Arts 10 learning material
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This document provides an overview of modern art movements from Impressionism to Post-Impressionism. It discusses how Impressionism originated from Monet's painting Impression, Sunrise and aimed to capture fleeting impressions rather than precise representations. Key Impressionist artists like Manet, Monet, and Renoir are highlighted with examples of their works. It also summarizes how Post-Impressionists like Cezanne and Van Gogh expanded on Impressionist techniques in bold new ways.
Arts 10 learning material
- 1. DEPED COPY ARTS All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. Grade 10 Learner's Material
- 2. DEPED COPY 188 Quarter I: MODERN ART CONTENT STANDARDS The learner demonstrates understanding of… 1. art elements and processes by synthesizing and applying prior learnings and skills. 2. the arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/occurrences, and other external phenomena. PERFORMANCE STANDARDS The learner… 1. performs/participates competently in a presentation of a creative impression (verbal/nonverbal) from the various art movements. 2. recognizes the difference and uniqueness of the art styles of the various art movements (techniques, processes, elements, and principles of art). LEARNING COMPETENCIES The learner… 1. analyzes art elements and principles in the production of work following a specific art style from the various art movements. 2. identifies distinct characteristics of arts from the various art movements. 3. identifies representative artists and Filipino counterparts from the various art movements. 4. derives the mood, idea, or message from selected artworks. 5. determines the role or function of artwork by evaluating their utilization and combination of art elements and principles. 6. uses artworks to derive the traditions/history of the various art movements. 7. compares the characteristics of artworks produced in the various art movements. 8. creates artworks guided by techniques and styles of the various art movements. 9. describes the influence of iconic artists belonging to the various art movements. 10. applies different media techniques and processes to communicate ideas, experiences, and stories showing the characteristics of the various art movements. 11. evaluates works of art in terms of artistic concepts and ideas using criteria from the various art movements. 12. shows the influences of modern art movements on Philippine art forms. 13. mounts an exhibit using completed artworks influenced by Modern Art movements. From the Department of Education curriculum for ARTS Grade 10 (2014) All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 3. DEPED COPY Modern Art 189 Quarter I: MODERN ART INTRODUCTION n all of human history, art has mirrored life in the community, society, and the world in all its colors, lines, shapes, and forms. The same has been true in the last two centuries, with world events and global trends being reflected in the art movements. The decades from 1900 to the present have seen the human race living in an ever- shrinking planet. The 20th centurysaw a boom in the interchange of ideas, beliefs, values, and lifestyles that continues to bring the citizens of the world closer together. Technological breakthroughs From the Industrial Revolution of the late 1800s, the world zoomed into the Electronic Age in the mid-1900s, then into the present Cyberspace Age. In just over 100 years, humans went from hand-cranked telephones to hands-free mobile phones, from the first automobiles to inter-planetary space vehicles, from local radio broadcasting to international news coverage via satellite, from vaccinations against polio and smallpox to laser surgery. Social, political, and environmental changes There has been migration across the globe, allowing different cultures, languages, skills, and even physical characteristics of different races to intermingle like never before. The 20th century also suffered through two World Wars, and several regional wars in Asia, Africa, and the Middle East. There was the Great Depression of the 1930s, and the Asian economic crisis of the 1990s. Considered the modern-day plague, AIDS has afflicted millions the world over, while millions more continue to live in hunger, disease, and poverty. Environmental destruction has also become a major concern. Effects on the world of art The art movements of the late 19th century to the 20th century captured and expressed all these and more. Specifically, these were the movements known as impressionism and expressionism. While earlier periods of art had a quite set conventions as to the style, technique, and treatment of their subjects, impressionists and expressionists conveyed their ideas and feelings in bold, innovative ways. These were the exciting precursors of the modern art of the 21st century. I All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 4. DEPED COPY ARTS Quarter I 190 Impressionism: Origins of the Movement mpressionism was an art movement that emerged in the second half of the 19th century among a group of Paris-based artists. The duration of the impressionist movement itself was quite short, less than 20 years from 1872 to the mid-1880s. But it had a tremendous impact and influence on the painting styles that followed, such as neo-impressionism, post-impressionism, fauvism, and cubism—and even the artistic styles and movements of today. The name impressionism was coined from the title of a work by French painter Claude Monet, Impression, soleil levant (in English, Impression, Sunrise). Impression, Sunrise Claude Monet, 1872 Oil on canvas The term precisely captured what this group of artists sought to represent in their works: the viewer’s momentary “impression” of an image. It was not intended to be clear or precise, but more like a fleeting fragment of reality caught on canvas, sometimes in mid-motion, at other times awkwardly positioned—just as it would be in real life. I All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 5. DEPED COPY Modern Art 191 The Influence of Delacroix As with all emerging art movements, impressionism owed its inspiration to earlier masters. One major influence was the work of French painter Eugène Delacroix. Delacroix was greatly admired and emulated by the early impressionists—specifically for his use of expressive brushstrokes, his emphasis on movement rather than on clarity of form, and most of all his study of the optical effects of color. In particular, Delacroix’s painting, The Barque of Dante, contained a then revolutionary technique that would profoundly influence the coming impressionist movement. And it involved something as simple as droplets of water. The Barque of Dante Eugène Delacroix, 1822 Oil on canvas The painting is loosely based on a fictional scene from Dante’s Inferno, showing Dante and the poet Virgil crossing hell’s River Styx, while tormented souls struggle to climb aboard their boat. It is the drops of water running down the bodies of these doomed souls (see enlarged detail below) that are painted in a manner almost never used in Delacroix’s time. When studied closely, it is seen that four different, unmixed pigments—yellow, green, red, and white—create the image of each drop and its shadow. Viewed from a little distance, these colors blend to represent individual drops glistening with light. The distinct colors merge in the eye of the viewer to appear monochromatic (single-colored) or, in this case of water droplets, colorless. In short, an impression is formed. Putting this and similar principles into wider practice, future painters would carry French art into one of its richest periods: impressionism. