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PAINTING
PAINTING
 -one of the fine arts that depicts various
intrinsic values of man through
imaginative aggregation of lines and
color.
-expresses the artist’s perceptions and
feelings on a particular selected subject.
-the artist selection of a subject comes
from his understanding and
interpretation of his feelings and
emotions.
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 its
meaning for the art lover to enjoy and draw
meaning as well.
 Art of applying pigments to surface in order to
present a picture of the subject.
ELEMENTS
OF
PAINTING
ELEMENTS OF PAINTING
SUBJECT
 answers the what of the piece of painting. What
is the painting about?
Portraiture
Animals and plants
Still life
Country life
Landscape
Seascape
Cityscape
Event religious
Others
SUBJECT
 PORTRAITURE – pictures of men or women
singly or collectively
SUBJECT
 ANIMALS AND PLANTS – because of constant
contact with their interest in these living
organisms, it was inevitable for them to paint
these things they needed to survive
SUBJECT
 STILL LIFE – painting of an inanimate object or
non-living thing placed on a table or another
setting.
 Availability and capability to be organized.
SUBJECT
 COUNTRY LIFE – scenes in countryside
happening daily in the community.
Barrio fiesta
Parade
Harvest
Big catch of fishes
Natural calamity
SUBJECT
 LANDSCAPE- any land forms including volcano,
mountain, hill, valley, plain, cliff, etc.
SUBJECT
 SEASCAPE- any of the water forms: ocean, sea,
river, lake, brook, pond, falls etc.
SUBJECT
 CITYSCAPE- aerial view of a city or a portion of
it can be the subject
SUBJECT
 EVENT
 “SPOLIARIUM”
 BLOOD COMPACT
SUBJECT
 RELIGIOUS ITEMS – common during the
Renaissance period
 Holy family
 Madonna and child
 Jesus Christ
 Angels
 Saints
SUBJECT
 OTHERS- mythological, fictional, cartoon
characters
MEDIUM
 Differ not only in their inherent qualities but also
in the effects they produce.
 Refers to the materials used by the artist.
MEDIUM
 Fresco- pigment is mixed with water and
applied to wet plaster.
 Italian for Fresh
 Done with the use of earth pigments mixed in
water and applied to fresh plaster or glue which
attaches the color to the surface like the wall.
 Biggest advantage is its durability.
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 are
destroyed.
MEDIUM
 Water color-pigment mixed with water and
applied 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 water
and combining them with a preparation of gum
and adding Chinese white to transparent colors.
MEDIUM
 Oil-which is done on canvas or prepared wood
panel
 Done with the use of ground pigments (from
minerals, coal tar, vegetable matter, etc.)
 Long-lasting, slow in drying, easy to handle and
manipulate texturally, and capable of being
corrected.
OIL
 Applied in 2 ways:
 Direct method- paints are opaque and once
applied on the surface, they dry up and give the
finished product its final appearance
 Indirect method- transparent and they are
applied in many thin layers or coatings.
MEDIUM
 Tempera- done with
the use of ground
pigments mixed with
the albuminous or
colloidal vehicle (egg
yolk, gum, glue, or
casein)
 -readily dries with the
evaporation of water
 Luminosity of tone as
an effect on the wood
panel, ground or
surface.
MEDIUM
 Pastel- closely resembling dry pigments bound
to form crayons, which are directly applied to the
surface.
 Very flexible medium
 Difficult to preserve
MEDIUM
 Acrylic- use of synthetic paints called acrylics
mixed with a vehicle capable of being thinned
with water.
 Possesses flexibility of oil and the transparency
and the fast-drying ability of water color
 Soluble in water and can be applied on almost all
surfaces.
 Has no tendency to crack or darken or yellow
with age.
 Acrylic emulsion/ polymer- serves as its binding
agent
MEDIUM
 Encaustic- done with the use of hot wax as a
vehicle to bind pigments to a wooden panel or
wall.
 Durable
 Colors remain vibrant and its
surface maintain hard luster
 Difficult to manipulate
TOOLS
 BRUSH – used to have a variety of strokes
 PALETTE- contains or holds the painting
medium
 PALETTE KNIFE – used to mix colors, add,
scrape or remove colors
 EASEL- frame that supports the painting
EVOLUTION OF
PAINTING
Painting has mirrored the
changing world and man’s ideas
about it.
