Golden Gate Colleges Graduate School

Evolution of Painting

A Project Presented to
Dr. Rosalina Comia, Ed. D
The Graduate School
GOLDEN GATE COLLEGES
Batangas City

In Final Fulfillment
of the Requirements for the Subject
MAPEH 504
ARTS HISTORY

By:

ANA LEE P. MENDOZA

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I. Introduction

Art history is the study of objects of art in their historical development

and stylistic contexts; that is genre, design, format, and style. The study
includes painting, sculpture, architecture, ceramics, furniture, and other
decorative objects.

Art history is the history of different groups of people and their culture
represented throughout their artwork. Art historians compare different time
periods in art history. Such as a comparison to Medieval Art to Renaissance
Art. This history of cultures is shown in their art work in different forms. Art can
be shown by attire, architecture, religion, sports. Or more visual pieces of art
such as paintings, drawings, sculptures.

As a term, art history (its product being history of art) encompasses

several methods of studying the visual arts; in common usage referring to works
of art and architecture. Aspects of the discipline overlap. As the art
historian Ernst Gombrich once observed, "the field of art history much
like Caesar's Gaul, divided in three parts inhabited by three different, though
not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the
academic art historians".

As a discipline, art history is distinguished from art criticism, which is

concerned with establishing a relative artistic value upon individual works with
respect to others of comparable style, or sanctioning an entire style or
movement; and art theory or "philosophy of art", which is concerned with the
fundamental nature of art. One branch of this area of study is aesthetics, which
includes investigating the enigma of the sublime and determining the essence
of beauty. It is, however, questionable whether many questions of this kind can
be answered satisfactorily without also considering basic questions about the
nature of art. The current disciplinary gap between art history and the
philosophy of art (aesthetics) often hinders this inquiry.

Art history is not only a biographical endeavor. Art historians often root
their studies in the scrutiny of individual objects. They thus attempt to answer
in historically specific ways, questions such as: What are key features of this
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style? What meaning did this object convey?, How does it function visually?,
Did the artist meet their goals well?, What symbols are involved?, and Does it
function discursively?

The historical backbone of the discipline is a celebratory chronology of

beautiful creations commissioned by public or religious bodies or wealthy
individuals in Western Europe. Such a "canon" remains prominent, as indicated
by the selection of objects present in art history textbooks. Nonetheless, since
the 20th century there has been an effort to re-define the discipline to be more
inclusive of non-Western art, art made by women, and vernacular creativity.

II. Content

Painting is the practice of applying pigment suspended in a carrier (or

medium) and a binding agent (a glue) to a surface (support) such as paper,
canvas or a wall. A mode of expression. Drawing, composition or abstraction
and other aesthetics may serve to manifest the expressive and conceptual
intention of the practitioner. Paintings can be naturalistic and representational
(as in a still life or landscape painting), photographic, abstract, be loaded with
narrative content, symbolism, emotion or political in nature. A portion of the
history of painting in both Eastern and Western art is dominated by spiritual
motifs and ideas: mythological figures on pottery, Biblical scenes on the interior
walls and ceiling of The Sistine Chapel, life of Buddha or other scenes of
eastern religious origin. The expression of ideas and emotions, with the creation
of certain aesthetic qualities, in a two-dimensional visual language. An artist’s
decision to use a particular medium, such as tempera, fresco, oil, acrylic,
watercolor or other water-based paints, ink, gouache, encaustic, or casein. The
pigment may be in a wet form, such as paint, or a dry form, such as pastels.
Painting can also be a verb, the action of creating such an artwork.

BRIEF HISTORY OF PAINTING

The oldest known paintings are at the Grotte Chauvet in France, claimed
by some historians to be about 32,000 years old. They are engraved and
painted using red ochre and black pigment and show horses, rhinoceros, lions,
buffalo, mammoth or humans often hunting. There are examples of cave
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paintings all over the world—in France, India, Spain, Portugal, China, Australia
etc.

Prehistoric men may have painted animals to "catch" their soul or spirit
in order to hunt them more easily or the paintings. It may represent an animistic
vision and homage to surrounding nature, or they may be the result of a basic
need of expression that is innate to human beings, or they could have been for
the transmission of practical information.

Cave Paintings: Outlines of everyday made from the Earth.

Egyptian Artists: New colors invented (greens & blues) on Papyrus.

Medieval times: Illuminated manuscripts were developed on parchment &

vellum. Brushes were made of natural hair. Tempera Paint was used.

Renaissance: Fresco was used heavily before the invention of oil & varnishes.
Canvas also began being used heavily.

