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Art-111 > Midterm Flashcards > Flashcards

Midterm Flashcards

1
Q

Subject Matter

A

What is literally being depicted in the art

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2
Q

Content

A

The meaning, message, or feeling expressed in a work of art

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3
Q

Two-Dimensional

A

Having height and width

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4
Q

Three-Dimensional

A

Having height, width, and depth

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5
Q

Contour

A

The outline that defines a form, but not necessarily the complete outline of a shape

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6
Q

Plane

A

A flat, two-dimensional surface on which an artist can create a drawing or painting; Can also be implied in a composition by areas that face toward, parallel to, or away from a light source

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7
Q

Implied Line

A

A line that is suggested by movement or by gesture rather than being physically drawn or constructed; No actual solid line is present; just the idea of a line is created; Gives viewers the impression they are seeing a line where there is no continuous mark; For example, a continuous line of dots

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8
Q

Line Orientation

A

The structure a line evokes can have a great impact on the understanding of a painting

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9
Q

Organic

A

Having irregular forms and shapes, as though derived from living organisms

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10
Q

Geometric

A

Forms that are regular and are readily expressible in words or mathematics: cubes, spheres, cylinders, cones, pyramids, etc.

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11
Q

Positive Shapes

A

What we see as the “figure” is the positive shape

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12
Q

Negative Shapes

A

What we interpret as the “ground” is considered the negative shape

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13
Q

Figure-Ground Reversal

A

When the figure becomes the background and the background becomes the figure

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14
Q

In the Round

A

A form that can be seen from all sides

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15
Q

Relief

A

A 3-D surface designed to be viewed only from one direction; A work in which forms project from a flat surface (usually on a wall)

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16
Q

Open Volume

A

When artists enclose a space with materials that are not completely solid they create an open volume

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17
Q

Subversive Texture

A

A subversive texture contradicts our previous tactile experience

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18
Q

Chiaroscuro

A

A method of applying value to a two-dimensional artwork to create the illusion of three dimensions; Italian for “light-dark.”

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19
Q

Hatching

A

A series of straight parallel lines set close to one another to differentiate planes of value in a work of art

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20
Q

Cross Hatching

A

Two sets of parallel lines that cross over one another

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21
Q

Cross Contour

A

Cross hatching lines but they curve to flow with the surface they are attempting to establish

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22
Q

Linear Perspective

A

Using lines to make perspective

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23
Q

Atmospheric Perspective

A

Distant objects lack contrast, detail, and sharpness of focus because the air that surrounds us is not completely transparent

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24
Q

Isometric Perspective

A

Parallel lines are arranged diagonally in a work to give a sense of depth

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25
Q

Foreshortening

A

A perspective technique that depicts a form from a very extreme or exaggerated viewpoint; It uses differences in scale and oblique and angles to create a sense of depth in space

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26
Q

Pigment

A

The colored material used in paints. Often made from finely ground material.

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27
Q

Binder

A

A substance that makes pigments adhere to a surface

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28
Q

Hue

A

Each of the basic colors of the spectrum; just a fancy word for color; ON EXAM IT WILL ASK WHAT HUE IS AND IT IS JUST COLOR

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29
Q

Additive Color

A

Mixing colored light; Red, blue and green are the additive colors (RGB)

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30
Q

Subtractive Color

A

Mixing pigments; Cyan, magenta, yellow, and black are the subtractive colors (CMYK)

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31
Q

Primary Colors

A

Red, yellow, and blue; Primary colors produce the purest color because they are not created by mixing other colors

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32
Q

Secondary Colors

A

Orange, green, and violet; Comes from mixing two primary colors.

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33
Q

Tertiary Colors

A

Red-orange, red-violet, yellow-green; Mixing primary and secondary colors together. In the name, primary color comes first.

34
Q

Complimentary Colors

A

Opposite colors on the color wheel that are radically different in wave length. When mixed, produce gray (or black) and when painted side by side, they intensify one another.

35
Q

Analogous Colors

A

These colors are adjacent to each other on the color wheel; Similar in wavelength; Create color unity and harmony

36
Q

Tint

A

A color lighter in value than its purest state; A Hue/Color mixed with white

37
Q

Tone

A

The weaker chromatic state of any hue; A hue/color mixed with (Gray-Black and white)

38
Q

Shade

A

A color darker in value; A hue/color mixed with black

39
Q

Saturation

A

Color in its purest state is its highest level of saturation; Saturation is not related to value

40
Q

Chroma

A

We tend to associate a color with its purest state, its highest level of chroma; Refers to the strength or weakness of a color.

41
Q

Color Temperature

A

Based on our associations with warmth and coolness (e.g. red is hot); Communicates physical and emotional states; Can be relative to other colors nearby

42
Q

Stroboscopic Motion

A

The kind of motion that is created by showing a series of static images in quick succession.

