Art Test # 1
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68 terms
Terms | Definitions |
|---|---|
 Elements of art | Vocabulary of art |
| Principles of design | Grammar of art |
| Boundary | edges of the canvas |
| Shape | two-dimensional area, the boundaries of which are defined by lines or suggested by change in color or value. |
| Communicative line | Directions of lines (whether they go up, across, or diagonally) both guide our attention and suggest particular feelings. |
| Figure-ground reversal | 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. |
| Relief | 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. |
| bas-relief | sculpture carved with very little depth |
| subversive texture | texture compels the viewer to look again at an object and to think about it more deeply |
| chiaroscuro | the use of light and dark in a painting to create the impression of volume. |
| linear perspective | a system using imaginary sight lines to create the illusion of depth. |
| vanishing point | point in a work of art at which imaginary sight lines appear to converge, suggesting depth. |
| primary colors | three basic colors from which all others are derived. red, yellow, blue. |
| value | lightness or darkness of a plane or area. |
| shade | a color darker in value than its purest state. black |
| complementary colors | colors opposite one another on the color wheel. red=green; blue=orange; yellow=violet DRAMA |
| chromotherapy | treatment of disease by colored lights |
| illusion of motion | work of art that suggests motion is in the process of occurring |
| film noir | "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 |
| compositional unity | what makes the overall or organization of a work a whole |
| gestalt | complete order and indivisible unity of all aspects of an artwork's design. |
| radial balance | Everything radiates outward from a central point |
| Claus Oldenburg | 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. |
| hierarchial scale | us of size to denote the relative importance of subjects in an artwork. |
| Surrealists | 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. |
| Subordination | the opposite of emphasis; it draws our attention away from a particular area of work. |
| Emphasis | the principle of drawing attention to particular content within a work. |
| Focal Point | (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 |
| pattern | 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. |
| non-objective | no recognizable subject matter |
| vanitas | 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. |
| Nighthawks | 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. |
| contour line | outline that defines a form |
| analogous color | colors adjacent to each other on the color wheel. red=orange; blue=green; blue=violet. CALM, HARMONIOUS |
| representational artwork | art that depicts figures and object so that we recognize what is represented. |
| biographical analysis | Analyzing the book based on the author's background and author's influence |
| hue | general classification of a color; the distinctive characteristics of a color as seen in the visible spectrum, such as green or red. |
| intensity | the relative clarity of color in its purest raw form, demonstrated through luminous or muted variations. |
| saturation | the intensity of a color; how close it is to a pure hue |
| subtractive colors | CMYK- cyan, yellow, magenta, and black. Water/oil based paint. |
| additive colors | Red, green, blue. Computer graphics. |
| tint | color lighter in value than its purest state. WHITE |
| tone | A color may be toned down and made less vivid or toned up to make it look more solid or brighter. |
| color | optical effect caused when reflected white light on the spectrum is divided into a separate wavelength. |
| form | object that can be defined in three dimensions (HEIGHT, WIDTH, and DEPTH) |
| line | a mark, or implied mark, between two endpoints. |
| mass | a volume that has, or gives the illusion of having, WEIGHT, DENSITY, and BULK. |
| space | the distance between identifiable points or planes. |
| texture | 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. |
| volume | space filled or enclosed by three-dimensional figure or object. |
| contrast | drastic difference between such elements as color or value (lightness/darkness) |
| outline | the outermost line of an object or figure, by which it is defined or bounded. |
| actual line | a continuous, uninterrupted line |
| implied line | a line not actually drawn but suggested by elements in the work. |
| negative space | an empty space given shape by its surroundings. |
| positive space | shape defined by surrounding empty space. |
| Islam art | geometric shapes represent "complexity of the universe" |
| scale | size of object |
| abstract | art imagery that departs from recognizable images from the natural world. |
| historical analysis | 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 |
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