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ART APP > MIDTERM > Flashcards

MIDTERM Flashcards

1
Q

area that runs between, through, around, or within objects.

A

NEGATIVE SPACE

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2
Q

area occupied by an object or form

A

Positive space

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3
Q

distance between or within shapes, forms, colors, and lines. might be positive or negative, shallow or deep, open or closed.

A

Space

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4
Q

chroma or saturation intensity or purity of the color. A specific hue can have a vibrant or dull saturation.

A

Intensity/Saturation

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5
Q

lightness or darkness of a color. the relationship between blacks to whites and grays.

A

Value

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6
Q

specific color. name of the color color spectrum consists of 7 basic hues

A

Hue

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7
Q

a crucial component of an image’s composition (Rose, 2001). can stand alone or highlight other elements.

A

Color

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8
Q

free flowing, curvy, sinewy, and not symmetrical

A

Organic Forms

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9
Q

mathematical forms, precise, and can be named in the basic geometric forms. ex: sphere, cube, pyramid, cone, cylinder

A

Geometric Forms

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10
Q

comprises the shape of an object within the composition. shape is often used as a synonym for form. 3D object. Height width and depth

A

Form

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11
Q

Irregular and uneven

A

Organic Shapes

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12
Q

Can be described using mathematical formulas ex. circle, square, triangle, rectangle

A

Geometric Shapes

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13
Q

a 2D design with only height & width. results of closed lines, either 2D or flat lines.

A

Shape

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14
Q

Show action, life, and energy. never harsh & stern.

A

Curve Line

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15
Q

line of action degree of action is shown in the angle (diagonal)

A

Diagonal

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16
Q

pointed, balanced, forceful, and dynamic.

A

Vertical line

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17
Q

Primarily the line of rest, quietness, relaxation, and contemplation

A

Horizontal line

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18
Q

basic building block of a visual design. distance or path between two points. series of points that extend in opposite directions without end. imply motion and suggest direction or orientation.

A

LINE

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19
Q

create a sense of action or implied motion. Visual element that guides the viewer’s eyes. can be directed along lines, edges, shape, and color

A

Movement

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20
Q

size of something compared to what is next to it. visual size & weight of elements, how they relate to each other.

A

Proportion/Scale

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21
Q

there is unity if all the elements in a composition work together towards a meaning. conveys a sense of completeness and how the patterns work together.

A

Harmony and Unity

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22
Q

the focal point of art to attract a person’s attention. the main focus and the thing your eyes see first. order of importance of each element within a design.

A

Emphasis

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23
Q

distribution of the visual weight of objects, colors, texture, and space. employs certain innate judgment symmetrical, asymmetrical, radial

A

Balance

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24
Q

how opposite elements relate to each other and add emphasis. differences in a work of art right/dark, rough/smooth, curved line/straight

A

CONTRAST

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25
Q

repeating unit of space and form. repetition of a visual element. part that is repeated is called motif. can regular or irregular.

A

PATTERN

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26
Q

Name the primary colors

A

RED
YELLOW
BLUE

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27
Q

Achieved from mixing 1 primary and 1 secondary color

A

INTERMEDIATE OR TERTIARY COLORS

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28
Q

Red + Yellow

A

Orange

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29
Q

Yellow + Blue

A

Green

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30
Q

Blue + Red

A

Violet

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31
Q

Use of diagonal lines, fine lines close together chiefly give an effecf of shading

A

Hatching

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32
Q

Intersecting lines, layering multiple lines

A

Cross Hatching

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33
Q

Using dots to create light or shading

A

Stippling/Stipple

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34
Q

The way something feels or the way it looks like it feels

A

Texture

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35
Q

Uses of texture

A

Impasto paiting, stamping, scratching in pottery and embossing when making prints

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36
Q

elements of art

A

Color
Line
Value
Intensity
Form
Shape
Space
Texture

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37
Q

Principles of art

A

Balance
Movement
Proportion/Scale
Harmony and unity
Emphasis
Contrast
Pattern

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38
Q

LATIN WORD FOR CIVILIZATION

A

CIVITAS

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39
Q

a complex human
society that may have certain
characteristics of cultural and
technological development.

