Art Appreciation Flashcards

1
Q

One of the innate qualities that “pretty art” can give is that it makes our dull, lifeless wall
come to life.

A

Beauty

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2
Q

There is something about art that mirrors the soul of those willing to confront it. In a
societal tone, artworks tend to echo the hopes and anxieties of an age.

A

Happiness and Hope

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3
Q

Today’s generation, being the “me” generation, is also sometimes tagged as the “anxious
generation”. A lot of social issues evidently reflect this struggle for identity: gender
issues, disconnectedness brought on by social media, regionalism, and even mental health
issues.

A

Identify and understanding the self

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4
Q

Many of the most poignant and humanistic products of art were made after the World
War II. Twentieth-century art mostly expressed human suffering and darkness in its
themes.
Throughout the years, artists have interpreted these shared human experiences in different
ways, which also help us process our grief.

A

Grief and healing

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5
Q

The monument of Rizal in Luneta Park is one example of a type of art that helps us
remember. Without the tangible characteristic of art, we we will not able to sustain our
nationalistic values well enough.

A

Remembering and mark-making

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6
Q

In the Philippines, many socially-concerned artists have emerged in the age of
modernism portraying politicians and the governments system in their most hateful
actions.

A

Raising awareness

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7
Q

Lastly, forms of art are often localized so that they bring identity also to certain regions.
This is very evident here in the Philippines, which is geographically separated by
thousands of islands – we are very regionalized.

A

Culture and togetherness

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8
Q

gives meaning, value, intensity and saturation to an object. It has series of wave lengths
which strikes our retina.

A

Color (Hue)

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9
Q

lightness, brightness, darkness of color

A

Value-

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10
Q

degree of quality, purity, and strength such as scarlet and indigo. 2 to 3 colors in things.

A

Saturation-

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11
Q

Properties of Colors

A

Value-

Saturation-

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12
Q

colors that cannot be formed from mixtures because they are pure colors.

A

Primary colors-

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13
Q

colors form out of combination of two primary colors.

A

Secondary colors-

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14
Q

colors form out of mixing one primary and one secondary.

A

Intermediate colors-

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15
Q

form out of combination of two secondary colors.

A

Tertiary colors-

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16
Q

one or two dimensional art that indicates direction, orientation, movement, and energy. It is
considered as the oldest, simplest, universal element.

A

Line

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17
Q

basic framework of all forms, power & delimination, strength, stability, simplicity, and
efficiency.

A

Vertical line-

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18
Q

creates an impression of serenity and perfect stability. Rest, calmness, peace, and
reposed.

A

Horizontal line-

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19
Q

it shows movement and instability. Portrays movement action.

A

Diagonal line-

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20
Q

it shows a gradual change of direction and fluidity. It signifies subtle form.

A

Curve line-

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21
Q
  • it denotes the means of artists to express his ideas, it pertains to materials used to express
    feelings through art.
A

Medium

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22
Q

pattern, arrangement of lines, color, synchronization or connection of path that suggest
gracefulness.

A

Rhythm-

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23
Q

the typical expressing and training of artist and outlook in life.

A

Style-

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24
Q

surface and quality of object either real or made to be appeared real. It gives variety and
beauty on art.

A

Structure-

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25
Q

the enclosed space defined by other elements of art. shapes may take on the appearance of
two-d or three- objects.

A

Shape

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26
Q

the composition refers to developing points of interest to pull the viewer’s eye to important
parts of the body of the work.

A

Emphasis

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27
Q

it is a sense of stability in the body of work. It can be created by repeating same shapes and by
creating a feeling of equal weight.

A

Balance

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28
Q

achieved in a body of work by using similar elements throughout the work, harmony gives an
uncomplicated look to your work.

A

Harmony

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29
Q

refers to the differences in the work, you can achieve variety by using difference shapes,
textures, colors and values in your work.

A

Variety

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30
Q

adds excitement to your work by showing action and directing the viewers eye throughout
the picture plane.

A

Movement

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31
Q

a type of movement in drawing and painting. It is seen in repeating of shapes and colors.
Alternating lights and darks also give a sense of rhythm.

A

Rhythm

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32
Q

refers to the relationships of the size of objects in a body of work.

A

Proportionor scale

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33
Q

is seen in a painting or drawing when all the parts equal a whole. Your work should not appear
disjointed or confusing.

A

Unity

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34
Q
Cave painting,
fertility
goddesses,
megalithic
structures
A
Stone Age (30,000
b.c.–2500 b.c.)
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35
Q
Lascaux Cave
Painting,
Woman of
Willendorf,
Stonehenge
A

Mesopotamian

3500 b.c.–539 b.c.

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36
Q

Warrior art and
narration in stone
relief

A

Mesopotamian

3500 b.c.–539 b.c.