43
Q

Kinetic Art

A

Art that can move and change its visual form

44
Q

What are the six attributes of time?

A

Duration, tempo, intensity, scope, setting, and chronology

45
Q

Bioart

A

Art that is created with living, changing organisms; Uses the changing properties of organic material to create a sense of time passing in their art,

46
Q

Compositional Unity

A

An artist creates compositional unity by organizing all visual aspects; Binds different elements of art in a unified manner

47
Q

Conceptual Unity

A

Refers to the cohesive expression of ideas within a work of art; An artist may link different images that conjure up a single notion

48
Q

Gestalt

A

German word for form or shape; Complete order and indivisible unity of all aspects of an artworks design; Refers to something in which the whole seems greater than the sum of its parts

49
Q

Symmetrical Balance

A

If a work can be cut in half and each side looks exactly (or nearly exactly) the same, then it is symmetrically balanced

50
Q

Asymmetrical Balance

A

Artists often use different visual “weights”on each side of a composition; Elements on the left and right sides are not the same, but the combination counters each other

51
Q

Radial Balance

A

Radial balance (or symmetry) is achieved when all elements are equidistant from a central point and repeat in a symmetrical way from side to side and top to bottom; Can imply circular and repeating elements

52
Q

Monumental

A

Having massive, or impressive scale

53
Q

Hierarchal Scale

A

Refers to the deliberate use of relative size in a work of art, in order to communicate differences in importance. Larger almost always means more important, and smaller means less important.

54
Q

The Golden Section

A

A proportional ratio of 1:1.618, which occurs in many natural object.

55
Q

Subordination

A

The opposite of emphasis; it draws our attention away from particular areas of a work

56
Q

Motif

A

A design repeated as a unit in a pattern; An artist can create a strong unified design by repeating a motif.

57
Q

Alternating Rhythm

A

Art that contains a repetition of two or more components that are used interchangeably

58
Q

Representational Art

A

Art that represents objects and events in the real world; Real things; Easily recognizable

59
Q

Abstract Art

A

Art that departs from the recognizable images of the natural world; Almost warps the real world and doesn’t really represent “real” things, but uses shapes, forms, colors, and textures to make us almost see the real world.

60
Q

Non-Objective/Non-Representational Art

A

Art that does not depict anything from the real world; Usually just shapes and lines; Can provoke emotion

61
Q

Formal Analysis

A

The process of analyzing the elements and principles used by the artist

62
Q

Composition

A

The overall design or organization of a work

63
Q

Stylistic Analysis

A

Artworks have style, or specific characteristics that make them look the way they do; Can be individual or shared; Used to categorize or identify artworks

64
Q

Iconographic Analysis

A

Identifies and interprets the symbolic meanings of objects and elements in artworks; Reveals previously unsuspected insights into content

65
Q

Contextual Analysis

A

Studies the atmosphere and ideas, often from a particular time and culture, that an artwork reflects; Both artists and viewers play roles in providing content (meaning)

66
Q

Feminist Analysis

A

Considers the role of women in an artwork as its subjects, creators, patrons, and viewers; Can reflect the intentions of an artist, the perspective of a viewer, the interpretation of a critic, or all three

67
Q

Historical Analysis

A

Considers historical events, either past or present, and the way they appear in an artwork

68
Q

Biographical Analysis

A

Considers whether the artist’s personal experiences and opinions may have affected the making or meaning of the artwork

69
Q

Critical Race Theory

A

Critically examines society and culture as it intersects with race, power, and institutional practices

70
Q

Psychological Analysis

A

Considers the state of the artist’s mind when creating an artwork

71
Q

*Line

A

A mark left by a moving point, actual or implied, and varying in direction, thickness, and density

72
Q

*Shape

A

A two-dimensional area the boundaries of which are defined by lines or suggested by changes in color, texture, or value. Shapes can be classified into two types: geometric and organic

73
Q

*Implied Shape

A

Implied shapes are shapes we can see where no continuous boundary exists

74
Q

*Contrast

A

When an artist uses two noticeable different states of an element; A drastic difference between such elements as color or value when they are presented together

75
Q

Visual/Implied texture

A

What the piece of art appears to feel like

76
Q

*Impasto

A

Thick application of paint-with brush or palette brush

77
Q

Implied motion

A

Motion is implied when we do not actually see the motion happening, but visual clues tell us that it is a key aspect of the work

78
Q

*Foreground

A

The part of a work depicted as nearest to the viewer

79
Q

*High Relief

A

A carved panel where the figures project with a great deal of depth from the background

80
Q

*Bas-Relief (Low)

A

A sculpture carved with very little depth: the carved subjects rise only slightly above the surface of the work

81
Q

Focal point

A

The main part of the artwork the artist draws your eyes to; the focus point of the work.

Art-111 (2 decks)

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