MIDTEMR Flashcards

1
Q

is a term used to describe a period of
history when stones were used to make tools for
survival.

A

Stone age

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2
Q

(the late years of Stone age

A

Paleolithic Age

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3
Q

Middle Stone Age

A

Mesolithic Age

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4
Q

New Stone Age

A

Neolithic Age

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5
Q

Archaeological explorations reveal that there has
been a gradual shift from nomadic lifestyle of
human
* Witnessed how humans were able to lead more
stable lives
* Is a product of climate change
* Paintings evoke naturalism

A

Prehistoric Art

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6
Q

Developed especially when life for the early
humans has become stable
- Learned to cultivate the land and domesticate
animals
- Different elements of civilizations flourished in
various parts of the world

A

Neolithic Art

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7
Q

Fertile Ribbon starts from the banks of Nile
River, which flows north to Africa and ventures
into the Mediterranean.
- Egyptians recognized the integral role of the Nile
River to their daily lives.
- This led to the belief that art was something that
can be ascribed and associated with religion.
- Early Egyptian Civilizations ( Old, Middle, and
New Kingdom)

A

Egyptian Art

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8
Q

Art is something religious and spiritual
* Tombs were not just for keeping the dead bodies of
important people, particularly the pharaohs; they also served
as a shelter for the next journey – afterlife
* Human figures seen in the tombs were represented in a way
that the profile of the head was evident, while the pelvis,
legs and upper torso were prominent and the eyes are in
frontal view

A

OLD KINGDOM

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9
Q

Religion was bound to the afterlife
* Narmer Palette

A

Old Kingdom

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10
Q

Shift in the political hierarchy
* There is an emergence of powerful groups
* Art as taken a back seat because of internal
struggle
* Portrait and Fresco painting emerged

A

Middle Kingdom

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11
Q

Has a references from both preceding kingdoms.
* Monuments and sculptures where still linked with
death and reverence for the deceased
* Egypt has established itself as more advanced and
powerful civilization
* High regard for their people are seen through
their sculptures built on massive and monumental
scales

A

New Kingdom

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12
Q

requires the critic to
observe the artwork and
notice the obvious
features such as the
subject.

A

Describing

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13
Q

tells what you see (the
visual facts).

A

Describing

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14
Q

Mentally separate the parts or
elements, thinking in terms of textures,
shapes/forms, light/dark or bright/dull
colors, types of lines, and sensory
qualities.

A

ANALYZING

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15
Q

is explaining how well the
artwork meets criteria informed
by the art movement or style of
the artwork

A

JUDGING

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16
Q

is to make a statement
about what the artwork
means, expresses, or
signifies

A

: INTERPRETING

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17
Q

The Theories of Judging Art

A

Imitationalism
* Formalism
* Emotionalism

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18
Q

Refers to a point moving at an
identifiable path – it has length,
direction, and width

A

Line

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19
Q

It is one-dimensional, however, it has the
capacity to either define the perimeters
of the artwork (edges) and/or become a
substantial component of the
composition.

A

Line

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20
Q

are usually associated with rest or
calm. Landscapes often contain these elements as
works like these often connote a visua sense of being
parallel to the ground

A

Horizontal lines

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21
Q

connote elevation or height, which is
usually taken to mean exaltation or aspiration for
action.

A

Vertical lines

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22
Q

Convey movement and
instability

A

Diagonal line

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23
Q

Are reminiscent of
violent, conflict, or
struggle

A

Crooked line or jagged line

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24
Q

these are lines that bend or coil.
They allude to softness, grace,
flexibility, or even sensuality.