A

CIVILIZATION

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40
Q

AN IMAGE OF MEN AND WOMEN DRESSED IN SKIN, HUDDLING BEFORE A FIRE IN A CAVE

A

CONJURES

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41
Q

SPAN OF STONE AGE

A

14,000-2,000 BCE

42
Q

ROCK CARVING DURING STONE AGE

A

PETROGLYPHS

43
Q

3 PERIODS OF STONE AGE

A

PALEOLITHIC, MESOLITHIC, NEOLITHIC

44
Q

is a product of climate
change. As the climate got colder, part of
the early humans’ instinct is to look for
shelters that would provide them
warmth.
Caves became protective havens
for the early humans and these caves
paved the way for the birth of their first
attempt to create art.

A

PALEOLITHIC ART

45
Q

Found in the cave
in Lascauz, France

A

HALL OF BULLS

46
Q

This figure is a highly abstracted woman
From highlighted body parts associated
with fertility.

*The representation may show the
importance of taking care of these
body parts for procreation and
consequently the survival of species.

A

VENUS OF WILLENDORF

47
Q

is an
ancient cultural stage that existed
between the Paleolithic (Old Stone
Age), with its chipped stone tools,
and the Neolithic (New Stone Age),
with its polished stone tools.

A

MESOLITHIC ART

48
Q

very
small stone tools intended for
mounting together on a shaft to
produce a serrated edge.

A

MICROLITH

49
Q

has developed especially when
life for the early humans has
become more stable.
- They have learned to cultivate
the land and domesticate
animals

A

NEOLITHIC

50
Q

NEOLITHIC ART IN ENGLAND

A

STONEHENGE

51
Q

starts from the banks of the Nile
River, which flows north to Africa and ventures into
the Mediterranean.

A

FERTILE RIBBON

52
Q

3 DVISIONS OF EGYPTIAN CIVILIZATION

A

OLD MIDDLE AND NEW KINGDOM

53
Q

it
was evident that religion was
bound to the afterlife. A
concrete manifestation of this
would have to be the
erection of tombs.

A

OLD KINGDOM

54
Q

It was a palette that utilized and
applied dark colors around King
’s eyes. The palette was
also a symbol that commemorates
the unification of Upper and
Lower Egypt.

A

NARMET PALETTE (OLD KINGDOM)

55
Q

one of the
Architectural wonders was also
constructed.The pyramids in Giza
served as tombs since their main
purpose was to provide a resting place
for the pharaohs.

A

THE GREAT PYRAMID OF GIZA

56
Q

is a shift in the political
hierarchy. There is an emergence of
powerful groups of landlords that
threatened the authority and rule of the
pharaoh. AND WHO WAS THE KING DURING THIS TIME?

A

MIDDLE KINGDOM, KING MENTUHOTEP

57
Q

During this period, Egypt has established
itself as a more advanced and powerful
civilization.

A

NEW KINGDOM

58
Q

WHO LED THE AMARNA REVOLUTION

A

KING AKHENATON AND QUEEN NEFERTITI

59
Q

DURING AKHENATON’S REGIME EGYPT WENT FROM POLYTHEISTIC TO

A

MONOTHEISTIC

60
Q

There is emphasis to life-like features of the face
like an elongate jaw and thick-lidded eyes. Most
artists created artworks that are natural and
seemingly real, highlighting the features of their
subjects.
Naturalism was not only used to depict the
pharaoh but also was used for members of the
royal family.

HAS A LONG AND SENSUOUS NECK

A

QUEEN NEFERTITI

61
Q

He became king at a very young age
and died at the age of eighteen.