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 6. DEPED COPY ARTS Quarter I 192 Impressionism: A Break from Past Painting Traditions here were several areas in which impressionist artists moved away from the established practices of art at that time. These involved their use of color, choice of subject matter and setting, and technique for capturing light and conveying movement. Color and Light The painting conventions and techniques of earlier art periods were very much concerned with line, form, and composition. In contrast, the impressionists painted with freely brushed colors that conveyed more of a visual effect than a detailed rendering of the subject. They used short “broken” strokes that were intentionally made visible to the viewer. They also often placed pure unmixed colors side by side, rather than blended smoothly or shaded. The result was a feeling of energy and intensity, as the colors appeared to shift and move—again, just as they do in reality. “Everyday” Subjects Impressionists also began to break away from the creation of formally posed portraits and grandiose depictions of mythical, literary, historical, or religious subjects. They ventured into capturing scenes of life around them, household objects, landscapes and seascapes, houses, cafes, and buildings. They presented ordinary people seemingly caught off-guard doing everyday tasks, at work or at leisure, or doing nothing at all. And they were not made to look beautiful or lifelike, as body parts could be distorted and facial features merely suggested by a few strokes of the brush. Painting Outdoors The location in which the impressionists painted was also different. Previously, still lifes, portraits, and landscapes were usually painted inside a studio. However, the impressionists found that they could best capture the ever-changing effects of light on color by painting outdoors in natural light. This gave their works a freshness and immediacy that was quite a change from the stiffer, heavier, more planned paintings of earlier masters. Open Composition Impressionist painting also moved away from the formal, structured approach to placing and positioning their subjects. They experimented with unusual visual angles, sizes of objects that appeared out of proportion, off-center placement, and empty spaces on the canvas. T All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 7. DEPED COPY Modern Art 193 The Influence of Photography Photography was in its early stages at this time as well. As it gained popularity, photography inspired impressionists to capture fleeting moments of action, whether in landscapes or in the day-to-day lives of people. But whereas camera snapshots provided objective, true-to-life images, the artists were able to offer a subjective view of their subjects, expressing their personal perceptions rather than creating exact representations. They also had the advantage of manipulating color, which photography at that time still lacked. WHAT TO KNOW 1. How did the term impressionism originate? What did it mean? 2. In what country did this art movement begin, and in what period of history? 3. What was the significance of the painting technique used by Delacroix in the development of the impressionist style? 4. What characteristics distinguished impressionism from the art movements of the earlier centuries? Cite and briefly describe at least three of these characteristics. 5. How was the impressionist style influenced by the early stages of photography? WHAT TO PROCESS To help you understand the revolutionary technique for applying color introduced by the impressionists, experiment with this simplified process: 1. Take a set of watercolors (cake type or in tubes). Choose one secondary color: orange, green, or violet. 2. Color a shape on a paper using this single secondary color. 3. Beside it, color a similar shape using strokes of the two primary colors that are combined in that particular secondary color (ex: red + yellow = orange; blue + yellow = green; red + blue = violet). 4. Hold the paper some distance away and ask your classmates to comment on the “impression” of the secondary color you have created and the actual color itself. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 8. DEPED COPY ARTS Quarter I 194 Impressionism: Works of Manet, Monet, and Renoir y the 1870s, the stage was set for the emergence of the next major art movement in Europe, impressionism. It started with a group of French painters—that included Edouard Manet, Claude Monet, Auguste Renoir—and eventually spread to other countries, such as Italy, Germany, and The Netherlands. EDOUARD MANET Edouard Manet (1832-1883) was one of the first 19th century artists to depict modern-life subjects. He was a key figure in the transition from realism to impressionism, with a number of his works considered as marking the birth of modern art. Argenteuil Rue Mosnier Decked With Flags Edouard Manet, 1874 Edouard Manet, 1878 Oil on canvas Oil on canvas B All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 9. DEPED COPY Modern Art 195 Café Concert The Bar at the Folies-Bergere Edouard Manet, 1878 Edouard Manet, 1882 Oil on canvas Oil on canvas CLAUDE MONET Claude Monet (1840-1926) was one of the founders of the impressionist movement along with his friends Auguste Renoir, Alfred Sisley, and Frédéric Bazille. He was the most prominent of the group; and is considered the most influential figure in the movement. Monet is best known for his landscape paintings, particularly those depicting his beloved flower gardens and water lily ponds at his home in Giverny. La Promenade The Red Boats, Argenteuil Claude Monet, 1875 Claude Monet, 1875 Oil on canvas Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 10. DEPED COPY ARTS Quarter I 196 Bridge Over a Pond of Water Lilies Irises in Monet’s Garden Claude Monet, 1899 Claude Monet, 1900 Oil on canvas Oil on canvas AUGUSTE RENOIR Auguste Renoir (1841-1919), along with Claude Monet, was one of the central figures of the impressionist movement. His early works were snapshots of real life, full of sparkling color and light. By the mid-1880s, however, Renoir broke away from the impressionist movement to apply a more