ART HISTORY SO, WHY IS ART IMPORTANT TO SPECIAL

NEEDS EDUCATORS?
 Art theory
 Extensive research COGNITIVE DEVELOPMENT
 Social, political, and historical context.
Art helps in the development of cognitive skills
ART APPRECIATION such as problem- solving, critical thinking, and
decision- making. It also stimulates imagination
 Learning how to “sense” and “make and memory, which are essential aspects of
sense” cognitive growth.
 Recognition of artistic qualities of art to
gauge individual experience PROMOTES MOTOR SKILLS DEVELOPMENT!

ART HISSTORY Engaging in art activities such as drawing,

painting and sculpting can help improve fine
 Significance to PH society when it was motor skills. These activities often require the
created use of hand muscles and coordination, which
 Extensive study of the artist and his can benefit children with physical or motor
motivations impairments.
IN his 1979 performance CATHARTIC ACTION: PHILOSOPHICAL PESPECTIVES AND FUNCTIONS
SOCIAL GESTURES 3, Par nailed his arm to a OF ART
wall. The act of nailing himself to a wall could
be seen as a commentary on the constraints IMITATIONISM
and oppressive forces society imposes on
individuals. By inflicting pain on himself, Parr Theory which asserts that art is the imitation of
confronts the audience with raw human the appearance of reality.
vulnerability. This act forces viewers to confront PLATO
their discom and examine their reactions to
suffering. Ancient Greek philosopher (348-267 BC) who
formulated the art theory of imitationism. He
ARISTOTLE wrote the dialogue and the republic.
“Art complete what nature cannot bring to THE REPUBLIC
finish, the artist gives us knowledge of nature’s
unrealized ends” Paints a picture of artists as imitators and art as
imitation
MARC CHAGALL
World of being- fundamental, ultimate reality
“Art is the increasing effort to complete with
the beauty of flowers” World of becoming material self

“ART IS MEANT TO CAPTURE OUR EXPERIENCE Van Gogh Chair, 1888

OF LIFE”
THE REPUBLIC
  Plato argues that all arts and in The feeling of pleasure and satisfaction.
particular epic poetry is imitation of
reality
 In other words, Art is just a copy of a
copy, and therefore it is necessarily
untrue and cannot but have a bad EXPRESSIONISM
moral effect on the public.
Leo Tolstoy defended art as a “language”; a
 Plato dismisses art and artists as
communicative device that articulates feelings
useless. For him, art adds nothing to
and emotions.
our knowledge of the world nor to
society.  Art viewed as a manifestation of the
 Art for Plato is aims at deception, and inner state of the artist.
this aim is achieved when the spectator  Music expresses feelings, emotions,
mistook an imitation for reality. Hence, moods, their conflicts, triumphs,
he concludes that art is potentially defeats.
dangerous as it is psychologically  A painted landscape may engage us as
destabilizing, leading to immorality, expressive of peace, melancholy or
unconcerned with truth and therefore a menace.
threat to the common good.
EDWARD MUNCH (1863-1944)
ARISTOTLE
He experienced miseries and pain in life, which
REPRESENTATIONALISM he expressed through his art.
Art does not aim to copy reality as it is, what art MUNCH DESPAIR (1893)
does is:
MUNCH ANXIETY (1894)
 Represent possible versions of reality(or
what is not noticed) MUNCH JEALOUSY, ASHES AND MELANCHOLY
 A vision of what it might be (1895)

