100 terms

Art ch 1

STUDY
PLAY

Terms in this set (...)

Aesthetics
branch of philosophy concerned with the feelings aroused in us by sensory experiences - sight, touch, hearing, taste, touch and smell
Anthony Caro
art is basically paleolithic and neolithic: either the urge to smear soot and grease on cave walls or pile stone and stone
megaliths
very large stones
stonehenge
several concentric circles of megaliths surrounded by a circular ditch
neolithic era
named for the new kinds of stone tools that were invented
1st task
create places for some human purpose
2nd task
to create extraordinary versions of ordinary objects
3rd task
to record and commemorate
4th task
to give tangible form to the unknown
5th task
to give tangible form to feelings and ideas
sensitivity
heightened awareness of what one sees, hears and touches
flexibility
an ability to adapt to new situations and to see their possibilities; willingness to find innovative relationships
originality
uncommon responses to situations and to solving problems
playfulness
sense of humor and an ability to experiment freely
productivity
ability to generate ideas easily and frequently and to follow through those ideas
fluency
readiness to allow the free flow of ideas
analytical skill
talent for exploring problems, taking them apart and finding out how things work
organizational skill
ability to put things back together in a coherent order
selective perception
focusing on visual information we need for the task at hand and relegating everything else on the background
aesthetics
branch of philosophy that studies art also studies the nature
representational
refer clearly to the visible world, yet each has a different relationship
naturalistic
how bodies reflect an inner structure of bone and muscle flow, how form are revealed by light and shadow and how gravity makes weight felt
abstract
uses appearance as a starting point; simplified or exaggerated
personages
fictional character in a novel or play
tromp l'oeil
fool the eye
tromp l'oeil
representational works so convincingly lifelike that we can be fooled for a moment into thinking that they are real
stylized
describes representational art that conforms to a preset style or set of conventions for depicting the world
nonrepresentational art
developed from the search of art's essence in the wake of the challenge presented by photography
style
characteristic or group of characteristics that we recognize as constant, reoccuring or coherent
art
means "embodied meaning"
form
way a work of art looks; visual aspects of the work that can be isolated & described
content
what a work of art is about
subject matter
objects or events the work depicts
iconography
"describing images", involves identifying describing and interpreting subject matter in art
context
web of connections to the large world of human culture
installation
a space is presented as a work of art that can be entered, explored, experienced and reflected upon
themes of art
provide a framework for exploring how complex a form of expression it can be
sacred realm, politics and social order, stories and histories, here and now, human experience, invention and fantasy
8 themes of art
sacred realm
people throughout the history have turned into a world where we cannot see except through faith, the sacred realm of spirit
politics and social order
earthyl order and cosmic order were viewed as interrelated and mutually dependent
stories and histories
shared stories to create a sense of community, collective memory
space cells
a painting within a painting
here and now
does not always have to reach so high, sometimes its enough to look around ourselves and notice what our life is like here and now
human experience
have shared experiences just by virtue of being human; pass through childhood and mature into sexual being, look for love, grow old and die
invention and fantasy
bring an imaginary world to life before your eyes
triptych
a 3 section panel
natural world
shape the world around us to our needs
art to art
to have something to look at, no other purpose than to be looked at
Visual experience
line, shape, mass, light, value, color, texture and space
line
a path traced by a moving point
line
symbols of perceptions
outline
defines a 2dimensional shape
countours
boundaires we percieve of 3d forms
contour lines
lines we draw to record those boundaries
direction and movement
our eyes tend to follow lines to see where they are going ; direct our eyes around an image and suggest movement
diagonal
imply action in direction and movement
implied lines
imaginary line in a work of art
shape
2d form; occupies an area with identifiable boundaries
mass
3d form that occupies a volume of space
geometric shapes & mass
approximate the regular named shapes and volumes of geometry
organic shapes and mass
irregular and evoke living forms of nature
figure
shape we detach and focus on
ground
surrounding visual info the figure stands out from the background
implied shapes
help direct our eyes around a composition
light
type of radiant energy
skyspaces
carefully calculated apertures that frame an unobstructed view of the sky
chiaroscuro
employs values of light and dark shades
hatching
areas of closely spaced parallel lines
color theory
passed a ray of light in a prism and numerous colors split out
red, blue and yellow
primary colors
orange, green and violet
secondary colors; made by 2 primary colors
warm colors
associate with sunlight and fine light
intermediate colors
product of primary and adjacent secondary color
cool colors
associate with sky, water and shade
pallette
wooden board on which artists traditionally set out their pigments they select
intensity
relative purity of a color
monochromatic harmony
variations on the same hue, often with diff value n intensity
complementary harmony
involve colorsdirectly opposite each other on the wheel
analagous harmony
combine colors adjacent to one another on the color wheel
triadic harmony
composed of any 3 colors equidistant form each other on the color wheel
actual texture
a quality we could experience through touch
visual texture
formed an idea of its texture through touch by the way it reflects light and associateing what whee see ina sense of memory f touch
vanishing point
parallel lines recede into the distance seem to converge until they meet a point on the horizon lane where they disappear
foreshoretening
logic of linear persepctive must apply to every form that recedes into the distance including objects and human & animal form
atmospheric perspective
modeling form through value, constructing space with linear perspective, the background seems blurrry and the color start to diminish
isometric perspective
converging lines of linear perspective are based on the fixed viewpoint of an earthbound viewwer
composition
line, shape, mass, light, value, color, texture, space ; satisfly the artists expressive intent
principles of design
guidelines
unity and variety, balance, emphasis and subordination, proportion and scale, and rhythm
principles of design
unity and variety
exist on a spectrum with total blandness at one end and total disorder at the other
visual weight
apparent heaviness or lightness of the forms arranged in a composition
symmetrical balance
implied center of gravity and is the vertical axis, an imaginary line drawn down the center of the entire composition
asymmetrical balances
has 2 sides that do not match
emphasis and subordination
complementary concepts
emphasis
attention is drawn more to certain parts of a composition
focal point
emphasis on a relatively small clearly defined area
subordination
certain areas of the ocmposition are purposefully made less visually interesting so that the area of emphasis stand out
scale
size in relation to a standard or normal size
proportion
refers to the size relationships between parts of a whole or between 2 or more items perceived as a unit
rhythm
based on repeatition