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Art Appreciation > Exam 2, ch.5-8 > Flashcards

Exam 2, ch.5-8 Flashcards

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1
Q

Composition

A

The organization of lines, shapes, colors and other art elements in a work of art. More often applies to two-dimensional art; the broader term is design

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2
Q

Design

A

The organization of visual elements in a work of art. In two-dimensional art, often referred to as composition

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3
Q

Unity

A

Is a sense of oneness, of things belonging together and making up a coherent whole

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4
Q

Variety

A

The difference, which provides interest in works of art

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5
Q

Visual Weight

A

The apparent “heaviness” or “lightness” of the forms arranged in a compositions, as gauged by how insistently they draw the viewer’s eyes

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6
Q

Symmetrical

A

Descriptive of a design in which the two halves of a composition on either side of an imaginary central vertical axis corresponds to each other in size, shape, and placement

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7
Q

Mandala

A

In Hinduism and especially Buddhism, a diagram of a cosmic realm, form the sanskrit for “circle

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8
Q

Radial Balance

A

A means of balance a composition based on the items emerging equally in all direction from a central point

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9
Q

Asymmetrica

A

Not symmetrical

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10
Q

Focal Point

A

An area of emphasis within a work of art

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11
Q

Scale

A

Size in relation to some “normal” or constant size. Compare proportion

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12
Q

Personification

A

A human figure that represents an idea, concept, or natural element

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13
Q

Proportion

A

Size relationships between parts of a whole, or between two or more items perceived as a unit; also, the size relationship between and object and its surroundings, compare scale

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14
Q

Hierarchical Scale

A

The representation of more important figures as large than less important figures, as when a king is portrayed on a larger scale than his attendants

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15
Q

Rhythm

A

Repetition, and it is a basic part of the world we find ourselves in

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16
Q

Pigment

A

A coloring material made from various organic or chemical substances. When mixed with a binder, it created a drawing or painting medium

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17
Q

Binder

A

A substance in paints that causes particles of pigment to adhere to one another and to a support

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18
Q

Metalpoint

A

A drawing technique in which the drawing medium is a fine metal wire. When the metal employed is silver, the technique is known as silverpoint

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19
Q

Pointillism

A

A quasi-scientific painting technique to the lathe 19th century, developed and promulgated by Georges Seurat and his followers, in which pure colors were applied in regular, small touches (points) that blended through optical color mixture when viewed at a certain distance

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20
Q

Pastel

A

A drawing medium consisting of sticks of color made of powdered pigment and a relatively weak binder.2. a light-value color, especially a tint

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21
Q

Wash

A

ink or watercolor paint thinned so as to flow freely onto a support

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22
Q

Collage

A

From the French for “glue”, The practice of pasting shapes cut from such real world sources as magazines, newspapers, wallpaper, and fabric onto a surface.

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23
Q

Installation

A

an art form in which an entire room or similar space is treated as a work of art to be entered and experienced. More broadly, the placing of a work or art in a specific location, usually for a limited time

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24
Q

Medium

A

1.) the material from which a work of art is made. 2.) A standard category of art such as painting or sculpting. 3.) A liquid compound with pigment to make paint, also called a vehicle and often acting as a binder

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25
Q

Vehicle

A

Another term for medium, in the sense of a liquid compounded with pigment to make paint

26
Q

Watercolor

A

A painting Medium in which the binder is gum Arabic

27
Q

Support

A

the surface on which a work of two-dimensional art is made: for example, canvas, paper, or wood

28
Q

Ground

A
  1. A preparatory coating of paint, usually white but sometimes colored, applied to the support for a painting or drawing. 2. An acid-resistant coating applied to a metal plate to ready it for use in etching. 3. The information that is perceived as secondary in a two-dimensional image; the background.
29
Q

Primer

A

a preliminary coating applied to a painting support to improve adhesion of paints or to create special effects. A traditional primer is gesso, consisting of a chalky substance mixed with glue and water. Also called ground

30
Q

Encaustic

A

Painting medium in which the binder is wax, which is heated to render the paints fluid

31
Q

Fresco

A

A painting medium in which colors are applied to a plaster ground, usually a wall (mural) or a ceiling. In Buon Fresco, also called True Fresco, colors are applied before the plaster dries and thus bond with the surface. In Fresco secco ( dry fresco), colors are applied to dry plaster

32
Q

Cartoon

A

A full-scaled preparatory drawing for a fresco or mural

33
Q

Tempera

A

Paint in which the pigment is compounded with a aqueous, emulsified vehicle such as egg yolk

34
Q

Gesso

A

A brilliant white undercoating made of inert pigment such as chalk or plaster and used as ground for paint, especially for tempera

35
Q

Glaze

A

In oil painting, a thing, translucent layer of color, generally applied over another color, In ceramics, a liquid that, upon firing, fuses into a vitreous ( Glass Like) coating, sealing the porous clay surface. Colored glazes are used to decorate ceramics

36
Q

Impasto

A

From the Italian for “paste”, a thick application of paint.