A

KING TUTANKHAMEN

62
Q

WHO FOUND KING TUTANKHAMEN’S TOMB AND WHAT YEAR

A

HOWARD CARTER 1922

63
Q

term that signifies
the philosophy and style of the
artworks produced during the

A

MODERN ART 1860s-1970s

64
Q

This art broke with convention,
dealt with new subject matter, focused
on conceptual concerns, and changed
the position of the artist within society.

A

MODERN ART

65
Q

combines the unconscious with the conscious,
in order to create a new “super-reality”.
▫ The artist tries to capture the subject not from
real world, but from the world of dreams,
imaginations and fantasies.

A

SURREALISM

66
Q

In this method the artist tries to present the
subject as it is, or objectively.
▫ The realist tries to make a faithful rendition of
the work based on what he sees which can be in
the form of objects, sceneries, activities and
figures.

A

REALISM

67
Q

PERSISTANCE OF MEMORY
THE BROKEN COLUMN AND GIRL WITH DEALTH MASK- FRIDA KAHLO

A

SURREALISM

68
Q

In this method the artist tries to present the
subject as it is, or objectively.
▫ The realist tries to make a faithful rendition of
the work based on what he sees which can be in
the form of objects, sceneries, activities and
figures.

A

REALISM

69
Q

OLD SPANISH CHURCH AND DALAGANG FILIPINA -FERNANDO AMORSOLO
PORTRAIT OF RIZAL - JUAN LUNA
THE CHESS PLAYERS AND MISS AMELIA VAN BUREN BY THOMAS EAKINS

A

REALISM

70
Q

In this method of painting, the artist is characterized as
one concerned more with the technique of suggesting
light and color to the picture than with the subject
matter.
▫ The founding artists – including Claude
Monet, Camille Pissarro, Alfred Sisley and Edgar Degas,
among others

A

IMPRESSIONISM

71
Q

WOMAN WITH A PARASOL
THE BASKET OF APPLES STILL LIFE BY PAUL CEZANE
GIRL WITH PEACHES BY VALENTIN SEROV

A

IMPRESSIONISM

72
Q

This style of painting flourished in France from
1898 to 1908.
▫ The wildness manifested itself mainly in the
strong colors and dynamic brushwork to connote
joy and happiness, as well as comfort and
pleasure.

A

FAUVISM

73
Q

COUNTRY AND YR FAUVISM

A

FRANCE 1898 TO 1908

74
Q

MADAME MATISSE/THE GREEN STRIPE AND THE DESSERT: HARMONY IN RED BY HENRI MATTISSE
THE ESTAQUE BY GEORGE BRAQUE

A

FAUVISM

75
Q

who is known as the Father of this art style, advised
painters to “treat nature by the cylinder, the sphere, the
cone, everything in proper perspective, so that each side
of an object or a plane is directed toward a central point.”
▫ In the Philippines, Ang Kiukok is one of the most vital and
dynamic figures who emerged during the 60s and
continues to make an impact up to the present.

A

CUBISM

76
Q

FATHER OF CUBISM

A

PAUL CEZANE

77
Q

Weeping Woman by Pablo Picasso
Factory Horta de 27Ebbo by Pablo Picasso
Ang Magbabayo (Pounding Rice) by Vicente Manansala
Self-Portrait with Seven Fingers by Marc Chagall

A

CUBISM

78
Q

In this method, the artist portrays the subject that
literally relates to the future, and not to the
present.
▫ In this modern world, futuristic portrayals are
seen on futuristic machines or futuristic human
beings like androids.

A

FUTURISM

79
Q

Memories of a Night by Luigi 31 Russolo
Cityscape by 32 Tullio Crali
Dynamism of a Car by Luigi 33 Russolo
Street Light by Giacomo 34 Balla

A

FUTURISM

80
Q

followed in the same vein as Futurism in that it
relished in the innovative advances of the
machine age and embraced the possible virtues
of dynamic change that were to follow.
▫ The style is defined by bold colors, harsh lines
and sharp angles along with a fascination in the
machine age.

