| Term | Definition |
|
The object we distinguish |
In the figure ground relationship as discussed in chapter four the figure is defined as |
|
The background of backdrop |
The ground is defined as |
|
Boundries |
Contour lines are drawn to record the ___ of a three dimensional form. |
|
Shape on 2D, Mass is a 3D form |
What is the difference between shape and mass |
|
Geometric and organic |
What are two main categories of shapes |
|
Light and dark |
Chiaroscuro is Italian for ___ |
|
Value |
The tern used to refer to relative lightness and darkness is ___ |
|
Perception |
Seeing is a mode of ___, which is the recognition of sensory data |
|
Fluency |
A readiness to allow the free flow of ideas |
|
Productivity |
The ability to generate ideas easily and frequently, and to follow through on those ideas |
|
Sensitivity |
Heightened awareness of what one sees, hears, and touches, as well as responsiveness to other people and their feelings |
|
Flexibility |
An ability to adapt to new situations and to see their possibilities; willingness to find innovative relationships |
|
Playfulness |
A sense of humor and ability to experiment freely |
|
Organizational Skills |
Ability to put things back together in a coherent order |
|
Originality |
Uncommon responses to situations and to solving problems |
|
Analytical Skills |
A talent for exploring problems, taking them apart, and seeing how things work |
|
Hue |
The name that differentiates one color from another |
|
Optical color mixture |
Pointillism is an example of _____ |
|
Intensity |
The relative purity of a color |
|
Simultaneous contrast |
If you place two complimentary colors together, both of them will seem more brilliant |
|
Monochromatic |
Color harmony - variations of the same hue or the same color with differences in value and intensity |
|
Complimentary color harmony |
Color harmony - involves colors directly opposite of each other on the color wheel |
|
Analogous |
Color harmony - a combination of colors that are adjacent to each other on the color wheel |
|
Aesthetics |
Branch of philosophy concerned with feelings around as by sensory experiences |
|
Primary Colors |
red, yellow, blue |
|
Atmospheric Perspective |
Things in distance appear to have less contrast than things in foreground |
|
Isometric Perspective |
Depth is implied by using diagonals to imply receding, lines remain parallel |
|
One Point Perspective |
Parallel lines recede in distance seems to converge at a vanishing point |
|
Two Point Perspective |
Two points on a single horizon lie for the parallel lines of an object to recede to |
|
Proportion |
Refers to size relationship between parts of a whole or between items perceived as a unit |
|
Hierarchical Scale |
A work of art which bases scale on the relative importance of the people depicted |
|
Asymmetrical Balance |
Happens when to forms of two sides of the composition don't correspond to each other in size, placement and shape but the composition is still balanced |
|
Symmetrical Balance |
Occurs when forms on either side of a composition correspond to each other |
|
A.B. 1 |
A large form is visually heavier than small form |
|
A.B. 2 |
A dark form is visually heavier than a light value form |
|
A.B. 3 |
A textured form is visually heavier than a smooth form of the same size |
|
A.B. 4 |
A complex form is visually heavier than a simple form of the same size |
|
A.B. 5 |
Tow or more small froms can balance a large one |
|
A.B. 6 |
A small dark form can balance a larger light form |
|
Scale |
Size in relationship to a standard or normal size |
|
Focal Point |
Emphasis on a relatively small, clearly defined area |
|
Less visually interesting |
In subordination parts of a composition are made intentionally __ |
|
Conceptual |
Unity of ideas |
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Repetition |
Rhythm is based in ____ |
|
Visual weight |
The apparent lightness of heaviness of forms arranged in a composition |
|
Visual |
Unity based in the elements |
|
Variety |
Described as difference that provides interest |
|
Composition |
The organization of elements in such a way as to satisfy the artist's expressive intent |
|
False |
All artwork has a focal point |
|
True |
