Arts 10 learning material

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Grade 10
Learner's Material

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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)

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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.
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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.
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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.

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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.
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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.

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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
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Café Concert The Bar at the Folies-Bergere
Edouard Manet, 1878 Edouard Manet, 1882
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

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Bridge Over a Pond of Water Lilies Irises in Monet’s Garden
Claude Monet, 1899 Claude Monet, 1900
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

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Mlle Irene Cahen d’Anvers Luncheon of the Boating Party
Auguste Renoir, 1880 Auguste Renoir, 1881
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.
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Hortense Fiquet in a Striped Skirt Still Life with Compotier
Paul Cezanne, 1878 Paul Cezanne, 1879-1882
Harlequin Boy in a Red Vest
Paul Cezanne, 1888-1890 Paul Cezanne, 1890

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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
Still Life: Vase with Fifteen Sunflowers Bedroom at Arles

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Starry Night Wheat Field with Cypresses
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

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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

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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?

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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.
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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

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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
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.

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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

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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.

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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
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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
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.

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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.

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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

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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

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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.

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WHAT TO PERFORM
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.
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

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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

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(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
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.

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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.

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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.

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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.

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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.

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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.

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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
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.

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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

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Pasyon at Rebolusyon
Santiago Bose, 1989
Mixed media installation
Go to Room 117
Sid Gomez Hildawa, 1990
Mixed media installation

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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.

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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.

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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.

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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

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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.

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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

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