premid Flashcards

1
Q

One of the innate qualities that “pretty art” can give is that it makes our dull, lifeless walls come to life. The contrast of having something “alive” and dynamic to look at on something ordinary and common, let Us say a pristine white wall evokes in us an affinity towards its beauty.

A

Beauty

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2
Q

It is a common denominator when we are talking about apprecialing forms of at.

It makes sense to most of us.

A

Beauty

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3
Q

There is something about art that mirrors the soul of those willing to confront it. In a societal tone, artworks tend to echo the hopes and anxieties of an age.

A

Happiness and Hope

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4
Q

Today’s generation, being the “me’ generation, is also sometimes tagged as the “anxious generation”. A lot of social issues evidently reflect this struggle for identity: gender issues, disconnectedness brought on by social media, regionalism, and even mental health issues.

A

Identity and Understanding the self

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5
Q

It can serve as a powerful tool to help us communicate and relay our confusion.

A

Art

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6
Q

Even ___ use art as therapy to aid in processing some sensitive experiences.

A

psychological interventions

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7
Q

Many of the most poignant and humanistic products of art were made after the Word War Il. Twentieth-century art mostly expressed human suffering and darkness in its themes.

A

Grief and Healing

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8
Q

She talked about this haunting remembrance of holocaust victims in her work “Ghost Library.” Here, she used an experiential type of artistic expression, exploring the themes of place and memory in an architectural setting.

A

Rachel Whiteread

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9
Q

Some may use art as a tool to express. pain and process it in therapy. Nonetheless, it plays an important role in making grieving somehow dignified.

A

Grief and healing

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10
Q

one example of a type of art that helps us remember

A

Rizal in Luneta Park

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11
Q

Without the tangible characteristic of art, we will not be able to sustain our nationalistic values well enough. We have pictures, films, and paintings that depict heroism and nationalism.

A

Remembering and mark-making

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12
Q

His work “Angel of the North” has been considered as the largest sculpture in the world and one of the most popular.

A

Antony Gormley

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13
Q

She had this humongous, bean-shaped metallic sculpture placed at that certainly builds a sense of mark and identity to that place where the traffic of pedestrians is usually heavy.

A

Anish Kapoor’s “Cloud Gate” in Chicago

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14
Q

Where us Gormly’s art situated?

A

Gateshead, England

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15
Q

Some art can be categorized as activist art. But not all are as loud and garish. Some are subtle paintings which might use satire.

A

Raising Awareness

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16
Q

forms of art are often localized so that they bring identity also to certain regions.

A

Culture and Togetherness

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17
Q

Are the formal or tangible aspects of art

A

Elements of Art

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18
Q

It can be expressive and have a quality of its own like: scribbles, whimsical or naïve lines, implied lines, blurred lines (lines that are smudged, shaded or erased), aggressive lines, and calligraphic lines.

A

Lines

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19
Q

It has Three basic kinds: geometric, biomorphic, and amorphous. It can also, be implied (produced by the negative space).

A

Shapes

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20
Q

Three kinds of shapes

A

Geometric
Biomorphic
Amorphous

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21
Q

Three-dimensional shape. Can refer to the quality or likeness of an entire mass, let us say, the form of a woman. It employs several techniques like shading, perspective, and lighting.

A

Form

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22
Q

the lightness and darkness of a hue or a color. Often represented in a tonal value scale, it has two parts: the tints (lighter tones) and the shades (darker tones). A tone is a general term for a certain value

A

Value

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23
Q

Two parts of value

A

Tints (lighter tone)
Shades (darker tone)

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24
Q

It is also known as hue. Scientifically, it is the light that bounces off a surface. In art we use subtractive colors, i.e., colors that are from pigments. Additive colors refer to a property of light.

A

Color

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25
Q

It can be used in paintings like impasto, stamping, and scratching in pottery, embossing when making prints, and many others. Contemporary artists have also used the element of texture to convey a certain emotion.