ART IS DISINTERESTED JUDGMENT ART AS A MIRROR TO SOCIAL REALITIES

(HEIDEGGER AND AMP:HEGEL)
IN “CRITIQUE OF JUDGMENT”
MARTIN HEIDEGGER
Immanuel Kant(18th century)describes “beauty”
the commerstone of art, as something that can 20th century German philosopher
be universal.
GEORGE WELHELM FRIEDRICH HEGEL
Judgment of beauty is subjective, but these
18th century German Philosopher
judgments are based on some universal
criterion. ART ASAN INSTRUMENT THAT SHAPES SOCIAL
REALITIES (MARX)
ARTINCITES
This is why Marxists argue that one can only “Anything that does not move or is dead”. In
begin fully to appreciate and understand a work French, the still life is called NATURE
of art by examining it in relation to the MORTE(literally “dead nature”)
conditions of its creation.
KIND OF SUBJECT
PLATO - Art as an imitation (copy of a copy)
-LANDSCPES, SEASCAPES, CITYSCAPES
ARISTOTLE- Art is representation
- ANIMALS
IMMANUEL KANT- Art is disinterested
judgment (judgment is based on universal - PORTRAIT
criterion) - EVERYDAY SCENES
LEO TOLSTOY- Art is communicative device for - HISTORY AND LEGEND
emotions and idea
- RELIGION AND MYTHOLOGY
MARTIN HEIDEGGER- Art is a mirror of social
realities. WAYS OF REPRESENTINGSUBJECT

KARL MARX- Art shaped social realities. REALISM- when things are depicted in the way
they would normally appear in nature strictly
SUBJECT OF ART speaking no work of art is truly realistic. We can
Subject: urinal only create an illusion of reality

Content: Duchamp’s “readymade” sculptures e.g., novels that are based on historical facts
were mass-produced objects that the Dada but contain imaginary characters.
artist modified. In fountain, he conferred the ABSTRACTION- when things are reduced to
status of art on a urinal and forced people to simple geometric shapes rarely identified unless
see the object in a new light. the title says it rendering the essence of the
KIND OF SUBJECT subject rather than the natural form itself.

- LANDSCAPES, SEASCAPES, CITYSCAPES DISTORTION- when figures have been arranged

so that proportions differ noticeably from a
The Heart of the Andres is a large ail-on- canvas natural measurement could also mean twisting,
landscaped painting by FREDERIC EDWIN stretching or deforming the natural shape
CHURCH (1926-1900). At more than five feet. It usually done to dramatize and create an
depicts on idealized landscape in the South emotional effect
American Andes, where church traveled on two
occasions. REALISM – DISTORTION

Still- lifes- Inanimate objects arranged in an Referred to as “surrealism” composition of

indoor setting. dreamlike scenes that show an irrational of
objects the images are recognizable, sometimes
drawn from nature, but they are combined
utterly fantastic and unnatural relationships.
ARTIST AND THEIR CHOICE OF SUBJECT - Art that exists in dimensions of height,
width and depth
-anything under the sun - Most three-dimensional art is meant to
-likely what they thought and felt about the be seen from all sides
world they lived in ARCHITECTURE
- choice involves some personal statement: - In general, architectural materials are of
what they consider significant or aesthetically five kinds: rock, organic, metal,
satisfying synthetic, and hybrid are chosen
- medium, patronage, and time/place/ context according to their availability and
according to the building design.
MEDIUM- is the material or substance out of
which a work of art is made. 1. Structure-the way it reacts to stress
2. Texture- choice of tools for internal
2-DIMENSIONAL ARTS- medium includes the
structure (consistency)
surface or ground and the marking or coloring
3. Aspect- color and outside skin after
substances applied to it.
tooling
PAINTING- is the practice of applying paint, 4. Social values
pigment, color or other medium to a solid
Stone- strength
surface. The medium is commonly applied to
the base with a brush, but other implement, Marble- power and performance
such as knives, sponges, and airbrushes, can be
used. Wood- warmth

COLLAGE- from the French word “coller”, Metal- lightness and impersonality
meaning “to stick”, a collage is composition of
bit of objects, such as newspaper or cloth, glued
to a surface.

MOSAIC- is a pattern or image made of small

regular or irregular pieces of colored stone,
glass or ceramic, held in place by plaster/mortar
and covering a surface.

TAPESTRY- Is a form of textile art, traditionally

woven by hand on a loom

EMBROIDERY- is the craft of decorating fabric

or other materials using a needle to apply
thread or yarn.

3-DIMENSIONAL ART