Arts quarter 1 modern arts

ARTS – GRADE
10
Application of
Contemporary Arts

ARTS – GRADE 10
FIRST QUARTER
MODERN ARTS
•CONTENT STANDARDS
The learner…
1. art elements and processes by synthesizing and applying prior
knowledge 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

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.

'Rouen Cathedral
in Full Sunlight'

Impressionism is the name given to a colorful
style of painting in France at the end of the 19th
century. The Impressionists searched for a more
exact analysis of the effects of color and light in
nature. They sought to capture the atmosphere
of a particular time of day or the effects of
different weather conditions. They often worked
outdoors and applied their paint in small
brightly colored strokes which meant sacrificing
much of the outline and detail of their subject.

Impressionism abandoned the
conventional idea that the shadow of an
object was made up from its color with
some brown or black added. Instead, the
Impressionists enriched their colors
with the idea that a shadow is broken up
with dashes of its complementary color.

THE SEINE AT ASNIERES THE SKIFF

“RAILWAY BRIDGE AT PONTOISE”

POST IMPRESSIONISM
(C.1885-1905)

Post Impressionism was not a particular style of
painting. It was the collective title given to the works
of a few independent artists at the end of the 19th
century. The Post Impressionists rebelled against the
limitations of Impressionism to develop a range of
personal styles that influenced the development of
art in the 20th century. The major artists associated
with Post Impressionism were Paul Cézanne, Paul
Gauguin, Vincent Van Gogh and Georges Seurat.

Cézanne was an important influence on Picasso and
Braque in their development of Cubism. Van Gogh's
vigorous and vibrant painting technique was one of
the touchstones of both Fauvism and
Expressionism, while Gauguin's symbolic color and
Seurat's pointillist technique were an inspiration to
'Les Fauves'.

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STUDY FOR A SUNDAY ON LA GRANDE JATTE

Fauvism was a joyful style of painting that delighted in using
outrageously bold colors. It was developed in France at the
beginning of the 20th century by Henri Matisse and André Derain.
The artists who painted in this style were known as 'Les Fauves'
(the wild beasts), a title that came from a sarcastic remark in a
review by the art critic Louis Vauxcelles.
'Les Fauves' believed that color should be used at its highest pitch
to express the artist's feelings about a subject, rather than simply
to describe what it looks like. Fauvist paintings have two main
characteristics: extremely simplified drawing and intensely
exaggerated color. Fauvism was a major influence on German

'THE OPEN
WINDOW,
COLLIOURE‘

STILL LIFE WITH A PEWTER JUG AND PINK
STATUETTE

GERMAN EXPRESSIONISM
(1905-1925)

German Expressionism is a style of art that is
charged with an emotional or spiritual vision of the
world. The expressive paintings of Vincent Van
Gogh and Edvard Munch influenced the German
Expressionists.
They also drew their inspiration from German Gothic
and 'primitive art'. The Expressionists were divided
into two factions: Die Brücke and Der Blaue Reiter.

Die Brücke (The Bridge) was an artistic
community of young artists in Dresden who aimed
to overthrow the conservative traditions of
German art.
Ernst Ludwig Kirchner and Karl Schmidt-Rottluff
were two of its founding members.

ERNST LUDWIG
KIRCHNER
(1880-1938)

Der Blaue Reiter (the Blue Rider) was a group
of artists whose publications and exhibitions
sought to find a common creative ground
between the various Expressionist art forms.
Kandinsky, Marc and Macke were among its
founding members.

"Der Blaue
Reiter" (The
Blue Rider),
painted 1903

Abstract Art is a generic term that
describes two different methods of
abstraction: 'semi abstraction' and 'pure
abstraction'. The word 'abstract' means to
withdraw part of something in order to
consider it separately.
In Abstract art that 'something' is one or
more of the visual elements of a subject:
its line, shape, tone, pattern, texture, or

Semi-Abstraction is where the image still has one
foot in representational art, (see Cubism and
Futurism). It uses a type of stylisation where the
artist selects, develops and refines specific visual
elements (e.g. line, color and shape) in order to
create a poetic reconstruction or simplified
essence of the original subject.

Pure Abstraction is where the artist uses visual
elements independently as the actual subject of the
work itself. (see Suprematism, De Stijl and
Minimalism).
Although elements of abstraction are present in
earlier artworks, the roots of modern abstract art are
to be found in Cubism. Among other important
abstract styles that developed in the 20th century are
Orphism, Rayonism, Constructivism, Tachisme,
Abstract Expressionism, and

GUITAR "PROGRAM STATUE D'EPOUVANTE"

Cubism was invented around 1907 in Paris by Pablo
Picasso and Georges Braque. It was the first
abstract style of modern art. Cubist paintings ignore
the traditions of perspective drawing and show you
many views of a subject at one time. The Cubists
believed that the traditions of Western art had
become exhausted and to revitalize their work, they
drew on the expressive energy of art from other
cultures, particularly African art.