Humans have been painting for about 6 times as long as they have been
using written language. Today, the study is categorized according to the places.

Artistic paintings were introduced to the Filipinos in the 16th century

when the Spaniards arrived in the Philippines. The Spaniards used paintings
as religious propaganda to spread Catholicism throughout the Philippines.
These paintings, appearing mostly on church walls, featured religious figures
appearing in Catholic teachings. In the early 19th century, wealthier, educated
Filipinos introduced more secular Filipino art, causing art in the Philippines to
deviate from religious motifs.

TYPES OF PAINT(ING)

Tempera Water is based, egg binder, used prior to

1400’s, colors cannot be mixed, narrow range, fast-
drying

Oil Paint easily mixed, more permanent, used after

1400, slow-drying, can be used in thin layers called
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glazes or in thick lumps to make an impasto surface.

Watercolor (Aquarelle) is the most common water-

based paint, transparent. White paint is seldom used to
lighten paint (water is used) Light colors are applied first,
then dark, working from background to foreground.

Gouache is a water-based opaque paint, it has more body

and dries more slowly than watercolor. Similar to tempera.

Acrylic Paint Synthetic paint with plastic binder. In the

recent (20th century), versatile, similar to oil but dries
faster, not as shiny.

Encaustic Ancient process of mixing pigments with wax,

and then ironing the mixture to a surface.

Casein Painting Uses milk protein as a binder, glue-like

consistencyToo brittle to be used on canvas.

Fresco Mixing pigments with plaster (walls, ceilings)

Buon “true” Fresco: paint is bound in the wet plaster
while fresco secco: paint is applied to dry plaster.

TYPES OF PAINTING

Landscape is an outdoor scene. A landscape artist

uses paint to create not only land, water, and clouds but
air, wind, and sunlight.
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Portrait is an image of a person or animal. Besides showing

what someone looks like, a portrait often captures a mood
or personality.

Still life shows objects, such as flowers, food, or musical

instruments. A still life reveals an artist's skill in painting
shapes, light, and shadow

Real Life scene captures life in action. It could show

a busy street, a beach party, a dinner gathering, or
any place where living goes on.

Religious work of art shares a religious message. It

might portray a sacred story or express an artist's faith

FAMOUS PAINTINGS OF THE WORLD

Mona Lisa – Leonardo da Vinci. (1503 or 1504)

The Last Supper – Leonardo da Vinci

The Creation of Adam – Michelangelo (1508 – 1512)

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Starry Night – Vincent van Gogh. (1889)

The Scream – Edvard Munch. 1893

The Persistence Of Memory – Salvador Dali

(1931)

Girl with a Pearl Earring –

Johannes Vermeer. (1665)

The Night Watch –

Rembrandt van Rijn. (1642)

Self-Portrait Without Beard – Vincent van Gogh

Guernica – Pablo Picasso. (1937)

THE FILIPINO PAINTERS

Fernando Amorsolo - (May 30, 1892 – April 24, 1972)

is one of the most important artists in the history of
painting in the Philippines. Amorsolo is best known for
his illuminated landscapes, which often portrayed
traditional Filipino customs, culture, fiestas and
occupations.
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Rice Planting Fruit Pickers

Princess Urduja Maiden in a

Stream

The Rape of Manila The Bombing of the

Intendencia

Vicente Manansala (January 22, 1910 - August 22,

1981) was a Filipino cubist painter and illustrator.
Manansala's canvases were described as
masterpieces that brought the cultures of the barrio and
the city together.
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Jeepneys Madonna of the Slums

Juan Luna (October 23, 1857 –December 7,

1899) was a Filipino painter, sculptor and a
political activist of the Philippine Revolution
during the late 19th century. He became one of
the first recognized Philippine artists.

The Spoliarium

Felix R. Ressurection (February 21, 1855 - March 13, 1913).

One of the great Filipino painters of the late 19th century, and
is significant in Philippine history for having been an
acquaintance and inspiration for members of the Philippine
reform movement.
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Las Virgenes Cristianas Expuestas Al Populacho

Hernando R. Ocampo (April 28, 1911 – December 28, 1978)

was a Filipino National Artist in the visual arts. Hernando Ruiz
Ocampo was a leading radical modernist artist in the
Philippines.

Mother and Child

Pacita Abad (1946–2004) was born in

Basco, Batanes. Her more than 30-year painting career began
when she traveled to the United States to undertake graduate
studies.

Filipina: A Racial Identity Crisis

Realism

Realism is an approach to art in which subjects are depicted in as

straightforward a manner as possible, without idealizing them and without
following rules of formal artistic theory.“

Realism specifics

• Realism was a historical movement that had a profound influence on the

literature and figurative arts of Europe.