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37
Q

Art with an
afterlife focus:
pyramids and
tomb painting

A

Egyptian (3100

b.c.–30 b.c.)

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38
Q

Imhotep, Step
Pyramid, Great
Pyramids, Bust
of Nefertiti

A

Egyptian (3100

b.c.–30 b.c.)

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39
Q
Greek idealism:
balance, perfect
proportions;
architectural
orders(Doric,
Ionic, Corinthian)
A

Greek and
Hellenistic (850
b.c.–31 b.c.)

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40
Q

Parthenon,
Myron, Phidias,
Polykleitos,
Praxiteles

A

Greek and
Hellenistic (850
b.c.–31 b.c.)

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41
Q

Roman realism:
practical and
down to earth; the
arch

A

Roman (500 b.c.–

a.d. 476)

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42
Q
Augustus of
Primaporta,
Colosseum,
Trajan’s
Column,
Pantheon
A

Roman (500 b.c.–

a.d. 476)

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43
Q

Serene,
meditative art,
and Arts of the
Floating World

A

Indian, Chinese, and
Japanese(653
b.c.–a.d. 1900)

44
Q

Gu Kaizhi, Li
Cheng, Guo Xi,
Hokusai,
Hiroshige

A

Indian, Chinese, and
Japanese(653
b.c.–a.d. 1900)

45
Q
Heavenly
Byzantine
mosaics; Islamic
architecture and
amazing
maze-like design
A

Byzantine and

Islamic (a.d.

46
Q
Hagia Sophia,
Andrei Rublev,
Mosque of
Córdoba, the
Alhambra
A

Byzantine and

Islamic (a.d.

47
Q
Celtic art,
Carolingian
Renaissance,
Romanesque,
Gothic
A

Middle Ages

500–1400

48
Q
St. Sernin,
Durham
Cathedral, Notre
Dame, Chartres,
Cimabue,
Duccio, Giotto
A

Middle Ages

500–1400

49
Q

Rebirth of

classical culture

A

Early and High
Renaissance
(1400–1550)

50
Q
Ghiberti’s
Doors,
Brunelleschi,
Donatello,
Botticelli,
Leonardo,
Michelangelo,
Raphael
A

Early and High
Renaissance
(1400–1550)

51
Q
The Renaissance
spreads north-
ward to France,
the Low
Countries, Poland,
Germany, and
England
A

Venetian and
Northern
Renaissance
(1430–1550)

52
Q
Bellini,
Giorgione,
Titian, Dürer,
Bruegel, Bosch,
Jan van
Eyck, Rogier
van der Weyden
A

Venetian and
Northern
Renaissance
(1430–1550)

53
Q

Art that breaks the rules; artifice over

nature

A

Mannerism

54
Q

Tintoretto, El, Greco,
Pontormo,
Bronzino,
Cellini

A

Mannerism

55
Q
Splendor and
flourish for God;
art as a weapon in
the religious
wars
A

Baroque

1600–1750

56
Q
Reubens,
Rembrandt,
Caravaggio,
Palace of
Versailles
A

Baroque

1600–1750

57
Q

Art that
recaptures Greco-
Roman grace and
grandeur

A

Neoclassical

1750–1850

58
Q

David, Ingres,

Greuze, Canova

A

Neoclassical

1750–1850

59
Q

The triumph of
imagination and
individuality

A

Romanticism

1780–1850

60
Q
Caspar
Friedrich,
Gericault,
Delacroix,
Turner,
Benjamin
West
A

Romanticism

1780–1850

61
Q
Celebrating
working class and
peasants;en plein
air
rustic painting
A

Realism

1848–1900

62
Q

Corot, Courbet,

Daumier, Millet

A

Realism

1848–1900

63
Q

Capturing fleeting
effects of natural
light

A

Impressionism

1865–1885

64
Q

Monet, Manet,
Renoir, Pissarro,
Cassatt,
Morisot, Degas

A

Impressionism

1865–1885

65
Q

The creative process requires the use of both sides of our brain.

A

The free-thinking right brain
analytical left
brain

66
Q

controls our ideas, inspiration, and most of the production process,

A

The free-thinking right brain

67
Q

is in charge of evaluating, reworking, and sharing.

A

analytical left

brain

68
Q

is important to finding

success in anything in life, not just creating art.

A

Understanding your strengths (and weaknesses), and accepting them,

69
Q

Steps of the Creative Process

A
  1. Inspiration
  2. Idea
  3. Research
  4. Production
  5. Critique
  6. Rework
  7. Evaluation
  8. Presentation
70
Q

We are all inspired by different things. It may be an object, a person, an
experience, a song, or even a feeling. But one thing is common – our inspiration comes from an
external source.

A

Inspiration

71
Q

Your idea and your inspiration are different. For some, the idea comes almost
immediately after inspiration, making the distinction between the two a little more difficult to
detect.

