3. SUBJECT OF ART
In any art from-painting,
music, sculpture, architecture, or
dance-there is always a subject
that serves as the foundation of
the creation of the work of art. A
subject of art is usually anything
that is presented in the artwork. It
is varied-it may be a person,
object, scene, or event.
9. Greek and
Roman
Mythology
-they were also ripe with references: from
episodes that transport the viewer to
heroic encounters of Achilles and Aeneas;
warnings about man’s folly like the vanity
of Icarus; the wit and cunning Odysseus;
the beauty of Aphrodite.
11. The Bible. The Protestant Bible, as is commonly recognized, is not a
single book but a library. The books of the Bible may be grouped as
folllows:
1. Old Testament (39 books)
a. History (Genesis through Esther)
b. Poetry 9Job through the Song of Songs)
c. Prophecy (Isaiah through Malachi
2. New Testament (27 books)
a. History. the four Gospels: Matthew, Mark, Luke, and John; the Acts of
the Apostles
b. Letter. The epistles written by Paul and others to the Christian
churches that were just starting in the various parts of the world
c. Apocalypse. The Revelation of S. John
13. REPRESENTATIONAL OR OBJECTIVE ARTS
There are artworks that depict something easily recognized by
most people. Painting, sculpture, graphic arts, literature and
theater arts are generally classified as representational arts,
although some paintings and sculptures have no subjects. Music
and dance may or may not have subjects.
Traditional sculptures and paintings have subjects. When
looking at a traditional painting or a statue, one expects to
recognize the subject-a man, animals, a landscape, a waterfall,
figures, dreams, fantasies, seascape, still life, etc.
14. Non-Representational or Non-Objective Arts
There are artworks that have no resemblance to any real subject.
They do not represent anything and they are what they are.
They rather appeal directly to the senses primarily because of the
satisfying organization of their elements.
Some contemporary painters have shifted their interest to
the work of art as an object in itself, an exciting combination of
shapes and colors that fulfill the aesthetic need without having
to represent image or tell a story. Many modern paintings have a
purely visual appeal, so difficult that literal-oriented spectators
cannot appreciate them.
15.
16. CONTENT OF ART
Content in art refers to the meaning or
significance, and/or feeling imparted
by a work of art. This is not the same
thing as the subject matter the work
depicts. Content of art is inextricably
linked with form. Form refers to the
pictorial aspects of art such as word,
design, and choice, about shapes,
sizes, colors, contrast, medium, soft,
or hard edges, and many other
decisions.
Content in art may be
classified as factual, conventional and
subjective.
17.
18. REPRESENTATIONAL OR OBJECTIVE ARTS
There are artworks that depict something easily recognized by
most people. Painting, sculpture, graphic arts, literature and
theater arts are generally classified as representational arts,
although some paintings and sculptures have no subjects. Music
and dance may or may not have subjects.
Traditional sculptures and paintings have subjects. When
looking at a traditional painting or a statue, one expects to
recognize the subject-a man, animals, a landscape, a waterfall,
figures, dreams, fantasies, seascape, still life, etc.
19. FACTUAL
This pertains to 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.
20. CONVENTIONAL
It pertains to the acknowledged interpretation of the artwork
using motifs, signs, symbols and other cyphers as bases of its
meaning. These conventions are established through time,
strengthened by recurrent use and wide acceptance by its
viewers or audience and scholars who study them.
21. SUBJECTIVE
When subjectivities are consulted, a variety of meaning may arise
when a particular work of art is read. These meanings stem from
the viewer’s or audience’s circumstances that come into play
when engaging with art. When looking at a particular painting
for example, perception and meaning are always informed (and
even colored) by a manifold of contexts: what we know; what we
learned; what we experienced; and the values we stand for. It is
therefore expected that meaning may not be singular; rather, a
painting may communicate multiple meanings to its many
viewers. This is what we call subjective meaning of art.