FACTORS THAT INFLUENCED
THE HISTORY OF PAINTING
 Geography
 Religion
 National characteristics
 Historic events
 Development of new materials
EVOLUTION OF PAINTING
 Painting progressed slowly through the
Medieval, Renaissance, Mannerist, Baroque,
Classic, Rococo, Neoclassic, and Romantic
periods.
PREHISTORIC PERIOD
 Ancient Egyptians- used paintings in their burial
sites
 Cave paintings
 Grotte-Vhauvet – oldest known painting believed
to be about 32,000 years old
GREEK PERIOD
 Paintings are found in pottery and ceramics
 Zeuxis, Parrhasius, and Apelles – famous Greek
painters in wooden panels
 Greatest painter of antiquity for his technique in
drawing, coloring, and modeling.
ROMAN PERIOD
 Influenced by
Ancient Greek
paintings
 Wall paintings from
villas in Campania,
Southern Italy,
which can be
grouped into four
main “styles” or
periods.
MEDIEVAL
 Rise of Christianity
 Brought different spirit and aim to painting
styles
RENNAISANCE PERIOD
 Golden age of painting
 14th
-mid 17th
century
 Leonardo, Michaelangelo, Raphael
BAROQUE PERIOD
 1600 to last years of 17th
century
 Paintings with dramatic light and shade, violent
composition, exaggerated emotion
CLASSIC PERIOD
 Refers to the art of Ancient Greek and Rome”
 Art of Greece in the 5th
century B.C.
 Any art that is based on a carefully organized
arrangement of parts, with special emphasis on
balance and proportion.
ROCOCO PERIOD
 18th
century
 Lighter than that of Baroque, often frivolous and
erotic
ROMANTIC PERIOD
 Shifted the attention toward landscape and
nature as well as the human figure and the
supremacy of natural order above mankind’s will
REALIST AND NATURALIST PERIOD
 Late 1800s
 Linked mainly with their rejection of
Impressionism.
 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 (used
light, shade, color, and perspective to reproduce as
closely as possible the appearance of objects in
nature.
IMPRESSIONIST PERIOD
 Last half of 19th
century
 Tried to capture the quality of light as it plays
across landscapes and figures.
 Used small strokes of contrasting colors next to
each other to create illusion of vibrating light.
MODERN PERIOD
 Early 20th
century
 Avante-garde artists experimented on new styles
of formalist painting and such experimentation
led to the birth of Cubism, Futurism, De Stijl,
and Suprematism
NOTABLE ARTISTS
AMORSOLO, FERNANDO
 May 30, 1892-April 26, 1972
 Portraitist and painter of rural
Philippine landscapes.
 Father of Philippine Realism for
his numerous realistic paintings.
 “Bombing of the Intendencia”
 “the Burning of Manila”
 “Dalagang Bukid”
 “the First Baptism in the
Philippines”
 “The First Mass in the Philippines”
 “Planting Rice”
 “Princess Urduja”
 “Sikatuna”
HIDALGO, FELIX RESURRECTION
 February 21, 1853-
March 13, 1913
 Contemporary of Juan
Luna who placed
second in an
international art
exposition in Madrid
 Las Virgenes Cristianas
Expuestas al Populacho
(2nd
)
 LaBarca de Aqueronte
(gold)
 Adios al Sol (silver)
LUNA, JUAN
 Oct. 23, 1857-Dec. 7, 1899
 Death of Cleopatra (gold)
 Spoliarium
 The Blood Compact
 Ang Tagumpay ni Lapu-
Lapu
MALANG- SANTOS, MAURO
 Worked as a graphic
artist and cartoonist at
the Manila Chronicle
 Created comic strip
characters Kosme the
Cop (retired) and
Chain Gang Charlie
 Pastoral
 Tres Marias
MANANSALA, VICENTE
 Philippine Cubist painter
and illustrator
 Madonna of the Slums
 Jeepneys
 Kalabaw
 Bangkusay Seascape
 Stations of the Cross
BUONARROTI, MICHAELANGELO DI
LODOVICO
 Italian Renaissance
artist
 Frescoes at the Sistine
chapel ceiling
 The creation of man
 The fall of man
 The story of Noah
 The last judgment
 Conversion of Saul
 Martyrdom of St. Peter
DA VINCI, LEONARDO
 The archetype of the
“Renaissance Man”
 The Annunciation
 The Adoration of the
Magi
 The Virgin of the Rocks
 The Last Supper
 Mona Lisa
 Self-Portrait
SANZIO, RAPHAEL
 Master painter and
architect of the Italian
High Renaissance
 The Small Cowper
Madonna
 The Nymph Galatea
 Madonna del Granduca
 St. George Fighting the
Dragon
VAN GOGH, VINCENT
 Dutch post-
impressionist artist
 Lunatic confined in an
asylum where he
produced some of his
world-renowned works
 The Starry Night
 Fisherman on the
beach
 Two rats
 Self-portrait
Humanities ii

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Humanities ii

  • 2. PAINTING  -one of the fine arts that depicts various intrinsic values of man through imaginative aggregation of lines and color. -expresses the artist’s perceptions and feelings on a particular selected subject. -the artist selection of a subject comes from his understanding and interpretation of his feelings and emotions.