A

Curved lines

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25
refers to two dimensions: height and width
Shape
26
refers to three dimensions : height, width, and depth
Width
27
these shapes find origin in mathematical propositions. - As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among others.
Geometric
28
b. Organic organic shapes are those readily occurring in nature, often irregular and asymmetrical. The design of the vase in Figure 55 is 'foliage, a sample from a series that made use of morning glories.
Organic
29
It is usually inferred from a sense of depth, whether it is real or simulated.
Space
30
Real space is three-dimensional.
Space
31
usually identified with the white space
Negative
32
is the space where shadown is heavily used.
Positive
33
can be simulated through a variety of techniques such as shading
Three-dimensional space
34
Is one of the elements that enhances the apeal of an artwork.
Color
35
Its effect has range, allowing the viewer to make responses based on memory, emotion, and instinct, among others. - This element is a property of light as it is reflected off the object.
Color
36
is not intrinsic to an object and without light, one cannot perceive color.
Color
37
This dimension of color give its name
Hue
38
Give me the primary colors
red, yellow, blue - RYB
39
Give me the secondary colors
green, orange and violet - GOV
40
six in total, these hues are achieved when primary and secondary colors are mixed
Tertiary colors
41
This refers to the brightness or darkness of color
Value
42
taken as the source of light in the composition
Light colors
43
Lack or even absence of light
Dark colors
44
this is a lighter color than normal value (e.g. pink for red)
Tint
45
– this is darker color than normal value (e.g. maroon for red)
Shade
46
This is the colors brightness or dullness. It is identified the strength of the color, whether it is vivid or muted
Intensity
47
Bright or warm colors
positive energy
48
Dull or cool colors
Sedate/soothing, seriousness or calm
49
- use the variations of a hue.
Monochromatic harmonies
50
Involve two colors opposite each other in the color wheel.
Complementary harmonies
51
Make use of two colors beside each other in the color wheel
Analogous harmonies
52
It can either be real or implied. - Experienced through the sense of touch (and sight)
. Texture
53
is the actual surface of the painting or drawing, where no illusion of a third dimension exists
Picture plan
54
refers to the texture of the three dimensional art object
surface texture
55
often use in depicting roads, tracks, hallways or rows; lone vanishing point
One point perspective
56
pertains to a painting or drawing that makes use of two vanishing point
Two point perspective
57
In this perspective the viewer is looking at a scene above or below; three vanishing points
Three point perspective
58
Often associated with the terms, beat, meter, and tempo
Rhythm
59
Refers to its speed
Tempo
60
slowly and broadly
largo
61
Walking space
Andante
62
at moderate speed
Moderate
63
fast
Allegro
64
Vivace
lively
65
gradually speeding up
Accelerando
66
gradually slowing down
Rallentado
67
getting slower, broadening
Allargando
68
literally robbed time rhythm is played freely for expensive effect
Rubato
69
refers to loudness or quitness
Dynamic
70
very quiet
Pianissimo
71
Piano
Quiet
72
Moderately quiet
Mezzo piano
73
moderately loud
mezzo forte
74
loud
Forte
75
very loud
Fortissimo
76
former
crescendo
77
latter
decrescendo
78
refers to linear presentation of pitch
melody
79
_______ is vertical
harmony
80
________ can be describe "harshness"
hamrony
81
______ is often likened to the color of music
Timbre
82
________ the number of melodies, the type of layers, and their relatedness in a composition is the texture of music
Texture
83
single melodic line
monophonic
84
two or more melodic lines
Polyphonic lines
85
main melody accompanied by cords
Homophonic lines
86
- is the distribution of visual weight in an artwork.
Balance
87
The elements used on one side are reflected to the other. This offer the most stable visual sense to any artwork
Symmetrical
88
the elements are not the same on each side putting the heaviness on one side
Asymmetrical
89
there is a central point in the composition, around which elements and objects are distributed
Radial
90
Pertains to the size in relation to what is normal for the figure or object in question
Scale and proportion
91
Relates to the realistic size of the visual elements in the artwork, especially for figurative artworks
Natural
92
refers to the unusual size relations of visual elements delibreately exaggerating
Exaggerated
93
The most common to those follow canons of perfection the size relations of elements or objects
Idealized
94
_________allows the attention of the viewer to a focal point(s), accentuating or drawing attention to these elements or objects. This can be done through the manipulation of the elements or through the assistance of other principles, especially that of contrast.
Emphasis
95
_________is the disparity between the elements that figure into the composition. One object may be made stronger compared to other objects (hence, emphasis). This can be done in many ways using the elements of art. For instance, space, specifically the use of negative and positive space, is an example of contrast. Another example is the use of complementary colors in a work of art.
Contrast
96
Unless intended to be otherwise, compositions are intended to imbue a sense of accord or completeness from the artwork. This is unity.
Unity and variety
97
Like what is hinted above, unity and variety is related to the principle of harmony, in which the elements or objects achieve a sense of flow and interconnectedness.
harmony
98
This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges, shape, and color within the work of art, among others.
Movement
99
This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate rhythm as depicted in the artwork.
Rhythm
100
Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner. This is called repetition. In addition, the image created out of repetition is called pattern. With repetition, there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness.
Repetition and Pattern