There are two distinct phases of the Cubist style:
Analytical Cubism (pre 1912) and
Synthetic Cubism (post 1912).
Cubism influenced many other styles of modern art
including Expressionism, Futurism, Orphism,
Vorticism, Suprematism, Constructivism and De Stijl.
Other notable artists associated with Cubism were
Juan Gris, Fernand Leger, Robert Delaunay, Albert
Gleizes, Jean Metzinger, Louis Marcoussis and Marie

Pablo Diego José
Francisco de Paula
Juan Nepomuceno
María
de los Remedios
Cipriano de la
Santísima Trinidad
Ruiz y Picasso

FUTURISM
(1909-1914)
GIACOMO BALLA (1871-1959)
'The Rhythm of the Violinist',
1912 (oil on canvas)

Futurism was a revolutionary Italian movement that
celebrated modernity. The Futurist vision was outlined in a
series of manifestos that attacked the long tradition of Italian
art in favour of a new avant-garde. They glorified
industrialization, technology, and transport along with the
speed, noise and energy of urban life. The Futurists adopted
the visual vocabulary of Cubism to express their ideas - but
with a slight twist. In a Cubist painting the artist records
selected details of a subject as he moves around it, whereas
in a Futurist painting the subject itself seems to move
around the artist. The effect of this is that Futurist paintings

Futurism was founded in 1909 by the
poet Filippo Tommas Marinetti and
embraced the arts in their widest
sense. The main figures associated
with the movement were the artists,
Umberto Boccioni, Giacomo Balla,
Gino Severini, the musician Luigi
Russolo and the architect Antonio

SUPREMATISM
1915 – 1925
KAZIMIR MALEVICH
(1879-1935)
'Suprematism', 1915
(oil on canvas)

Suprematism was developed in 1915 by the
Russian artist Kazimir Malevich. It was a
geometric style of abstract painting derived
from elements of Cubism and Futurism.
Malevich rejected any use of representational
images, believing that the non-
representational forms of pure abstraction had
a greater spiritual power and an ability to open
the mind to ‘the supremacy of pure feeling’.

Suprematism was a style of pure
abstraction that advocated a mystical
approach to art, in contrast with
Constructivism, the major Russian art
movement of the 20th Century, whose
imagery served the social and political
ideology of the state.

CONSTRUCTIVISM
(C.1913-1930)
EL LISSITZKY (1890-
1941)
'The Red Wedge', 1919
(lithograph)

Constructivism used the same geometric language as
Suprematism but abandoned its mystical vision in
favour of their 'Socialism of vision' - a Utopian
glimpse of a mechanized modernity according to the
ideals of the October Revolution. However, this was
not an art that was easily understood by the
proletariat and it was eventually repressed and
replaced by Socialist Realism. Tatlin, Rodchenko, El
Lissitzky and Naum Gabo were among the best
artists associated with Constructivism.

DE STIJL
(C.1917-1931)
PIET MONDRIAN (1872-1944)
'Composition with White and Yellow', 1942 (oil on
canvas)
De Stijl was a Dutch 'style' of pure abstraction
developed by Piet Mondrian, Theo Van Doesburg
and Bart van der Leck.
Mondrian was the outstanding artist of the group.
He was a deeply spiritual man who was intent on
developing a universal visual language that was
free from any hint of the nationalism that led to
the Great War.

Mondrian gradually refined the elements of his art to a grid of
lines and primary colors which he configured in a series of
compositions that explored his universal principles of harmony.
He saw the elements of line and color as possessing
counteracting cosmic forces. Vertical lines embodied the
direction and energy of the sun's rays. These were countered
by horizontal lines relating to the earth's movement around it.
He saw primary colors through the same cosmic tinted
spectacles: yellow radiated the sun's energy; blue receded as
infinite space and red materialized where blue and yellow met.
Mondrian's style which he also called 'Neo-Plasticism' was
inspired by the Theosophical beliefs of the mathematician and

DADA
(C.1916-1922)
RAOUL HAUSMANN
(1886-1971)
'Tatlin at Home',
1920 (collage)

Dada was not a style of art like Fauvism or Cubism. It was a form of
artistic anarchy born out of disgust for the social, political and cultural
establishment of the time which it held responsible for Europe's descent
into World War.
Dadaism was an ‘anti art’ stance as it was intent on destroying the artistic
values of the past. The aim of Dada was to create a climate in which art
was alive to the moment and not paralysed by the corrupted traditions of
the established order. Dada’s weapons in the war against the art
establishment were confrontation and provocation. They confronted the
artistic establishment with the irrationality of their collages and
assemblages and provoked conservative complacency with outrageous
actions at their exhibitions and meetings.
The Dada movement started in Zurich and spread as far as New York.