Directional lines, contrast, placement, and isolation are all devices that create emphasis |
|
Graphite |
Marking material of a common pencil |
|
Acrylic |
Synthetic painting medium, developed after chemists created a strong, waterproof, industrial paints, has challenged supremacy of oil painting |
|
Fresco |
Painting into wet lime plaster with pure pigment and water |
|
Screenprint |
Technique in which ink is pressed through fabric |
|
Intaglio |
Etching and engraving are examples of what kind of printmaking |
|
Photojournalists |
Photographers who record events for newspapers |
|
Layout |
Term used for a designer's blueprint for an extended work in print |
|
Illustration |
An image created to accompany words |
|
Forging |
The art of the blacksmith |
|
Casting |
When liquid is poured into a shaped container to become firm |
|
Ceramics |
The art of making objects with clay |
|
Carving |
A subtractive process in sculpture |
|
Encaustic |
Painting technique involving hot wax |
|
Charcoal |
Material that remains after wood is burned |
|
True |
In its early years, artists particularly valued camera obscura as an aid to painting and drawing |
|
Matthew Barney |
Artist of Cremaster movies |
|
Oil |
Slow-drying paint made when pigments are mixed with oil |
|
Typography |
Arrangement and appearance of letters |
|
Lithography |
Print pulled from a slab of limestone |
|
Carolingian |
The style of art in France that was inspired by the Holy Roman Emperor Charlemagne |
|
Animal Style |
The Medieval artifacts found near London in a grave of an unknown East Anglican king |
|
Sfumato |
Italian word for smoke; use of layers of translucent glazes applied to a painting to produce a hazy atmosphere, etc. |
|
Renaissance man |
Individual such as Leo da Vinci, masters multiple disciplines |
|
Humanism |
Renaissance belief that humankind was not worthless in the eyes of God |
|
Michaelangelo and fresco |
Sistine Chapel |
|
True |
The Gothic style originated at the Abbey church of Saint-Denis |
|
An enormous building boom |
Romanesque period is characterized by ____ |
|
Fresco 2 |
Most of Giotto's work was done in ___ |
|
Jan van Eyck |
One of key figures of the Northern Renaissance credited with the first use of oil paints |
|
Mannerism |
Sofonisba Anguissola was a female artist during what period? |
|
Brunellechi |
Artist and architect is creator of linear perspective |
|
Matthias Grunewald |
German artist was a Protestant whose art differed vastly from his Italian Catholic counterparts |
|
False |
Genre paintings focus on military exploits of absolute monarchs |
|
Claus Sluter |
German sculptor is considered a "Pioneer of Northern Realism;" Wall of Moses |
|
Giotto |
Associated with the earlies use of atmospheric technique |
|
Counter Reformation |
Reflected Baroque art; inward exploration rather than outward; Rembrandt; |
|
Baroque |
Exaggerated emotionalism, manipulation of light and dark, dynamic sense of movement that extends beyond artwork, heightened sense of realism; elegance to display, restraint of emotion, deception of the glories of monarchy |
|
Rococo |
Art style in first part of 18th century; grace and harmony, light and airy feeling, light pastel colors, deception of leisure and fancy; asymmetrical structure, natural curvilinear forms; shielded its autocratic audience from real-world problems, based on idea that nature posses inherent quality |
|
Neoclassicism |
New classicism; a reference to classical models, sharp colors, chiaroscuro, clarity of form, directness of subject; reaction against Rococo period |
|
Romanticism |
Promoted imagination, intuition, emotion, individual experience; mysterious landscapes, scenes of exotic cultures, extreme-often violent- human events, sensuality of subjects, dynamic diagonal rhythm, brilliant color |
|
Realism |
6 |
|
Impressionism |
7 |
|
Post Impressionism |
8 |
|
Caravaggio |
Major influence of painting in Europe; The Martyrdom of Saint |
|
Jacob van Ruisdael |
10 |
|
Delacroix |
Most important of the French Romantic painters; profoundly shaped the work of the Impressionists; Death of Sardanapalus |
|
Courbet |
was a French painter who led the Realist movement in 19th-century French painting; started and dominated it; The Stone Breakers |
|
Manet |
13 |