disciplined, formal technique to portraits of actual people and figure paintings. Dancer A Girl with a Watering Can Auguste Renoir, 1874 Auguste Renoir, 1876 Oil on canvas Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 11. DEPED COPY Modern Art 197 Mlle Irene Cahen d’Anvers Luncheon of the Boating Party Auguste Renoir, 1880 Auguste Renoir, 1881 Oil on canvas Oil on canvas Post-Impressionism: Works of Cezanne and Van Gogh fter the brief yet highly influential period of impressionism, an outgrowth movement known as post-impressionism emerged. The European artists who were at the forefront of this movement continued using the basic qualities of the impressionists before them—the vivid colors, heavy brush strokes, and true-to-life subjects. However, they expanded and experimented with these in bold new ways, like using a geometric approach, fragmenting objects and distorting people’s faces and body parts, and applying colors that were not necessarily realistic or natural. Two of the foremost post-impressionists were Paul Cézanne and Vincent van Gogh. PAUL CEZANNE Paul Cézanne (1839–1906) was a French artist and post-impressionist painter. His work exemplified the transition from late 19th-century impressionism to a new and radically different world of art in the 20th century—paving the way for the next revolutionary art movement known as expressionism. A All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 12. DEPED COPY ARTS Quarter I 198 Hortense Fiquet in a Striped Skirt Still Life with Compotier Paul Cezanne, 1878 Paul Cezanne, 1879-1882 Oil on canvas Oil on canvas Harlequin Boy in a Red Vest Paul Cezanne, 1888-1890 Paul Cezanne, 1890 Oil on canvas Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 13. DEPED COPY Modern Art 199 VINCENT VAN GOGH Vincent van Gogh (1853-1890) was a post-impressionist painter from The Netherlands. His works were remarkable for their strong, heavy brush strokes, intense emotions, and colors that appeared to almost pulsate with energy. Van Gogh’s striking style was to have a far-reaching influence on 20th century art, with his works becoming among the most recognized in the world. Sheaves of Wheat in a Field The Sower Vincent van Gogh, 1885 Vincent van Gogh, 1888 Oil on canvas Oil on canvas Still Life: Vase with Fifteen Sunflowers Bedroom at Arles Vincent van Gogh, 1888 Vincent van Gogh, 1888 Oil on canvas Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 14. DEPED COPY ARTS Quarter I 200 Starry Night Wheat Field with Cypresses Vincent van Gogh, 1889 Vincent van Gogh, 1889 Oil on canvas Oil on canvas WHAT TO KNOW 1. Name three of the most prominent artists of the impressionist movement. 2. Cite one outstanding characteristic of each of these artists. 3. Who were two of the most famous post-impressionists? 4. What new techniques or styles distinguished post-impressionism from the earlier impressionism? 5. Identify two to three specific artworks where these techniques are prominently seen. WHAT TO PROCESS Creating Your Own Impressionist Artwork: Impasto One of the most distinctive painting techniques used by impressionist artists was impasto. Impasto is the very heavy application of paint to the canvas—often with a spatula or knife instead of a paintbrush, and sometimes even directly squeezed from the tube. Materials: ¼ illustration board or chipboard Tubes of acrylic paints (can be shared among the class members) Paintbrushes Wooden popsicle sticks Pencil Rags for clean up All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 15. DEPED COPY Modern Art 201 Procedure: 1. Decide on a simple design for your artwork. Keep in mind what colors of paints are available to you. 2. Using a pencil, sketch in the general design on the illustration board or chipboard. 3. Apply the paints to your design with the brush, then more thickly with the popsicle sticks and, in certain spots, squeeze the paint directly from the tube. 4. Allow the paint to dry thoroughly before handling or displaying the finished artwork. WHAT TO UNDERSTAND A. Impressionism and the Rise of Modern Art 1. Was the term “impressionism” fitting for this art movement? Why do you say so? 2. From your knowledge of world history during the late 19th century, do you see a relation between the impressionist styles and the major events of that period? 3. Do you agree that impressionism set the stage for the succeeding movements of modern art? If so, in what ways? 4. Do you see this style reflected even in the works of today’s artists? Explain briefly. 5. Do you know of any Filipino artists who also used the impressionist style? If yes, explain how they applied this style in their works. If not, you may want to research on this on the internet to discover something new. B. Elements and Principles of Art in Impressionism 1. As a review, briefly describe each of the following elements of art which you have learned in your Art classes in the earlier grade levels. a. Line b. Shape c. Form d. Space e. Color f. Value g. Texture All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 16. DEPED COPY ARTS Quarter I 202 2. Now review the following principles of art which you have studied before. Briefly describe each one. a. Rhythm / Movement b. Balance c. Emphasis d. Harmony / Unity / Variety e. Proportion 3. For each element of art above, cite one sample work by an impressionist or post-impressionist painter and briefly describe how this element was applied in a new way. You may use the following sample format: Ex.: Element: Line Name of artist:_______________________________________ Title of work: _______________________________________ How the element was applied: __________________________ 4. For each principle of art above, cite one sample work by an impressionist or post-impressionist painter and briefly describe how this principle was applied in a new way. You may use the following sample format: Ex.: Principle: Rhythm/Movement Name of artist:_______________________________________ Title of work: _______________________________________ How the principle was applied: _________________________ C. Impressionism and You 1. Which of the impressionist masters—Manet, Monet, Renior, Cezanne, and Van Gogh—has a style that most strongly appeals to you? Explain briefly. 2. Is there a value in learning about art movements like impressionism that arose over a century ago, halfway around the world from us? Why or why not? 3. On a personal level, what struck you most about the impressionist style of art? 4. Would you want to experiment further with painting in this style? Explain briefly. 5. Would you want to own an artwork in the impressionist style? Why or why not? All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 17. DEPED COPY Modern Art 203 WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Having learned about and understood the concept and techniques of impressionism, you can now prepare your impasto artworks for the culminating exhibit at the end of the quarter. 