Difficult to correct Not movable Subject to loss in the event that the walls aredestroyed.
  • 20. MEDIUM Water color-pigment mixed with water andapplied to the surface of smooth or rough paper. Colors are applied in very thin layers Gouache-opaque water color -produced by grinding opaque colors with waterand combining them with a preparation of gumand adding Chinese white to transparent colors.
  • 21. MEDIUM Oil-which is done on canvas or prepared woodpanel Done with the use of ground pigments (fromminerals, coal tar, vegetable matter, etc.) Long-lasting, slow in drying, easy to handle andmanipulate texturally, and capable of beingcorrected.
  • 22. OIL Applied in 2 ways: Direct method- paints are opaque and onceapplied on the surface, they dry up and give thefinished product its final appearance Indirect method- transparent and they areapplied in many thin layers or coatings.
  • 23. MEDIUM Tempera- done withthe use of groundpigments mixed withthe albuminous orcolloidal vehicle (eggyolk, gum, glue, orcasein) -readily dries with theevaporation of water Luminosity of tone asan effect on the woodpanel, ground orsurface.
  • 24. MEDIUM Pastel- closely resembling dry pigments boundto form crayons, which are directly applied to thesurface. Very flexible medium Difficult to preserve
  • 25. MEDIUM Acrylic- use of synthetic paints called acrylicsmixed with a vehicle capable of being thinnedwith water. Possesses flexibility of oil and the transparencyand the fast-drying ability of water color Soluble in water and can be applied on almost allsurfaces. Has no tendency to crack or darken or yellowwith age. Acrylic emulsion/ polymer- serves as its bindingagent
  • 26. MEDIUM Encaustic- done with the use of hot wax as avehicle to bind pigments to a wooden panel orwall. Durable Colors remain vibrant and itssurface maintain hard luster Difficult to manipulate
  • 27. TOOLS BRUSH – used to have a variety of strokes PALETTE- contains or holds the paintingmedium PALETTE KNIFE – used to mix colors, add,scrape or remove colors EASEL- frame that supports the painting
  • 28. EVOLUTION OFPAINTINGPainting has mirrored thechanging world and man’s ideasabout it.
  • 29. FACTORS THAT INFLUENCEDTHE HISTORY OF PAINTING Geography Religion National characteristics Historic events Development of new materials
  • 30. EVOLUTION OF PAINTING Painting progressed slowly through theMedieval, Renaissance, Mannerist, Baroque,Classic, Rococo, Neoclassic, and Romanticperiods.
  • 31. PREHISTORIC PERIOD Ancient Egyptians- used paintings in their burialsites Cave paintings Grotte-Vhauvet – oldest known painting believedto be about 32,000 years old
  • 32. GREEK PERIOD Paintings are found in pottery and ceramics Zeuxis, Parrhasius, and Apelles – famous Greekpainters in wooden panels Greatest painter of antiquity for his technique indrawing, coloring, and modeling.
  • 33. ROMAN PERIOD Influenced byAncient Greekpaintings Wall paintings fromvillas in Campania,Southern Italy,which can begrouped into fourmain “styles” orperiods.
  • 34. MEDIEVAL Rise of Christianity Brought different spirit and aim to paintingstyles
  • 35. RENNAISANCE PERIOD Golden age of painting 14th-mid 17thcentury Leonardo, Michaelangelo, Raphael
  • 36. BAROQUE PERIOD 1600 to last years of 17thcentury Paintings with dramatic light and shade, violentcomposition, exaggerated emotion
  • 37. CLASSIC PERIOD Refers to the art of Ancient Greek and Rome” Art of Greece in the 5thcentury B.C. Any art that is based on a carefully organizedarrangement of parts, with special emphasis onbalance and proportion.
  • 38. ROCOCO PERIOD 18thcentury Lighter than that of Baroque, often frivolous anderotic
  • 39. ROMANTIC PERIOD Shifted the attention toward landscape andnature as well as the human figure and thesupremacy of natural order above mankind’s will
  • 40. REALIST AND NATURALIST PERIOD Late 1800s Linked mainly with their rejection ofImpressionism. Post-impressionists Divided into three groups Expressionists- Vincent van Gogh, Paul Gaugin(personal expression) Formalists- Paul Cezanne(composition and structure) Realists and naturalists- Gustave Courbet (usedlight, shade, color, and perspective to reproduce asclosely as possible the appearance of objects innature.
  • 41. IMPRESSIONIST PERIOD Last half of 19thcentury Tried to capture the quality of light as it playsacross landscapes and figures. Used small strokes of contrasting colors next toeach other to create illusion of vibrating light.
  • 42. MODERN PERIOD Early 20thcentury Avante-garde artists experimented on new stylesof formalist painting and such experimentationled to the birth of Cubism, Futurism, De Stijl,and Suprematism
  • 44. AMORSOLO, FERNANDO May 30, 1892-April 26, 1972 Portraitist and painter of ruralPhilippine landscapes. Father of Philippine Realism forhis numerous realistic paintings. “Bombing of the Intendencia” “the Burning of Manila” “Dalagang Bukid” “the First Baptism in thePhilippines” “The First Mass in the Philippines” “Planting Rice” “Princess Urduja” “Sikatuna”
  • 45. HIDALGO, FELIX RESURRECTION February 21, 1853-March 13, 1913 Contemporary of JuanLuna who placedsecond in aninternational artexposition in Madrid Las Virgenes CristianasExpuestas al Populacho(2nd) LaBarca de Aqueronte(gold) Adios al Sol (silver)
  • 46. LUNA, JUAN Oct. 23, 1857-Dec. 7, 1899 Death of Cleopatra (gold) Spoliarium The Blood Compact Ang Tagumpay ni Lapu-Lapu
  • 47. MALANG- SANTOS, MAURO Worked as a graphicartist and cartoonist atthe Manila Chronicle Created comic stripcharacters Kosme theCop (retired) andChain Gang Charlie Pastoral Tres Marias
  • 48. MANANSALA, VICENTE Philippine Cubist painterand illustrator Madonna of the Slums Jeepneys Kalabaw Bangkusay Seascape Stations of the Cross
  • 49. BUONARROTI, MICHAELANGELO DILODOVICO Italian Renaissanceartist Frescoes at the Sistinechapel ceiling The creation of man The fall of man The story of Noah The last judgment Conversion of Saul Martyrdom of St. Peter
  • 50. DA VINCI, LEONARDO The archetype of the“Renaissance Man” The Annunciation The Adoration of theMagi The Virgin of the Rocks The Last Supper Mona Lisa Self-Portrait
  • 51. SANZIO, RAPHAEL Master painter andarchitect of the ItalianHigh Renaissance The Small CowperMadonna The Nymph Galatea Madonna del Granduca St. George Fighting theDragon
  • 52. VAN GOGH, VINCENT Dutch post-impressionist artist Lunatic confined in anasylum where heproduced some of hisworld-renowned works The Starry Night Fisherman on thebeach Two rats Self-portrait