• The year 1855 was significant in the establishment of Realism in Europe.

• Artists portrayed life as it was and without any form of ideality.

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Famous painters

Gustave Courbet (1819-77) A French painter

who is considered to be a leader of Realism
in France. In 1855 he exhibited his work in
Paris in the Pavilion du Realisme, a building
that he himself paid for. He exhibited about
forty paintings, including The Painter's Studio,
which had been refused by the jury of the
Exposition Universelle.

The Barbizon School was a group of

landscape artists working in the area of the
French town of Barbizon, south of Paris. They
rejected the Academic tradition, abandoning
theory in an attempt to achieve a truer
representation of life in the countryside, and
are part of the French Realist movement.

The English landscape artists

• John Constable (1776-1837 exhibited with great success at the so-

called English Salon of 1824.

• Together with Joseph Mallord William Turner (1775-1851), they were

largely responsible for introducing a new approach to landscape painting
that was to have a major influence on European art.

• They brought to landscape painting a respect for location, a belief that

the commonplace was worth painting and that changing atmospheric
effects (light and weather) were an essential part of the landscape.
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John Constable, The Hay Wain J.M.W Turner, Rain, Steam, and
Speed

- The Great Western Railway

Naturalism

Refers to the depiction of realistic objects in a natural setting.

The Realist movement of the 19th century advocated naturalism in reaction to
the stylized and idealized depictions of subjects in Romanticism, but many
painters have used a similar approach over the centuries. One example of
Naturalism is the artwork of American artist William Bliss Baker,
whose landscape paintings are considered some of the best examples of the
naturalist movement. Another example is the French Albert Charpin, from the
Barbizon School, with his paintings of sheep in their natural settings.

Naturalism began in the early Renaissance, and developed itself further

throughout the Renaissance, such as with the Florentine School. Naturalism is
a type of art that pays attention to very accurate and precise details, and
portrays things as they are.

All Souls' Day (c 1882) is a painting by French

artist Jules Bastien-Lepage

Biergarten at Brannenburg (1894) is a painting by

German artist Max Liebermann

La Paye des moissoinneurs (1882) is a painting by

French artist Léon Augustin Lhermitte

IV. Implication to teaching

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Within both educational and academic circles, school art history is

regarded as peripheral, “soft option” subject. Realizing how the painting evolves
and the styles of painting to be used. Painting makes one express one’s
emotions and feelings. Understanding more about painting makes the teachers
realize what the importance of painting in expressing their emotions are.

V. Conclusion

The new social and cultural approaches to art history have added a great
deal to the field and many scholars have widened their range of study to include
previously excluded object is. This information is increasingly available for art
educators to adopt and use in the classroom. Students benefit from art historical
study that includes an introduction to art from around the world and art historical
processes which enhance this investigation. The new consideration for art
historical study with students goes beyond the concept of chronological
historical analysis to include culture. In order for students to successfully
engage in historical art study, it is primary for them to comprehend culture as a
major factor in an art work's existence as well as in their own lives. It is
necessary to replace the previous instructional concerns of formalistic
approaches with questions on how to teach children the concept of culture. New
research should include what cultural understanding children are capable of at
different developmental levels In order for revisionism to enhance art programs,
an increase in curriculum resources that are applicable for all grade levels
needs to exist. This requires application of instructional methods and reflection
upon them to determine effectiveness. The findings would allow for successful
implementation of "new"' art historical theories at all levels of learning.
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REFERENCES

• http://upload.wikimedia.org/wikipedia/commons/3/30/Gustave_Co
urbet_-_Le_D%C3%A9sesp%C3%A9r%C3%A9.JPG

• http://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Courb
et_LAtelier_du_peintre.jpg/1280px-
Courbet_LAtelier_du_peintre.jpg

• http://www.metmuseum.org/toah/works-of-art/1979.404

• http://www.canvasreplicas.com/images/Pond%20at%20the%20Ed
ge%20of%20a%20Wood%20Theodore%20Rousseau.jpg

• http://i.telegraph.co.uk/multimedia/archive/02603/haywainnorm_26
03036b.jpg

• http://upload.wikimedia.org/wikipedia/commons/5/53/John_Const
able_-_Salisbury_Cathedral_from_the_Bishop's_Garden_-
_Google_Art_Project.jpg

• http://www.uni-
bielefeld.de/lili/personen/fleischmann/d_archsuse05/210_constabl
e_stoneh.jpg

• http://www.tate.org.uk/art/images/work/T/T03/T03899_10.jpg