1. Properly label your artwork with an original title, your name, the date, and the technique used (impasto). 2. Your Arts teacher will store the finished artworks for inclusion in the exhibit at the end of the quarter. Expressionism: A Bold New Movement n the early 1900s, there arose in the Western art world a movement that came to be known as expressionism. Expressionist artists created works with more emotional force, rather than with realistic or natural images. To achieve this, they distorted outlines, applied strong colors, and exaggerated forms. They worked more with their imagination and feelings, rather than with what their eyes saw in the physical world. Among the various styles that arose within the expressionist art movements were: neoprimitivism fauvism dadaism surrealism social realism Neoprimitivism Neoprimitivism was an art style that incorporated elements from the native arts of the South Sea Islanders and the wood carvings of African tribes which suddenly became popular at that time. Among the Western artists who adapted these elements wasAmedeo Modigliani, who used the oval faces and elongated shapes of African art in both his sculptures and paintings. I All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 18. DEPED COPY ARTS Quarter I 204 Head Yellow Sweater Amedeo Modigliani, c. 1913 Amedeo Modigliani, 1919 Stone Oil on canvas Fauvism Fauvism was a style that used bold, vibrant colors and visual distortions. Its name was derived from les fauves (“wild beasts”), referring to the group of French expressionist painters who painted in this style. Perhaps the most known among them was Henri Matisse. Woman with Hat Henri Matisse, 1905 Oil on canvas Blue Window Henri Matisse, 1911 Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 19. DEPED COPY Modern Art 205 Dadaism Dadaism was a style characterized by dream fantasies, memory images, and visual tricks and surprises—as in the paintings of Marc Chagall and Giorgio de Chirico below. Although the works appeared playful, the movement arose from the pain that a group of European artists felt after the suffering brought by World War I. Wishing to protest against the civilization that had brought on such horrors, these artists rebelled against established norms and authorities, and against the traditional styles in art. They chose the child’s term for hobbyhorse, dada, to refer to their new “non-style.” Melancholy and Mystery of a Street I and the Village Giorgio de Chirico, 1914 Marc Chagall, 1911 Oil on canvas Oil on canvas Surrealism Surrealism was a style that depicted an illogical, subconscious dream world beyond the logical, conscious, physical one. Its name came from the term “super realism,” with its artworks clearly expressing a departure from reality—as though the artists were dreaming, seeing illusions, or experiencing an altered mental state. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 20. DEPED COPY 206 Persistence of Memory Salvador Dali, 1931 Oil on canvas Many surrealist works depicted morbid or gloomy subjects, as in those by Salvador Dali. Others were quite playful and even humorous, such as those by Paul Klee and Joan Miro. Diana Personages with Star Paul Klee, 1932 Joan Miro, 1933 Oil on wood Oil on canvas All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 21. DEPED COPY Modern Art 207 Social Realism The movement known as social realism.expressed the artist’s role in social reform. Here, artists used their works to protest against the injustices, inequalities, immorality, and ugliness of the human condition. In different periods of history, social realists have addressed different issues: war, poverty, corruption, industrial and environmental hazards, and more—in the hope of raising people’s awareness and pushing society to seek reforms. Ben Shahn’s Miners’ Wives, for example, spoke out against the hazardous conditions faced by coal miners, after a tragic accident killed 111 workers in Illinois in 1947, leaving their wives and children in mourning. Miners’ Wives Ben Shahn, 1948 Egg tempera on board Guernica Pablo Picasso, 1937 Oil on canvas (Size: 11’ 5 1/2” x 25’ 5 3/4”) Pablo Picasso’s Guernica has been recognized as the most monumental and comprehensive statement of social realism against the brutality of war. Filling one wall of the Spanish Pavilion at the 1937 World’s Fair in Paris, it was Picasso’s outcry against the German air raid of the town of Guernica in his native Spain. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 22. DEPED COPY ARTS Quarter I 208 Created in the mid-1900s, Guernica combined artistic elements developed in the earlier decades with those still to come. It made use of the exaggeration, distortion, and shock technique of expressionism. At the same time, it had elements of the emerging style that would later be known as cubism. Abstractionism nother group of artistic styles emerged at the same time as the expressionist movement. It had the same spirit of freedom of expression and openness that characterized life in the 20th century, but it differed from expressionism in certain ways. This group of styles was known as abstractionism. The abstractionist movement arose from the intellectual points of view in the 20th century. In the world of science, physicists were formulating a new view of the universe, which resulted in the concepts of space-time and relativity. This intellectualism was reflected even in art. While expressionism was emotional, abstractionism was logical and rational. It involved analyzing, detaching, selecting, and simplifying. In previous centuries, works of art were a reflection, in one way or another, of the outside world. In 20th century abstractionism, natural appearances became unimportant. Artists reduced a scene into geometrical shapes, patterns, lines, angles, textures and swirls of color. The resulting works ranged from representational abstractionism, depicting still- recognizable subjects (as in the artwork on the left), to pure abstractionism, where no recognizable subject could be discerned. Oval Still Life (Le Violon) Georges Braque, 1914 Oil on canvas Grouped under abstractionism are the following art styles: cubism futurism mechanical style nonobjectivism A All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 23. DEPED COPY Modern Art 209 Cubism The cubist style derived its name from the cube, a three- dimensional geometric figure composed of strictly measured lines, planes, and angles. Cubist artworks were, therefore, a play of planes and angles on a flat surface. Foremost among the cubists was Spanish painter/sculptor Pablo Picasso (right). In earlier styles, subjects were depicted in a three-dimensional manner, formed by light and shadow. In contrast, the cubists analyzed their subjects’ basic geometrical forms, and broke them up into a series of planes. Then they re-assembled these planes, tilting and interlocking them in different ways. Three Musicians Girl Before a Mirror (detail) Pablo Picasso, 1921 Pablo Picasso, 1932 Oil on canvas Oil on canvas In addition, the art of the past centuries had depicted a scene from a single, stationary point of view. In contrast, cubism took the contemporary view that things are actually seen hastily in fragments and from different points of view at the same time. This was reflected in the depiction of objects from more than one visual angle in the same painting (e.g., the bull’s head in Picasso’s Guernica, page 207). Human figures as well were often represented with facial features and body parts shown both frontally and from a side angle at once. This gave a sense of imbalance and misplacement that created immediate visual impact. It also gave cubism its characteristic feeling of dynamism and energy. To this day, variations of cubism continue to appear in many contemporary artworks. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 24. DEPED COPY ARTS Quarter I 210 Futurism The movement known as futurism began in Italy in the early 1900s. As the name implies, the futurists created art for a fast-paced, machine-propelled age. They admired the motion, force, speed, and strength of mechanical forms. Thus, their works depicted the dynamic sensation of all these—as can be seen in the works of Italian painter Gino Severini. Armored Train Gino Severini, 1915 Oil on canvas Mechanical Style As a result of the futurist movement, what became known as the mechanical style emerged. In this style, basic forms such as planes, cones, spheres, and cylinders all fit together precisely and neatly in their appointed places. This can be seen in the works of Fernand Léger. Mechanical parts such as crankshafts, cylinder blocks, and pistons are brightened only by the use of primary colors. Otherwise, they are lifeless. Even human figures are mere outlines, rendered purposely without expression. The City Fernand Léger, 1919 Oil on canvas Nonobjectivism The logical geometrical conclusion of abstractionism came in the style known as nonobjectivism. From the very term “non-object,” works in this style did not make use of figures or even representations of figures. They did not refer to recognizable objects or forms in the outside world. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 25. DEPED COPY Modern Art 211 Lines, shapes, and colors were used in a cool, impersonal approach that aimed for balance, unity, and stability. Colors were mainly black, white, and the primaries (red, yellow, and blue). Foremost among the nonobjectivists was Dutch painter Piet Mondrian. New York City Piet Mondrian, 1942 Oil on canvas WHAT TO KNOW A. Expressionism 1. Describe how the different elements and principles were used by expressionist artists to convey their individual style. Discuss three examples from works in these Learner’s Materials. 2. What qualities make an artwork expressionistic? 3. Where did neoprimitivism get its influences? 4. Who is the French artist famous for his fauvist style? 5. What are the characteristics of fauvism? 6. Why was the child’s term “dada” fitting for the art movement known as dadaism? 7. What style of painting is Salvador Dali known for? 8. What art movement expressed the artists’ social role? B. Abstractionism: Cubism, Futurism, Mechanical Style 1. Explain the difference between expressionism and abstractionism. 2. How did the cubists give a sense of dynamism and energy to their works? 3. Who is considered the most famous abstractionist and cubist artist? 4. Describe how each of the following styles reflected modern life: a. futurism b. mechanical style c. nonobjectivism All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 26. DEPED COPY ARTS Quarter I 212 WHAT TO PROCESS Your teacher will divide the class into groups as indicated for the following activities. A. For Expressionism Create a Work of “Social Realism” 1. With your group mates, choose a current issue in society that you feel needs to be addressed. 2. Select art materials that are readily available, such as one whole sheet of cartolina; acrylic paints, poster paints, or any available paints; markers, crayons, pastels, or colored pencils; #8 brush; scissors; glue or paste; and pictures from magazines, newspapers, or calendars. 3. Working as a group, plan how to use these materials to express your message about your chosen social issue. 4. Assign a task to each group member, then create your artwork together. (Note: Remember that expressionism made use of very strong images and colors, and expressed deep emotions.) 5. Decide on a title for your group artwork. 6. Present your finished artwork to the rest of the class. 7. Join in the discussion about the social message of each group’s artwork. 8. Comment on how each group effectively used the characteristics of expressionism (through the elements and principles of art) to convey this social message. B. For Abstractionism Groups A, B, C: Create a “ Picasso” 1. Review the description of Picasso’s cubist style. 2. Based on this, plan a cubist artwork for your group to create. 3. Prepare a magazine, assorted photographs, 1 sheet of oslo paper, scissors, and glue or paste. 4. Select a large photograph from the magazine and/or the other photos, and cut these up into segments of different shapes and sizes. 5. Glue or paste the segments on the oslo paper in a creative way, but with the image still recognizable. 6. Give your cubist artwork a title. 7. Display it in front of the class, together with the works of the other groups. 8. Join your classmates in giving personal reactions to each other’s work. Groups D, E, F: Create a “Mondrian” 1. Review the description of Mondrian’s style of painting. 2. Based on this, plan a non-objectivist artwork for your group to create. 3. Prepare ¼ sheet of cartolina; masking tape; scissors; a #8 round All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 27. DEPED COPY Modern Art 213 paintbrush; and acrylic, poster, or any available paints in primary colors, black, and white. 4. Use the tape to mask off strips and spaces on the board. 5. Paint the exposed areas using your chosen colors. Wait for the paint to dry. 6. Continue masking and painting, overlapping strips of color as Mondrian did, until you have completed your artwork. (Note: Allow the paint to dry thoroughly between applications before laying the masking tape to avoid destroying your design.) 7. Give your painting a title. Display it in front of the class, together with the works of the other groups. 8. Join your classmates in giving personal reactions to each other’s works. WHAT TO UNDERSTAND A. Expressionism 1. How was expressionist art an outgrowth of life in modern society? 2. Were all surrealist artworks gloomy? Support your answer. 