A

Texture

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26
Q

Without it, all the previous elements will not be possible. It creates the illusion that color, form, and texture exist. It can be implied, natural, or artificial (as with a digital rendition). The lighting of an artwork has a very strong effect on its overall impact. An example of strong and theatrical lighting is called chiaroscuro.

A

Light

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27
Q

It is an area where the other elements can interact. Two types: positive and negative space. Double negative space refers to a blank space used as negative space by, let us say, a field of color or pigment.

A

Space

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28
Q

It simply means it mimics what is real or what can be seen. The image is recognizable as interpreted by the artist.

A

Representational

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29
Q

It is a modified interpretation of something that exists, but it becomes hardly recognizable.

A

Abstract

30
Q

It is purely concerned with forms, shapes colors, and the rest of the elements. It does not represent any other subject matter outside of itself.

A

Nonrepresentational

31
Q

are long held composition techniques which have been proven and used by both fine and graphic artists to communicate ideas and concepts effectively.

A

Principles of design

32
Q

Design principle which uses the element of value to create depth and dimension. Light also plays an important role in creating good ___.

A

Contrast

33
Q

Elements are related to each other in terms of form, color, theme, etc.

A

Harmony

34
Q

Aesthetic quality of a work marked by a sensible balance between two areas: right and left; top and bottom.

A

Balance (Symmetrical and Asymmetrical)

35
Q

Creating a sense of direction through repetition of elements. Movement direct the viewer’s eye toward something.

A

Rhythm and Movement

36
Q

Elements should be seen as a whole in unity; variety still gives a sense of wholeness but the elements differ in some aspects and provide more interest to the work.

A

Unity and Variety

37
Q

An area or a specific subject is given focus; hence other parts of the picture are subordinated.

A

Emphasis and Subordination

38
Q

This can be either an appropriate use of scale and proportion or it can also be an effective way of changing the scale to achieve a certain visual goal. It also shows relationship between the object and the space.

A

Scale and Proportion

39
Q

Shows three-dimensionality of a space through the use of perspective lines and vanishing points.

A

Depth and Perspective

40
Q

this strategy tends to “sum up” an idea into one iconic imagery. It often plays with the negative and positive space and makes use of both.

A

Gestalt Theory

41
Q

Colors have imbibed certain meanings. Whether it is a social construct or a product of association, these hues certainly appeal to our understanding of the world based on how they are used.

A

Color Psychology

42
Q

This color represents pure, pristine, clean, and neutral

A

White

43
Q

This color represents optimism, confidence, hope, trendliness

A

Yellow

44
Q

This color represents royal, luxury, quality, authenticity

A

Violet

45
Q

This color represents glamor, integrity, stability, efficiency, status

A

Black

46
Q

This color represents strength, power. reliabilty, warmth, nature, heat, support. and seriousness

A

Red

47
Q

This color represents trust, longevity, formal, logic, calm, cool, serene, intelligence, and communication

A

Blue

48
Q

This color represents neutrality, cleanliness. classy, dependable, sturdy

A

Gray or Silver

49
Q

This color represents childish, comfort, fragrant, friendly, calm, and innocent

A

Pink

50
Q

often used in domes for some classical paintings and even modern architecture, symbolizes femininity because of its womb-like shape. Since it has no corners, it also resonates eternity. Socialism in art has a different connotation for the circle, which states about people’s equality.

A

Half circle

51
Q

when used in a composition, suggests relationship. In Leonardo Da Vinci’s
“Madonna of the Rocks” the triangular arrangement of the figures, with the Madonna at the apex may suggest stability and inclination toward the central figure.

A

Triangle

52
Q

It may intentionally lead a viewer to a focal point of the subject matter.

A

Implied line or line movement

53
Q

this is the term for the materials used in specific types of technique.

A

Medium

54
Q

It is a specific length of time in history with a prominent movement, trend, or creed in artistic practice.

A

Art period

55
Q

are sets of distinguishable styles and artistic tendencies often characterized by a major trend in techniques or approach. Usually, they are named with the suffix “ism” at the end. It suggests a certain attitude toward painting or any art-making.