  • 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 its meaning for the art lover to enjoy and draw meaning as well.  Art of applying pigments to surface in order to present a picture of the subject.
  • 6. SUBJECT  answers the what of the piece of painting. What is the painting about? Portraiture Animals and plants Still life Country life Landscape Seascape Cityscape Event religious Others
  • 7. SUBJECT  PORTRAITURE – pictures of men or women singly or collectively
  • 8. SUBJECT  ANIMALS AND PLANTS – because of constant contact with their interest in these living organisms, it was inevitable for them to paint these things they needed to survive
  • 9. SUBJECT  STILL LIFE – painting of an inanimate object or non-living thing placed on a table or another setting.  Availability and capability to be organized.
  • 10. SUBJECT  COUNTRY LIFE – scenes in countryside happening 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 of it can be the subject
  • 15. SUBJECT  RELIGIOUS ITEMS – common during the Renaissance period  Holy family  Madonna and child  Jesus Christ  Angels  Saints
  • 16. SUBJECT  OTHERS- mythological, fictional, cartoon characters
  • 17. MEDIUM  Differ not only in their inherent qualities but also in the effects they produce.  Refers to the materials used by the artist.
  • 18. MEDIUM  Fresco- pigment is mixed with water and applied to wet plaster.  Italian for Fresh  Done with the use of earth pigments mixed in water and applied to fresh plaster or glue which attaches 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 are destroyed.
  • 20.
  • 21. MEDIUM  Water color-pigment mixed with water and applied 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 water and combining them with a preparation of gum and adding Chinese white to transparent colors.
  • 22.
  • 23. MEDIUM  Oil-which is done on canvas or prepared wood panel  Done with the use of ground pigments (from minerals, coal tar, vegetable matter, etc.)  Long-lasting, slow in drying, easy to handle and manipulate texturally, and capable of being corrected.
  • 24. OIL  Applied in 2 ways:  Direct method- paints are opaque and once applied on the surface, they dry up and give the finished product its final appearance  Indirect method- transparent and they are applied in many thin layers or coatings.
  • 25.
  • 26. MEDIUM  Tempera- done with the use of ground pigments mixed with the albuminous or colloidal vehicle (egg yolk, gum, glue, or casein)  -readily dries with the evaporation of water  Luminosity of tone as an effect on the wood panel, ground or surface.
  • 27. MEDIUM  Pastel- closely resembling dry pigments bound to form crayons, which are directly applied to the surface.  Very flexible medium  Difficult to preserve
  • 28. MEDIUM  Acrylic- use of synthetic paints called acrylics mixed with a vehicle capable of being thinned with water.  Possesses flexibility of oil and the transparency and the fast-drying ability of water color  Soluble in water and can be applied on almost all surfaces.  Has no tendency to crack or darken or yellow with age.  Acrylic emulsion/ polymer- serves as its binding agent
  • 29.
  • 30. MEDIUM  Encaustic- done with the use of hot wax as a vehicle to bind pigments to a wooden panel or wall.  Durable  Colors remain vibrant and its surface maintain hard luster  Difficult to manipulate
  • 31. TOOLS  BRUSH – used to have a variety of strokes  PALETTE- contains or holds the painting medium  PALETTE KNIFE – used to mix colors, add, scrape or remove colors  EASEL- frame that supports the painting
  • 32.
  • 33. EVOLUTION OF PAINTING Painting has mirrored the changing world and man’s ideas about it.
  • 34. FACTORS THAT INFLUENCED THE HISTORY OF PAINTING  Geography  Religion  National characteristics  Historic events  Development of new materials
  • 35. EVOLUTION OF PAINTING  Painting progressed slowly through the Medieval, Renaissance, Mannerist, Baroque, Classic, Rococo, Neoclassic, and Romantic periods.
  • 36. PREHISTORIC PERIOD  Ancient Egyptians- used paintings in their burial sites  Cave paintings  Grotte-Vhauvet – oldest known painting believed to be about 32,000 years old
  • 37.