3. Which among the forms of expressionism (fauvism, dadaism, surrealism, social realism) appeals to you the most? And which does not appeal to you at all? Explain why. 4. Expressionism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Cesar Legaspi). Give your personal reaction to these. B. Abstractionism 1. Which form of abstractionism do you find most striking? Explain why. 2. Do you consider action painting, color field painting, and pictographic painting true art? Why or why not? 3. Abstractionism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Arturo Luz, Jose Joya, and others). Give your personal reaction to these. C. Cubism 1. Recall the message expressed in the painting Guernica by Picasso. Study the details that he incorporated to convey that message. 2. Do you think his technique was effective? Why or why not? 3. How does the painting make you feel? 4. Cubism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Vicente Manansala and others). Give your personal reaction to these. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 28. DEPED COPY ARTS Quarter I 214 WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Having learned about and understood the concept and techniques of expressionism and abstractionism, you can now prepare your artworks for the culminating exhibit at the end of the quarter. 1. Properly label all the finished artworks with original titles, your group members’ names, the date, and the technique used. 2. Your Arts teacher will store the finished artworks for inclusion in the exhibit at the end of the quarter. Abstract Expressionism, Pop Art, Op Art orld events in the mid-20th century immensely influenced the course of human life and, with it, the course of art history. World War I (1913-1914) and World War II (1941-1945), in particular, shifted the political, economic, and cultural world stage awayfrom Europe and on to the “New World” continent, America. The New York School In the 1920s and 1930s, aspiring young American painters, sculptors, and writers sailed to Europe to expand their horizons. But during the dark days of World War II, a reverse migration brought European scientists, architects, and artists to American shores. New York, in particular, became a haven for the newly-arrived artists and their American counterparts. The result was the establishment of what came to be known as “The New York School”—as opposed to “The School of Paris” that had been very influential in Europe. The daring young artists in this movement succeeded in creating their own synthesis of Europe’s cubist and surrealist styles. Their style came to be known as abstract expressionism. Action Painting One form of abstract expressionism was seen in the works of Jackson Pollock. These were created through what came to be known as “action painting.” W All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 29. DEPED COPY Modern Art 215 Pollock worked on huge canvases spread on the floor, splattering, squirting, and dribbling paint with (seemingly) no pre-planned pattern or design in mind. The total effect is one of vitality, creativity, “energy made visible.” Pollock’s first one-man show in New York in 1943 focused worldwide attention on abstract expressionism for the first time. Autumn Rhythm Jackson Pollock, 1950 Oil on canvas Color Field Painting In contrast to the vigorous gestures of the action painters, another group of artists who came to be known as “color field painters” used different color saturations All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 30. DEPED COPY ARTS Quarter I 216 (purity, vividness, intensity) to create their desired effects. Some of their works were huge fields of vibrant color—as in the paintings of Mark Rothko and Barnett Newman. Magenta, Black, Green Vir Heroicus Sublimis on Orange Barnett Newman, 1950-1951 Mark Rothko, 1949 Oil on canvas Oil on canvas Others took the more intimate “pictograph” approach, filling the canvas with repeating picture fragments or symbols—as in the works of Adolph Gottlieb and Lee Krasner. Forgotten Dream Abstract No. 2 Adolph Gottlieb, 1946 Lee Krasner, 1948 Oil on canvas Oil on canvas After “The New York School” By the early 1960s, the momentum of The New York School slowed down. In its place, a new crop of artists came on the scene using lighter treatment and flashes of humor, even irreverence, in their artworks. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 31. DEPED COPY Modern Art 217 The movements they brought about have come to be called: neodadaism and pop art conceptual art op art the new realism Neodadaism, Pop Art, Op Art Like the dadaist movement that arose after World War I, the neodadaism of the 1960s wanted to make reforms in traditional values. It also made use of commonplace, trivial, even nonsensical objects. But unlike the angry, serious tone of the original dadaists, the neodadaists seemed to enjoy nonsense for its own sake and simply wanted to laugh at the world. Their works ranged from paintings, to posters, to collages, to three-dimensional “assemblages” and installations. These made use of easily recognizable objects and images from the emerging consumer society—as in the prints of Andy Warhol. Their inspirations were the celebrities, advertisements, billboards, and comic strips that were becoming commonplace at that time. Hence the term pop (from “popular”) art emerged. Twelve Cars Marilyn Monroe Andy Warhol, 1962 Andy Warhol, 1967 Art print Silkscreen print Roy Lichtenstein (1923-1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in this new art movement. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 32. DEPED COPY ARTS Quarter I 218 Whaam! Roy Lichtenstein, 1963 Acrylic and oil on canvas In the Car Roy Lichtenstein, 1963 Conceptual Art As the term implies, conceptual art was that which arose in the mind of the artist, took concrete form for a time, and then disappeared (unless it was captured in photo or film documentation). Conceptualists questioned the idea of art as objects to be bought and sold. Instead, they brought their artistic ideas to life temporarily, using such unusual materials as grease, blocks of ice, food, even just plain dirt. A key difference between a conceptual artwork and a traditional painting or sculpture is that the conceptualist’s work often requires little or no physical craftsmanship. Much of the artist’s time and effort goes into the concept or idea behind the work, with the actual execution then being relatively quick and simple. An example is this conceptual art piece by Kosuth. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 33. DEPED COPY Modern Art 219 One and Three Chairs Joseph Kosuth, 1965 An actual chair (center), with a photograph of the same chair and an enlarged copy of a dictionary definition of a chair Op Art Another movement that emerged in the 1960s was optical art or “op art.” This was yet another experiment in visual experience—a form of “action painting,” with the action taking place in the viewer’s eye. In op art, lines, spaces, and colors were precisely planned and positioned to give the illusion of movement. Current Bridget Riley, 1964 Synthetic polymer paint on composition board As the eye moved over different segments of the image, perfectly stable components appeared to shift back and forth, sometimes faster, sometimes slower as the brain responded to the optical data. Viewers experienced sensations varying from discomfort to disorientation to giddiness. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 34. DEPED COPY ARTS Quarter I 220 WHAT TO KNOW A. Abstract Expressionism: Action Painting, Color Field Painting 1. What were two of the art movements that emerged from The New York School? 2. Why were action painting and color field painting given these names? 3. Who was the artist who became famous for his action painting style? 4. Describe how the elements and principles of art were used in the unique techniques and approaches of these movements. B. Neodadaism, Pop Art, Op Art 1. What is conceptual art? How is it unlike any other art movement before it? 2. How was neodadaism different from the earlier dadaism movement? 3. From where did pop art draw its subjects? 4. Name the foremost artists of the pop art movement. 5. Explain how the elements of art were used to create the special technical effect in op art. WHAT TO PROCESS Group Projects: “My Own Modern Art” Your teacher will divide the class into six groups, and will assign the modernist art styles as follows: Groups 1 and 4 - Action painting Groups 2 and 5 - Color field painting Groups 3 and 6 - Pop art Depending on the group you belong to, follow the procedure below: Procedure for Action Painting 1. Prepare your materials – 1 whole cartolina, box board, or other recycled board; acrylic paints; 1-inch paintbrushes, sponges, or popsicle sticks; recycled mixing plates; small rags for cleaning up; newspaper for covering work surface. 2. As a group, discuss the overall composition and technique that you will use. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 35. DEPED COPY Modern Art 221 3. Select desired colors of paint and apply these to the board using actions such as brushing, sprinkling, dripping, andflicking. Let the paint dry. 4. Decide on a title for your group painting and display it in the classroom. 5. Be ready to explain the “action painting” techniques that you used and to exchange comments with the other groups about their works. In what ways are they the same? In what ways are they different? Procedure for Color Field Painting: Pictograph Approach 1. Prepare your materials – 1 whole cartolina or 1 whole box board; acrylic, poster, or any available paints in primary colors, black, and white; #8paintbrushes; small rags for cleaning up. 2. As a group, plan the overall composition and technique that you will use. Select colors of paint similar to those used by color field artists, and plan how these will be arranged in your artwork. 3. For pictograph approach - Use the #8 brush to paint small picture fragments or symbols in a repeating pattern on the entire cartolina or board. Let the paint dry. 4. Decide on a title for your group painting and display it in the classroom. 5. Be ready to explain the pictograph approach that you used and to exchange comments with the other groups about their works. Procedure for Pop Art 1. Prepare your materials – 1 whole cartolina or 1 whole box board; old colored magazines, newspapers, or calendars; scissors; glue or paste; watercolors, acrylic paints, poster colors, crayons, or pastels; #8 paintbrushes and/or sponges. 2. Select a “popular” subject for your artwork (e.g., a product, a celebrity, a movie or television character, a sport, a place, a brand name, etc.). Plan how this will be depicted using your available materials. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 36. DEPED COPY 222 3. Cut out images, letters, etc. from the magazines, newspapers, or calendars, and glue or paste them on the cartolina or board. Color the surrounding background with watercolors, poster colors, or any available paints. You may add details with crayons or pastels. 4. Decide on a title for your group artwork and display it in the classroom. 5. Be ready to explain the pop art style and techniques that you used (e.g., inspired by Andy Warhol, Roy Lichtenstein, etc.) and to exchange comments with the other groups about their works. WHAT TO UNDERSTAND 1. Explain the shift of the center of art from Europe to the United States in the mid-1900s. What political, economic, or social conditions caused this shift? 2. Was modern art readily accepted as “true art”? Why or why not? 3. How did the U.S. involvement in modern art eventually influence Philippine art? What historical developments allowed this to happen? 4. Can you name any Filipino artists who used or are using any of these modernist styles? 5. Do these styles appeal to you? Explain why or why not. WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Having learned about and understood the concept and techniques of abstract expressionism, pop art, and op art, you can now prepare your artworks for the culminating exhibit at the end of the quarter. 1. Properly label all the finished artworks with original titles, your group members’ names, the date, and the technique used. 2. Your Arts teacher will store the finished artworks for inclusion in the exhibit at the end of the quarter. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 37. DEPED COPY 223 Contemporary Arts Forms: Installation Art and Performance Art he 20th century also saw the rise of new art forms aside from the traditional ones of painting and sculpture. Among these were installation art and performance art. Installation art makes use of space and materials in truly innovative ways, while performance art makes use of the human body, facial expressions, gestures, and sounds. Both speak powerfully about contemporary issues, challenging their viewers to respond. Installation Art Installation art is a contemporary art form that uses sculptural materials and other media to modify the way the viewer experiences a particular space. Usually lifesize or sometimes even larger, installation art is not necessarily confined to gallery spaces. It can be constructed or positioned in everyday public or private spaces, both indoor and outdoor. Cordillera Labyrinth Roberto Villanueva, 1989 Bamboo and runo grass Outdoor installation at the Cultural Center of the Philippines T All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 38. DEPED COPY ARTS Quarter I 224 Pasyon at Rebolusyon Santiago Bose, 1989 Mixed media installation Go to Room 117 Sid Gomez Hildawa, 1990 Mixed media installation All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 39. DEPED COPY 225 Four Masks Edgar Talusan Fernandez, 1991 Outdoor installation Materials used in today’s installation art range from everyday items and natural materials to new media such as video, sound, performance, and computers. It may be said that primitive forms of this art have existed since prehistoric times. However, this genre was not regarded as a distinct category until the mid-20th century and only came to prominence in the 1970s. The installation artist’s manipulation of space and materials has also been called “environmental art,” “project art,” and “temporary art.” Essentially, installation art creates an entire sensory experience for the viewer. Many installations are of a size and structure that the viewer can actually walk through them, and experience varying facets of the work in stages. Some works allow the viewer to touch or feel, hear, and smell elements that the artist has incorporated in the installation. Thus, there is a strong parallel between installation art and theater. Both play to an “audience” that is expected to interact with and be affected by the sensory experience that surrounds them. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 40. DEPED COPY ARTS Quarter I 226 Performance Art Performance art is a form of modern art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. It can happen anywhere, at any time, or for any length of time. It can be any situation that involves four basic elements: time space the performer’s body a relationship between performer and audience. In performance art, the performer himself or herself is the artist. Performance art does include such activities as theater, dance, music, mime, juggling, and gymnastics. However, the term is usually reserved for more unexpected, avant- garde, and unorthodox activities intended to capture the audience’s attention. The performer himself or herself is the artist, rather than an actor playing a character as in a stage play. The performance venue may range from an art gallery or museum to a theater, café, bar, or street corner. The performance itself rarely follows a traditional story line or plot. It might be a series of intimate gestures, a grand theatrical act, or the performer remaining totally still. It may last for just a few minutes or extend for several hours. It may be based on a written script or spontaneously improvised as the performance unfolds. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 41. DEPED COPY 227 WHAT TO KNOW A. Installation Art 1. What are the distinct characteristics of installation art? 2. Why is it called “installation”? 3. In general, what do installation artists express in their works? Cite two examples from these Learner’s Materials. 4. Aside from the traditional mediums and materials, what new elements can installation artists incorporate in their works? 5. What are some unique ways that the viewer can get to experience a piece of installation art? B. Performance Art 1. What are different names for performance art? 2. How do these point to the distinct qualities of this form of art? 3. In what decade did this art form emerge? 4. As distinct from traditional art forms, what or who serves as the medium in performance art? Explain briefly. 5. Give examples of places where performance art takes place. WHAT TO PROCESS Your teacher will divide the class into four groups. Groups A and B will create an installation artwork. Groups C and D will present performance art. Groups A and B: Installation Art 1. The group members will brainstorm on the concept of an installation work to be constructed within the school grounds. 2. As a group, gather creative and innovative materials for the planned installation and bring these to your chosen work area. 3. Together, assemble the materials to construct your installation. 4. Give the work a thought-provoking title and label it accordingly. 5. All the groups will then take a tour of the installations created by the others. 6. Hold a discussion on how the finished works made the class members feel and think; and whether they consider these good examples of installation art or not. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 42. DEPED COPY ARTS Quarter I 228 Groups C and D: Performance Art 1. The group members will brainstorm on the concept of a performance art presentation. 2. As a group, agree on the place, equipment, costumes, and props (if any) for your presentation. 3. Assign roles/tasks to each group member, as performers, production crew, etc. 4. At the assigned time, the two groups will perform in front of the class. 5. Hold a discussion on how the performance art presentations made the class members feel and think; and whether they consider these good examples of performance art or not. WHAT TO UNDERSTAND 1. Do installation art and performance art exemplify the qualities of modern art? If yes, in what ways do they do so? 2. Do art forms like these serve a purpose in today’s world? Explain your opinion. 3. Select two examples of installation art in these Learner’s Materials and describe your reaction to it—whether positive or negative, or a bit of both. 4. Do you think you would enjoy experiencing performance art? Why or why not? 5. Compare your former views on what art is with what you now see in installation art and performance art. Have your views changed? In what way? WHAT TO PERFORM CULMINATING ACTIVITY FOR QUARTER I: “AN EXHIBIT OF MODERN ART” The last session for Quarter I will be devoted to staging “An Exhibit of Modern Art” presenting the following categories: 1. Impressionism 2. Expressionism 3. Abstractionism, Pop art, Op art 4. Installation art 5. Performance art All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 43. DEPED COPY 229 You will be assigned to select from among your own works, as well as source photos, magazine or calendar cutouts, Internet images, etc. of at least two to three representative artworks each for the above categories. Curating the Exhibit Each artwork will be accompanied by a card briefly describing the work as follows: For student-made artworks: Title _________________________________________________ Artist/s _________________________________________________ Artistic style and medium used _______________________________ Date of creation ___________________________________________ For reproductions or images of known artworks: Title _________________________________________________ Artist _________________________________________________ Artistic style and medium used _______________________________ Year or period of creation __________________________________ Prevailing historical events at that time Link between the work and the context in which it was created Invite the school Administration, other faculty members, and your schoolmates to visit the exhibit. Be prepared to explain the works and how these present the characteristics of different movements and styles of modern art. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.
- 44. DEPED COPY ARTS Quarter I 230 Critiquing the Exhibit As a form of self-evaluation, rate the culminating exhibit using the format below: “AN EXHIBIT ON MODERN ART” Evaluation Form Criteria Very Good Good Fair Poor Selection of artworks (theme and message) Completeness of exhibit Presentation (display, mounting, and labelling of works) Assignment of tasks Cooperation among students Response of exhibit visitors All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.