37
Q

Acrylic

A

A synthetic plastic resin used as a binder for artists’ paints. Also used in the plural to refer to the paints themselves

38
Q

Easel Painting

A

A portable painting executed on an easel or similar support

39
Q

Mixed Media Art

A

Art made using two or more different materials or media

40
Q

Mosaic

A

The technique of creating a design or image by arranging bits of colored ceramic, stone, glass, or other suitable materials and fixing them into a bed of cement or plaster

41
Q

Tesserae/Tessera

A

In mosaic, a small, usually cubic piece or colored ceramic, stone, or glass used as the basic unit of composition

42
Q

Tapestry

A

An elaborate textile meant to be hung from a wall and featuring images and motifs produced by various weaving techniques

43
Q

Print

A

An image created from a master wood block, stone, plate, or screen, usually on paper. Prints are referred to as multiples because as a rule many identical or similar impressions are made from the same printing surface, the number of impressions being called an edition, See relief, intaglio, lithography, and screenprinting

44
Q

Matrix

A

In printmaking, a surface on which a design is prepared before being transferred through pressure to a receiving surface

45
Q

Edition

A

In printmaking, the total number of prints made from a given plate or block. According to contemporary practice, the size of an edition is written on each print, and the prints are individually numbered withing it. The artist’s signature indicates approval of the print and acts as a guarantee of the edition

46
Q

Relief

A

Anything that projects from a background.
1. Sculpture in which figures are attached to a background and project from it to some degree. In low relief, also called bas-relief, the figures project minimally, as on a coin. In high relief, figures project substantially from the background, often by half their full depth or more. In sunken relief, outlines are carved into the surface and the figure is modeled within them, from the surface down. 2. In printmaking, techniques in which portions of a block meant to be printed are raised. See woodcut, linocut, wood engraving

47
Q

Woodcut

A

A relief printmaking method in which a block of wood is carved so as to leave the images areas raised from the background. Also, the resultant print.

48
Q

Engraving

A

An intaglio printmaking method in which lines are cut into a metal plate using a sharp tool called a burin, which creates a clean, V-shaped channel. Also, a print resulting from this technique

49
Q

Wood Engraving

A

similar to woodcut, a relief printmaking process in which the image is cut on the end grain of a wood plank, resulting in a “white-line” impression

50
Q

Linocut

A

A relief printmaking technique in which the printing surface is a thick layer of linoleum, often mounted on a wooded block for support. Areas that will not print are cut away, leaving raised areas to take the ink

51
Q

Intaglio

A

Printmaking techniques in which the lines or areas that will take the ink are incised into the printing plate, rather than raised
compare relief). Aquatint, drypoint, etching, mezzotint, and photogravure are intaglio techniques

52
Q

Drypoint

A

An intaglio printmaking technique similar to engraving in which the designs is scratched directly into a metal plate with sharp, pointed tool that is held like a pen. As it cuts through metal, the tool raised a rough edge called a burr, which, if left in place produces a soft, velvety line when printed. Also, a print made by this method

53
Q

Messotint

A

An intaglio printmaking technique in which the printing plate is first roughened with a special tool called a rocker, which creates a fine pattern of burrs. Inked and printed at this point, the plate would print a velvety black. Values are created by smoothing away the burrs in varying degrees. Also, the resultant print

54
Q

Etching

A
  • An intaglio printmaking method in which the design is bitten into the printing plate with acid. Also, the resultant print. To create an etching, a metal plate is covered with an acid-resistant ground. The design is drawn with a sharp, penlike tool that scratches the ground to reveal the metal beneath. The plate is then submerged in acid, which bites into the exposed metal. The longer the plate remains in contact with the acid, the deeper the bite, and the darker the line it will print.
55
Q

Aquatint

A

An intaglio printmaking method in which areas of tone are created by dusting resin particles on a plate and then allowing acid to bite around the particles. Also, a print made by this method.

56
Q

Lithography

A

A planographic printmaking technique based on the fact that oil and water repel each other. The design to be printed is drawn in greasy crayon or ink on the printing surface—traditionally a block of fine-grained stone, but today more frequently a plate of zinc or aluminum. The printing surface is dampened, then inked. The oil-based ink adheres to the greasy areas and is repelled by the damp areas.

57
Q

Planography

A

Printmaking technique in which the image areas are level with the surface of the printing plate. Lithography and monotype are planographic methods

58
Q

Screenprinting

A

A printmaking method in which the image is transferred to paper by forcing ink through a fine mesh in which the areas not meant to print have been blocked; a stencil technique

59
Q

Serigraphy

A

A printmaking method in which the image is transferred to paper by forcing ink through a fine mesh in which the areas not meant to print have been blocked; a stencil technique

60
Q

Monotype

A

A printmaking process using a permanently marked matrix; each impression is either inked distinctly or hand-colored in unique ways resulting in a singular, unrepeatable image

61
Q

Relief Etching

A

A printmaking process in which the design is drawn on the copper plate in acid-resistant ground. The plate is then submerged in acid and the exposed copper is eaten away, leaving the design in relief. The ground is removed and the plate is inked for printing

Art Appreciation (2 decks)

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