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Art Appreciation > Preliminary > Flashcards

Preliminary Flashcards

1
Q

Whether made in the past, is part of the PRESENT. As a persisting event.

A

Art

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2
Q

You can see and touch __

A

Art

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3
Q

Cannot see or touch _

A

Vanished human events

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4
Q

Not necessary to know specifics of a work’s creation [that is; __] to appreciate it.

A

it’s history

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5
Q

Remember: Museums as places to view art are a __

A

modern phenomenon.[cf. Kristeller The Modern System of the Arts]
.

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6
Q

Most art before the modern era was created for a __to fill a particular purpose or function.

A

specific patron and/or place

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7
Q

The role of ART HISTORY is, __

A

in part to discover the historical context of a work of art.

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8
Q

The range of objects art historians studies includes:

A

–Objects from the past not made to be viewed as “art”

–Modern creations that use computer generation and/or conceptual elements as well as “performance elements”.

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9
Q

Art Historians ask the same questions whether their definition of art is narrow or inclusive.

A 
–How OLD is it?
–What is its STYLE?
–What is its SUBJECT?
–Who MADE it?
–Who PAID for it?
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10
Q

being defined as non-object, ephemeral

A

performance

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11
Q

Establish a Chronology through:

A

Physical Evidence
Documentary evidence
Visual evidence
Stylistic evidence

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12
Q

Materials – when used.

A

Physical evidence

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13
Q

Oil paint vs. tempera

A

Physical evidence

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14
Q

Methods of casting

A

Physical evidence

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15
Q

Bronze vs. Resin

A

Physical evidence

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16
Q

such as official records

A

Documentary evidence

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17
Q

the style of dress, furniture, hairstyle from a specific period.

A

Visual evidence

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18
Q

the art historian’s domain, but more subjective.

A

Stylistic evidence

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19
Q

Types of styles

A

Period style
Regional style
Personal style

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20
Q

Distinct time period, usually within a specific culture, but not all display uniformity.

A

Period style

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21
Q

Variations in Style tied to geography

A

Regional style

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22
Q

Ex. Italian vs. French Gothic.

A

Regional style

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23
Q

What is its subject?

A

The narrative
Subject
Iconography

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24
Q

people, time, place & story

A

The narrative

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25
Q

Subject

A

Religious, Historical, Mythological, Genre, Portraiture, Landscape, Still Life.

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26
Q

Study of SYMBOLS:

A

Iconography
Images that stand for other images or represent ideas. Ex: the Christian cross. Or scale of justice.
–Attributes that a person may have.

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27
Q 
Ex. 4 evangelists 
                  John-eagle
                             Luke-ox
                             Mark-lion 
                             Matthew-
                               winged man
.
A

Symbols

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28
Q

Who made it?

A

Signing and Dating
•Personal Style
•By Grouping Works: [may not even have a name.]
–Can reconstruct careers this way
•By “Schools” – chronological, geographical and stylistic similarity. Ex. School of Utrecht

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29
Q

Who paid for it?

A

Role of patron:

Portraiture
Church art

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30
Q

Augustus was always young 

A

Portraiture

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31
Q

Produced by monks

A

Church art

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32
Q 
The presence of
a \_\_ reduces 
the role played 
by the artist’s
personal style.
A

patron

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33
Q

The words art historian use

A 
Form
Material and Technique
Line
Color
Terms
Color triangle
Texture
Space/Mass/Volume
Perspective
Foreshortening
Proportion
Scale
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34
Q

[object’s shape &

structure]

A

Form

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35
Q

[how forms are organized]

A

Composition

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36
Q

medium, instrument & process

A

Material and technique

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37
Q

They are central to Art History analyses.

A

Form, Material & Technique

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38
Q

“path of a point moving in space”

A

Line

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39
Q

can have many qualities, cf. Durer

A

Line

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40
Q

It is a continuous line defining object’s outer shape.

A

contour line

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41
Q

It gives a color its name

A

Hue

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42
Q

–2 basic variables

A

Amount of life reflected and purity

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43
Q

A change in __ must produce a change in the other.

A

One

44
Q

Value/Tonality

Intensity/Saturation

A

Term

45
Q

[lightness/darkness]

A

Value/Tonality

46
Q

brightness/dullness]

A

Intensity/Saturation

47
Q

–Artist’s light is “__”

A

Subtractive

48
Q

the __ reflect a
segment of the spectrum,
while absorbing the rest.

A

Pigments

49
Q

Color Triangle:

A

Primary, Secondary &

Complementary Colors.

50
Q

The quality of a surface that the light reveals.

A

Texture

51
Q

Two kinds of texture

A

Actual

Represented

52
Q

The texture of the artwork itself

A

Actual

53
Q

The textures of the objects being represented

A

Represented

54
Q

ACTUAL:

A

Van Gogh/Rembrandt [brush strokes-”impasto”]
Texture: REPRESENTED:
Van Dyck/Claesz/Tocqué

55
Q

It is studying, understanding, and judging works of art.