SURREALISM
(C.1924-1939)
RENÉ MAGRITTE (1898-1967)
'Time Transfixed', 1938
(oil on canvas)

Surrealism was the positive response to Dada's
negativity. Its aim, as outlined in the First Surrealist
Manifesto of 1924, was to liberate the artist's
imagination by tapping into the unconscious mind to
discover a 'superior' reality –
a 'sur-reality'.
To achieve this the Surrealists drew upon the images
of dreams, the effects of combining disassociated
images, and the technique of 'pure psychic
automatism', a spontaneous form of drawing without

The look of Surrealist art was inspired by the
irrational juxtaposition of images in Dada collages,
the metaphysical art of Giorgio de Chirico, and both
'primitive' and 'outsider' art.
The most influential of the Surrealist artists were Max
Ernst, Joan Miró, Salvador Dali and René Magritte.
The movement broke up at the outbreak of war in
1939 when several of the Surrealists left Europe for
New York where they had a formative influence on
the development of Abstract Expressionism.

SALVADOR DALI
THE PERSISTENCE OF MEMORY

SOFT
CONSTRUCTION
WITH BOILED BEANS
PREMONITION OF
CIVIL WAR

ABSTRACT
EXPRESSIONISM
(1946-1956)

Abstract Expressionism was the first American
art style to exert an influence on a global scale.
It drew upon the ‘spiritual’ approach of
Kandinsky, the 'automatism' of the Surrealists,
and a range of dramatic painting techniques.
Abstract Expressionism was also known as
‘Action Painting’, a title which implied that the
physical act of painting was as important as the

The Abstract Expressionist movement embraced
paintings from a wide range of artists whose work was
not always purely abstract or truly expressionistic. The
‘all-over’ drip paintings of Jackson Pollock, which
entangle the viewer in a skein of light, color and texture,
were the biggest challenge to the interpretation of
pictorial space since Cubism. The paintings of Mark
Rothko bathe the spectator in a mystical world of diffuse
color while the art of Robert Motherwell sets up an
abstract dialogue between his 'automatic' calligraphy and
the conscious control of shapes and colors. Willem de
Kooning, Franz Kline, Barnet Newman and Clifford Still
were other major figures associated with the movement.

JACKSON POLLOCK
'FULL FATHOM FIVE',

POP ART
(1954-1970)
ANDY WARHOL (1928-1987 )
'Campbell's Soup 1 (Tomato)'

Pop Art was the art movement that characterized a
sense of optimism during the post war consumer
boom of the 1950's and 60's. It coincided with the
globalization of pop music and youth culture,
personified by Elvis and The Beatles.
Pop Art was brash, colorful, young, fun and hostile to
the artistic establishment. It included different styles of
painting and sculpture from various countries, but
what they all had in common was an interest in

The stark look of Pop Art emerged from a fusion of
Dada collages and 'readymades' with the imagery of
the consumer culture. It was seen as an antidote to
the introspection of Abstract Expressionism. The
expressive techniques of Jasper Johns and Robert
Rauschenberg provided the stylistic link between
Abstract Expressionism and Pop but the images of
celebrity and consumerism by Andy Warhol and the
comic book iconography of Roy Lichtenstein
represent the style as we know it today.

OP ART
(C.1964-1970)
VICTOR VASARELY (1906-
1997)
'Gestalt 4', 1970 (serigraph )

Op Art is short for 'optical art'. It was an abstract style that emerged
in the 1960's based on the illusionistic effects of line, shape,
pattern and color.
Op Artists such as Victor Vasarely, Bridget Riley and Richard
Anuszkiewicz play with the perception of the viewer by subverting
the picture plane with ambiguous shapes, shifting tones and
dynamic color relationships. Although Op Art images are static they
generate the illusion of movement with perceptual tricks that create
an unstable picture surface. The effects of this can be so strong
that you have to look away for fear of losing your balance or
hurting your eyes. Needless to say that the fairground fun aspect of
Op Art was very popular with the public and was quickly
commercialized by the design and fashion industries.

MINIMALISM
(1960-1975)
FRANK STELLA (b.1936)
'Jarmolince III',
1973 (relief assemblage)

Minimalism was not only a reaction against the emotionally charged
techniques of Abstract Expressionism but also a further refinement of pure
abstraction. It was an attempt to discover the essence of art by reducing
the elements of a work to the basic considerations of shape, surface and
materials.
Minimalist art used hard-edged forms and geometric grid structures. Color
was simply used to define space or surface. Ad Reinhardt, whose late
paintings anticipate Minimalism, put it simply, ‘The more stuff in it, the
busier the work of art, the worse it is. More is less. Less is more. The eye
is a menace to clear sight. The laying bare of oneself is obscene. Art
begins with the getting rid of nature.’
Frank Stella, Don Judd, Robert Morris, John McCracken and Sol LeWitt

Arts quarter 1 modern arts

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