A

Idea

72
Q

This step can also be considered as planning. We may sketch out our idea or
research methods and/or media to communicate our newly formed idea. Sometimes, the idea
may change at this stage, taking on a new life or direction.

A

Research

73
Q

The inspiration has led to an

idea, the planning and research have been completed, and the art is now being produced.

A

Production

74
Q

The process now shiftsfrom a creative endeavor to an analytical one. The artist
must now remove themselves from the work, recognize the flaws, and make the necessary
changes.

A

Critique

75
Q

With flaws exposed and recognized, the art is revisited. Changes are made based
on the judgmentsmade in the critique.

A

Rework

76
Q

It is not until all changes have been made to the art that the evaluation of the
success or failure of the work is decided.

A

Evaluation

77
Q

Art is meant to be shared. Whether that be in a prestigious gallery or on the
walls of your home, your art should not be hidden away.

A

Presentation

78
Q

He developed the use of light—actually, backlight—which is his greatest contribution to
Philippine painting. Characteristically, his painting contains a glow against which
the figures are outlined, and at one point of the canvas there is generally a burst of light that
highlights the smallest detail.

A

Fernando Amorsolo

79
Q

His unique approach to cubism utilizing translucent color would be coined
as “transparent cubism”. Though he went through a black-and-white phase for a time,
primarily for crucifixes and madonna and child paintings, he found a huge advantage in color
manipulation which would become a vital element of his art.

A

Vicente Manansala

80
Q

is a Filipino National Artist in the visual arts. He is also fictionist, a
playwright and editor. He was a leading radical modernist artist in the Philippines.

A

Hernando R. Ocampo

81
Q

His long and fruitful career as a sculptor has lent him the official title of the National
Artist of the Philippines, and the unofficial recognition of being the father of
contemporary Filipino sculpture.

A

Napoleon Abueva

82
Q

Arts for ritual purposes or for everyday use. As local communities become
established, art starts to go beyond mere craft, i.e. stone weapons or
jewelry but starts to have decorative elements, meaning and context.

A

ETHNIC

ART

83
Q

Characterized by geometric designs and patterns eliciting focus from believers

A

ISLAMIC

ART

84
Q

When the Spaniards arrived in the Philippines in 1521, the colonizers used
art as a tool to propagate the Catholic faith through beautiful images.

A

SPANISH

ERA

85
Q

was the first painter of note for
the 20th century. He was noted for his realistic portraits, genre, and
landscapes in subdued colors.

A

Fabian dela Rosa

86
Q

Angono-based painter, depicted

Philippine history in his “History of Manila” mural at the Manila City Hall.

A

Carlos “Botong” Francisco,

87
Q

Founder of the Academia de Dibujo y Pintura, the first school of drawing
in the Philippines (1821)

A

Damian Domingo

88
Q

by Diosdado Lorenzo

A

“Rape and

Massacre in Ermita”

89
Q

by Vicente Alvarez Dizon,

A

“A Day Begins”

90
Q

in Philippine Art began after World War 2 and the granting of
Independence. Writers and artists posed the question of national identity
as the main theme of various art forms.

A

MODERN

ERA

91
Q

as the work of artists who are living in the 21st century.

A

Contemporary art

92
Q

Initially used as material for rope, the abaca found its way inside Filipino homes as a great
material for furniture and decor.

A

Abaca

93
Q

laminates are considered at par with the quality and appearance of turquoise shells
or ivory.

A

Coconut shell

94
Q

Homes in the provinces often use bed frames, sofa sets, and tables made of bamboo—proving
that it’s a versatile must-have that designers and homeowners should consider.

A

Bamboo

95
Q

If you think about it, you have seen capiz shells in different homes, in various forms. These
shells are often used in crafting wall art, decor, and even lighting fixtures. Invest in one piece and
use it as a focal point in the living area or dining room.

A

Capiz Shells

96
Q

Quite common among Filipino backyards and farms, santol is mostly known for its fruit that is
popularly consumed and used as an ingredient.

A

Santol Wood

97
Q

Concrete is essential in modern homes, but if you’re looking for a more cost-effective and
sustainable alternative—RHAC is the answer.

A

Rice Hull Ash Cement (RHAC)

98
Q

English equivalent:Purple

A

Morado

99
Q

English equivalent:Green

A

Lungti

100
Q

English equivalent:Violet, lavender, or lilac

A

Lila

101
Q

English equivalent:Red

A

Mabaya (Ivatan)

102
Q

English equivalent:Pink

A

Kalimbahin

103
Q

English equivalent:Orange

A

Kahel

104
Q

English equivalent:Gray

A

Malamaya

105
Q

English equivalent:Ivory

A

Garing

106
Q

Dictionary definition:Mapusyaw na dilaw

English equivalent:Canary

A

Kanaryo

107
Q

English equivalent:Emerald or emerald green

A

Esmeralda