A

Art criticism

56
Q

The 2 images of the Maori chief remind us that:

A

Art Historians belong to a particular culture and cannot be completely objective.
–Different cultural thought patterns will result in different ways of representation.

57
Q

Different elements/aspects of a subject will be important in different cultures.

A

Gombrich

Art historians

58
Q

defines representation as “giving no false information to a member of that culture” [cf. Ogata Korin landscape]

A

Gombrich

59
Q

They do their best, but can never truly inhabit the other culture’s “mind.” [They share this limit with other fields such as anthropology]

A

Art Historians

60
Q

__ selects and arranges the elements of nature and illuminates the un- meaningful.

A

Art

61
Q

The Hierarchy of __

A

Arts

62
Q

__ can make one believe that something which does not exist, exists.

A

Arts

63
Q

Art is universal because it’s good.

A

Art is good because it’s universal.

64
Q

The three principles of art are

A

unity, dominance and contrast.

65
Q

On imitation,

A

tragedy vs. comedy

66
Q

Texture: REPRESENTED:

A

Louis Tocqué

•Portrait of Marie Leczinska, wife of Louis XV.

67
Q

Two kinds of SPACE:

A

Actual

Illusionistic

68
Q

the space the object occupies

A

Actual

69
Q

gives the “illusion” of the 3 dimensional spatial world on a 2 dimensional surface

A

ILLUSIONISTIC

70
Q

these terms describe 3 dimensional space – the exterior and interior forms of a work of art.

A

Mass
Volume
Space

71
Q

It is the bulk, density and/or weight

A

Mass

72
Q

not necessarily solid

A

Mass

73
Q

–would include pots, hollow sculptures, architectural shells.

A

Mass

74
Q

It is the space that MASS organizes, divides & encloses.

A

VOLUME

75
Q

The interaction of Mass/Volume.

A

Space

76
Q

It is an
important pictorial
device for organizing
forms in space

A

Perspective

77
Q

Lorrain uses 3 kinds:

A
  1. Size difference
  2. Lines that
    converge beyond the structure
  3. Blurring of distant objects
    .
78
Q

•NOTE: All kinds of “perspective” are __ – linked to a specific culture.

A

Pictorial conventions

79
Q

He used none of the Western conventions.

A

Ogata Korin

80
Q

He used different points of view for different objects.

A

Ogata Korin

81
Q

–He was more concerned with the painting’s composition than any Western conception of perspective.

A

Ogata Korin

82
Q 
Remember: One set of conventions is not 
"\_\_" than 
the other; they
just approach 
the problem 
of picture-
making 
differently
A

better

83
Q

Foreshortening

A

Rubens

Heshire

84
Q 
\_\_ used 
foreshortening 
by representing 
bodies at an 
angle to the 
picture plane.
A

Rubens

85
Q

In real life a body “__” when viewed at an angle.

A

Contracts

86
Q

The use of ___ captures this illusion on the pictorial plane. [Note especially the gray horse on the left]

A

foreshortening

87
Q

Art History is

A

Interdisciplinary

Multidisciplinary

88
Q

Archival research is supplemented by methodologies from literary criticism, philosophy, sociology and gender studies,

A

Interdisciplinary

89
Q

The Art Historian works with people from other disciplines such as chemistry, geology, x-ray technology.

A

Multidisciplinary

90
Q

The Art Historian also offers their expertise to __, for example.

A

historians

91
Q

Architectural drawings:

A

Beauvais Cathedral, France

92
Q

a map of a floor

A

Plan

93
Q

– across a structure’s width

A

Lateral section

94
Q

the length of a structure

A

Longitudinal

95
Q

It is SUBTRACTIVE

A

Carving

96
Q

Casting from a hollow mold or building up clay on an armature is __.

A

Additives

97
Q

It can be used for expressive purposes. 

A

Disproportion and Distortion

98
Q 
It can be used to focus attention 
on one part 
of the body 
or to single 
out the 
leader in a 
group.
A

Disproportion

99
Q

Relationships in terms of size of part of persons, building or objects.

A

Proportion

100
Q

Can be intuitive or mathematical. [Fibonacci/Corbusier]

A

Proportion

101
Q

– In certain periods, “ideal” proportions for representing humans are “___”
–

A

Canonized

102
Q

Many “canons” are based on the Greek ideal of human beauty.

A

Ex. Michelangelo Unfinished Captive

103
Q

No foreshortening used.

A

Hesire

104
Q

Intent was to present body parts as clearly as possible.

A

Hesire

105
Q

So different points of view present in the same work.

A

Hesire

106
Q

Art for __

A

art’s sake.

Art Appreciation (2 decks)

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