  • 38. GREEK PERIOD  Paintings are found in pottery and ceramics  Zeuxis, Parrhasius, and Apelles – famous Greek painters in wooden panels  Greatest painter of antiquity for his technique in drawing, coloring, and modeling.
  • 39. ROMAN PERIOD  Influenced by Ancient Greek paintings  Wall paintings from villas in Campania, Southern Italy, which can be grouped into four main “styles” or periods.
  • 40. MEDIEVAL  Rise of Christianity  Brought different spirit and aim to painting styles
  • 41. RENNAISANCE PERIOD  Golden age of painting  14th -mid 17th century  Leonardo, Michaelangelo, Raphael
  • 42. BAROQUE PERIOD  1600 to last years of 17th century  Paintings with dramatic light and shade, violent composition, exaggerated emotion
  • 43. CLASSIC PERIOD  Refers to the art of Ancient Greek and Rome”  Art of Greece in the 5th century B.C.  Any art that is based on a carefully organized arrangement of parts, with special emphasis on balance and proportion.
  • 44. ROCOCO PERIOD  18th century  Lighter than that of Baroque, often frivolous and erotic
  • 45. ROMANTIC PERIOD  Shifted the attention toward landscape and nature as well as the human figure and the supremacy of natural order above mankind’s will
  • 46. REALIST AND NATURALIST PERIOD  Late 1800s  Linked mainly with their rejection of Impressionism.  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 (used light, shade, color, and perspective to reproduce as closely as possible the appearance of objects in nature.
  • 47. IMPRESSIONIST PERIOD  Last half of 19th century  Tried to capture the quality of light as it plays across landscapes and figures.  Used small strokes of contrasting colors next to each other to create illusion of vibrating light.
  • 48. MODERN PERIOD  Early 20th century  Avante-garde artists experimented on new styles of formalist painting and such experimentation led to the birth of Cubism, Futurism, De Stijl, and Suprematism
  • 50. AMORSOLO, FERNANDO  May 30, 1892-April 26, 1972  Portraitist and painter of rural Philippine landscapes.  Father of Philippine Realism for his numerous realistic paintings.  “Bombing of the Intendencia”  “the Burning of Manila”  “Dalagang Bukid”  “the First Baptism in the Philippines”  “The First Mass in the Philippines”  “Planting Rice”  “Princess Urduja”  “Sikatuna”
  • 51.
  • 52. HIDALGO, FELIX RESURRECTION  February 21, 1853- March 13, 1913  Contemporary of Juan Luna who placed second in an international art exposition in Madrid  Las Virgenes Cristianas Expuestas al Populacho (2nd )  LaBarca de Aqueronte (gold)  Adios al Sol (silver)
  • 53.
  • 54. LUNA, JUAN  Oct. 23, 1857-Dec. 7, 1899  Death of Cleopatra (gold)  Spoliarium  The Blood Compact  Ang Tagumpay ni Lapu- Lapu
  • 55.
  • 56. MALANG- SANTOS, MAURO  Worked as a graphic artist and cartoonist at the Manila Chronicle  Created comic strip characters Kosme the Cop (retired) and Chain Gang Charlie  Pastoral  Tres Marias
  • 57.
  • 58. MANANSALA, VICENTE  Philippine Cubist painter and illustrator  Madonna of the Slums  Jeepneys  Kalabaw  Bangkusay Seascape  Stations of the Cross
  • 59.
  • 60.
  • 61.
  • 62. BUONARROTI, MICHAELANGELO DI LODOVICO  Italian Renaissance artist  Frescoes at the Sistine chapel ceiling  The creation of man  The fall of man  The story of Noah  The last judgment  Conversion of Saul  Martyrdom of St. Peter
  • 63.
  • 64.
  • 65. DA VINCI, LEONARDO  The archetype of the “Renaissance Man”  The Annunciation  The Adoration of the Magi  The Virgin of the Rocks  The Last Supper  Mona Lisa  Self-Portrait
  • 66.
  • 67.
  • 68. SANZIO, RAPHAEL  Master painter and architect of the Italian High Renaissance  The Small Cowper Madonna  The Nymph Galatea  Madonna del Granduca  St. George Fighting the Dragon
  • 69.
  • 70.
  • 71. VAN GOGH, VINCENT  Dutch post- impressionist artist  Lunatic confined in an asylum where he produced some of his world-renowned works  The Starry Night  Fisherman on the beach  Two rats  Self-portrait