A

Art movements

56
Q

Cave paintings, Venus figurines which are considered portable sculptures

Greek standard of beauty: the birth of the “Classical” Age

Romans: the competitor of Greece; created realistic sculptures of human figure

A

Prehistoric

57
Q

The “death” of artistic freedom due to canonical standards of visual interpretation

The rise of Gothic art especially in Gothic Churches

Popular art: Stained glass windows and illuminated manuscripts

A

Middle Ages

58
Q

Revival of artistic genius

Where the term “Renaissance Man” was derived because of man’s intellectual achievements in the arts and science

The time of “Masters” e.g., Donatello, Da Vinci, Michaelangelo, Raphael, and Van Eyck

A

Renaissance

59
Q

Grandiose and ornate art

Artistic innovation: “spotlight effect” called chiaroscuro or in extreme usage, it is called tennebrism

Artists to note: Caravaggio (Italy), Velazquez (Spain), Poussin (France), and Antonio Gaudi (designer of “Sagrada Familia” chapel in Barcelona)

A

Baroque

60
Q

Emergence of “isms”

Neoclassicism: Greek and Roman Classics revived
Romanticism, Realism, Art Nouveau, Impressionism

Photography comes into the scene

Post-impressionism, early expressionism, and symbolism

A

19th Century

61
Q

Art became more non-representational

Garish colors explored in Fauvism

Abstracted sculptures emerged

Simplified forms in paintings by Picasso and Matisse

Art movements: Cubism, Futurism, Constructivism, Expressionism

Mondrian’s purely geometric art

A

20th century Modern Art

62
Q

Dadaism: the art movement that defies logic

Surrealism: stepping into the dreamworld

American art blossoms: Jackson Pollock became famous as “Jack the Dripper” and paved the way for American Abstract Expressionism

Mobile Sculptures (Alexander Calder) and Color Field (Rothko) paintings also became prominent

A

Art During the Wars

63
Q

Highly experimental and radical

Pop art defines consumer culture; dominated mostly by works of Andy Warhol

Minimalism: glorifying the simplest art elements

Birth of conceptual art

Photography is further developed which paved way to art movement,

Photorealism Neo-expressionism or new expressionism is characterized by strong subject matters

Contemporary Art a very dlverse art scene; the rise of appropriation, photography-derived works, graphic style of art, experimental works, multimedia and multi-modal art

A

20th century to Contemporary

64
Q

as mentioned by James Elkins in the essay, What Happened to Art Criticism, is a discipline of the arts that seems to be both healthy and dying.

A

Art Criticism

65
Q

It basically gives importance to the formal qualities (art elements, materials, and design principles) as basis for the meaning of art.

Roger Fry is a major purveyor of this thinking. The form is the content per se and does not take history and context into account

A

Formalism and Style

66
Q

Focuses on the subject matter primarily over form. When using this method, you will answer questions like: who is this person the artist painted and what does it represent?
Why did the artist choose this image and what for?

A

Iconography

67
Q

From the term itself, context becomes an important factor in criticizing artworks here. We can take many approaches to contexts like Marxism, Orientalism, Colonialism, Racial Iconography, Feminism, and Gender. As you can observe, these are mainly schools of thought and philosophical movements which place an artwork within a certain parameter.

A

Contextual approaches

68
Q

Considers the life and context of the artist. This approach is based on the assumption that the artist’s life, beliefs, choices, and personality are directly connected to the works that he or she creates.

A

Biography and Autobiography

69
Q

From the Greek word “sema,” which means sign. Hence, an artwork or art form is assumed to be composed of a set of signs that may have significant cultural and contextual meanings beyond itself.

A

Semiotics

70
Q

Freud is probably a familiar name in the field of psychology and he is one of the basis of this theory. In this, one is concerned about the unconscious mind in relation to the artist, the viewer, and the cultural context it is involved in.

A

Psychoanalysis

71
Q

Individual notion of what is considered acceptable, beautiful, or attractive in works of art are in part influenced by psychological factors. This approach then connects psychology to one’s constructed philosophy of art.

A

Aesthetics and Psychoanalysis