A

VORTICISM

81
Q

TORSO IN METAL FROMTHE ROCK DRILL BY JACOB EPSTEIN
RED STONE DANCER BY GAUDIER-BRZESKA
ABSTRACT COMPOSITION BY JESSICA DISMORR

A

VORTISM

82
Q

ART SHOULD BE CONSTRUCTED FROM MODERN INDUSTRIAL MATERIALS SUCH AS PLASTIC, STEEL AND GLASS IN ORDER TO SERVE A SOCIETAL PURPOSE INSTEAD OR MERELY MAKING AN ABSTRACT STATEMENT

A

CONSTRUCTIVISM

83
Q

PROUN 99 BY EL LISSITZKY
RISSING, FALLING, FLYING AND FOLK MOTIVES BY LAJOS KASSAK

A

CONSTRUCTIVISM

84
Q

BREAK ART DOWN TO ITS BARE BONES, OFTEN EMPLOYING BASIC SHAPES, SUCH AS SQUARES TRIANGLES, AND PRIMARY AND NEUTRAL COLORS

A

SUPREMATISM

85
Q

FOUNDER OF SUPREMATISM

A

KAZIMIR MALEVICH

86
Q

SUPREMATIST COMPOSITION
SPORTSMEN

A

SUPREMATISM

87
Q

ADEQUATELY SUMS UP THIS MOVEMENT’S AIM WHILE ALSO CHARACTERIZING THEIR INTENTIONS ON HOW TO ACHIEVE THAT AIM, WITH A SIMPLE, DIRECT APPROACH ABSTRACT ARTIST WHO PROMOTED A STYLE OF ART BASED ON A STRICT GEOMETRY HORIZONTAL AND VERTICAL

A

DE STIJL (THE STYLE)

88
Q

LARGE RED PLANE, YELLOW BLACK GRAY AND BLUE
VICTORY BOOGIE WOOGIE BY PIET MONDRIAN

A

DE STIJL

89
Q

ITS GOAL IF NOT TO HAVE ART TO BE AN END IN ITSELF BUT TO BE AN OPPURTUNITY FOR THE TRU PERCEPTION AND CRITICISM OF TIMES WE LIVE IN

A

DADA/DADAISM

90
Q

GLASS TEARS BY MAN RAY

A

DADAISM

91
Q

WORKS MADE BETWEEN 1970 ND PRESENT

A

CONTEMPORARY ART

92
Q

IMAGERY FROM POPULAR AND MASS CULTURE SUCH AS COMIC BOOKS AND MUNDANCE MASS PRODUCED OBJECT

A

POP ART

93
Q

ATTENTION IN DETAIL IS AIMED, WITHOUT ASSERTING AN ARTIST PERSONAL STYLE.

A

PHOTOREALISM

94
Q

STRAWBERRY TART SUPREME BY AUDREY FLACL\K
MCDONALD’S PICKUP BY RALPH GOINGS

A

PHOTOREALISM

95
Q

THE IDEA IS THE MOST IMPORTANT ASPECT OF THE WORK.

A

CONCEPTUALISM

96
Q

AWAY FROM THE FLOCK BY DAMIEN HIRST
ONE AND TREE CHAIRS BY JOSEPH KASUTH

A

CONCEPTUALISM

97
Q

BEGAN IN 1960S, ENTERTAINING AUDIENCE,SPONTANEOUS AND DONE LIVE OR RECORDED

A

PERFORMANCE ART

98
Q

IMMERSIVE WORK WHERE THE ENVIRONMENT OR THE SPACE IN WHICH THE VIEWER STEPS INTO OR INTERACTS

A

INSTALLATION ART

99
Q

SPIN OFF OF INSTALLATION ART, WHEN THE NATURAL ENVIRONMENT OR SPECIFIC SITE INTO OR SPACE

A

EARTH ART

100
Q

INCLUDES MURALS STENCILED IMAGES STICKERS AND INSTALLATIONS OR SCULPTURE USUALLY OUT OF COMMON OBJECTS AND TECHNIQUES

A

STREET ART

101
Q
A

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