Elements of art
Vocabulary of art
Principles of design
Grammar of art
edges of the canvas
two-dimensional area, the boundaries of which are defined by lines or suggested by change in color or value.
Directions of lines (whether they go up, across, or diagonally) both guide our attention and suggest particular feelings.
reversal of the relationship between one shape (the figure) and its background (the ground), so that the figure becomes background becomes the figure.
The Great Sphinx
- largest carving made of stone.
- stands as a symbol of the power to change our surroundings.
- suppose to be a half-man, half-lion.
Raised form on a large flat background. for ex. the design on a coin is "in relief".
Ara Pacis Augustae
- Artist wanted to imply a large crowd rather than just a line of people.
- Figures behind those in the foreground are also cared in relief, but not quite so deeply. Also further away because they are not cut in so deeply.
sculpture carved with very little depth
texture compels the viewer to look again at an object and to think about it more deeply
the use of light and dark in a painting to create the impression of volume.
a system using imaginary sight lines to create the illusion of depth.
point in a work of art at which imaginary sight lines appear to converge, suggesting depth.
three basic colors from which all others are derived. red, yellow, blue.
lightness or darkness of a plane or area.
a color darker in value than its purest state. black
colors opposite one another on the color wheel. red=green; blue=orange; yellow=violet DRAMA
treatment of disease by colored lights
illusion of motion
work of art that suggests motion is in the process of occurring
"black film," film noir refers to a style or mode of filmmaking, which flourished between 1941 and 1958, that presents narratives involving crime or criminal actions in a manner that disturbs, disorients, or otherwise induces anxiety in the viewer
what makes the overall or organization of a work a whole
complete order and indivisible unity of all aspects of an artwork's design.
Everything radiates outward from a central point
the pop artist of the 60s who tried to stun viewers into a new visual awareness with unfamiliar versions of familiar objects, such as a giant plastic sculpture of pillow-soft telephones. Ex. The big math box.
us of size to denote the relative importance of subjects in an artwork.
artist belonging in the 1920s and later, whose art was inspired by dreams and the subconscious.
School of Athens
1510-11, Raphael's fresco. It's a grandly conceived portrayal of the great masters of Western philosophy, and art historians praise it as a virtually perfect portrayal of Renaissance technique.
the opposite of emphasis; it draws our attention away from a particular area of work.
the principle of drawing attention to particular content within a work.
(1) the center of interest or activity in a work of art, often drawing the viewer's attention to the most important element; (2) the area in a composition to which the eye returns most naturally
arrangement of predictably repeated elements.
The Third of May
1808, 1814 Francisco Goya: peak emotions with a true story. Spain, under Napoleon, guerrilla warfare, antagonize Napoleons troops, troops got pissed execute them all.
Plowing in the Nivernais
1849, Rosa Bonheur. French Realism
- Most prominent animal painting
- Wearing pants to go slaughterhouse to study anatomy
- Painting of a worker leading the cows.
no recognizable subject matter
artwork in which imaginary sight lines appear to converge, suggesting depth.
Triumph of the Will
1934, Leni Riefenstahl. This Nazi propaganda film was created in 1936 by Leni Riefenstahl to show the might of the Nazi party at a rally in Nuremberg.Cannot be understood without recognizing its historical content.
1942, Edward Hopper. As is often the case with his works, Hopper uses a realistic approach (including such details as the fluorescent light of the diner, the coffee pots, and the Phillies cigar sign atop the diner) to convey a sense of a loneliness and isolation, even going so far as to depict the corner store without a door connecting to the larger world. Hopper's wife Jo served as the model for the woman at the bar.
outline that defines a form
colors adjacent to each other on the color wheel. red=orange; blue=green; blue=violet. CALM, HARMONIOUS
art that depicts figures and object so that we recognize what is represented.
Analyzing the book based on the author's background and author's influence
general classification of a color; the distinctive characteristics of a color as seen in the visible spectrum, such as green or red.
the relative clarity of color in its purest raw form, demonstrated through luminous or muted variations.
the intensity of a color; how close it is to a pure hue
CMYK- cyan, yellow, magenta, and black. Water/oil based paint.
Red, green, blue. Computer graphics.
color lighter in value than its purest state. WHITE
A color may be toned down and made less vivid or toned up to make it look more solid or brighter.
optical effect caused when reflected white light on the spectrum is divided into a separate wavelength.
object that can be defined in three dimensions (HEIGHT, WIDTH, and DEPTH)
a mark, or implied mark, between two endpoints.
a volume that has, or gives the illusion of having, WEIGHT, DENSITY, and BULK.
the distance between identifiable points or planes.
the surface quality of a work. for example fine/coarse, detailed/lacking in detail.
time and motion
Always observed together. We cannot perceive time without perceiving motion and vise versa. Every movement or change has a cause, a reason for being.
space filled or enclosed by three-dimensional figure or object.
drastic difference between such elements as color or value (lightness/darkness)
the outermost line of an object or figure, by which it is defined or bounded.
a continuous, uninterrupted line
a line not actually drawn but suggested by elements in the work.
an empty space given shape by its surroundings.
shape defined by surrounding empty space.
geometric shapes represent "complexity of the universe"
size of object
art imagery that departs from recognizable images from the natural world.
form of social research that relies on existing historical documents as a source of data
The Treachery of Images [This is Not a Pipe]
1929, Rene Magritte