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Art Appreciation > Test 1 Vocab > Flashcards

Test 1 Vocab Flashcards

1
Q

Radical alterations of visible reality.

A

Abstract Shapes

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2
Q

Those that are physically present.

A

Actual Line

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3
Q

Implied shapes.

A

Amorphous

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4
Q

The distribution of weight-actual or visual.

A

Balance

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5
Q

Modeling; technique that makes something look three-dimensional.

A

Chiaroscuro

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6
Q

What our eyes perceive pigment to be.

A

Color

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7
Q

The emotional, intellectual, psychological, and symbolic elements of a work.

A

Content

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8
Q

The edges of a piece; a perceived line.

A

Contour Line

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9
Q

The creation of shading in a drawing or etching through the use of intersecting sets of parallel lines.

A

Crosshatching

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10
Q

Shapes with curved edges.

A

Curvilinear

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11
Q

In art, a point that has a measurable size.

A

Dot

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12
Q

An aspect that directs the viewers eye to a particular area.

A

Emphasis

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13
Q

A modern school of art in which an emotional impact is achieved through agitated brushwork, intense coloration, and violent, hallucinatory imagery.

A

Expressionism

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14
Q

A shape in two-dimensional art; generally the positive.

A

Figure

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15
Q

The shifting of viewer perceptions such that what at one moment appears to be the figure in a composition becomes the ground (background), and vice versa.

A

Figure-Ground Reversal

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16
Q

The main point of interest in a work.

A

Focal Point

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17
Q

The totality of the composition; the totality of technical means; the sum total of how the “what” is presented.

A

Form

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18
Q

An approach to art criticism that concentrates on the elements and design of works of art rather than on historical factors or the biography of the artist.

A

Formalism

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19
Q

Include: religious, myth, historical, portraiture, still life, landscape, and nonobjective art.

A

Genres

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20
Q

Shapes derived from mathematical formulas.

A

Geometric

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21
Q

Generally the negative. The surface on which a two- dimensional work of art is created; a coat of liquid material applied to a surface that serves as a base for drawing or painting. Also, the background in a composition.

A

Ground

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22
Q

Fine parallel lines drawn or engraved to represent shading.

A

Hatching

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23
Q

The study of themes and symbols—which leads to the meaning of the work.

A

Iconography

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24
Q

The sense created by perception that a line exists.

A

Implied Line

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25
Q

An essential element in art; the connection of two dots.

A

Line

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26
Q

It’s bulk; (actual vs implied like seeing an actual pyramid vs a drawing of a pyramid.).

A

Mass

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27
Q

The material and method used to produce a work.

A

Medium and Technique

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28
Q

Space that is empty or filled with imagery that is secondary to the main objects or figures depicted in the composition

A

Negative Shape

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29
Q

Shapes that are derived from reality but make no reference to it.

A

Nonobjective Shapes

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30
Q

Bold lines that surround a piece; actual line.

A

Outline

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31
Q

The spatial form defined by the objects or figures represented in works of art.

A

Positive Shape

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32
Q

Comparative size of elements or images within a work of art in relation to each other or the whole.

A

Proportion

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33
Q

Suggests a conceptual direction

A

Psychological Line

34
Q

A style characterized by accurate and truthful portrayal of subject matter; a nineteenth-century style that portrayed subject matter in this manner.

A

Realism

35
Q

Shapes with straight edges and angular corners.

A

Rectilinear

36
Q

Describing the reoccurring visual motifs; patterns and compositional accents, movement and flow.

A

Rhythm

37
Q

The size of a piece.

A

Scale

38
Q

Created by a line; the area within it.

A

Shape

39
Q

Describes the area around or within the components.

A

Space

40
Q

Drawing or painting small dots or dabs to create shading or a dappled effect.

A

Stippling

41
Q

The signature look of an artist’s work; the distinctive characteristics of an artist’s work and those of a culture and era.

A

Style

42
Q

The “what” of Art.

A

Subject

43
Q

The surface character of a piece.

A

Texture

44
Q

A sense of oneness or cohesiveness within a work.

A

Unity

45
Q

Describes the relative lightness or darkness of an image.

A

Value

46
Q

The juxtaposition of various or contradictory elements in a composition.

A

Variety

47
Q

The amount of space in an enclosed object.

A

Volume

48
Q

Implied movement and time, or quite literal movement and time.

A

Time and motion

49
Q

Line, shape, value, color, texture, space, and time

A

Visual Elements

50
Q

include unity and variety, emphasis and focal point, balance and rhythm, and scale and proportion.

A

Principles of Design

51
Q 
Metal point
Pencil
Charcoal
Chalk
Pastel
Wax Crayon
A

Dry Mediums

52
Q

water and ink

A

fluid technique in drawing

53
Q

A liquid substance that converts to a solid film applied to a surface

A

Painting

54
Q

“True Fresco” is a painting on damp plaster

A

Buon Fresco

55
Q

painting on dry plaster

A

Fresco Secco

56
Q

Powdered chalk, or plaster mixed with animal glue to create a substance used for priming a surface to paint on

A

Gesso

57
Q

Consists of powdered pigments combined with a linseed oil vehicle and
turpentine medium. Oil paint is naturally slow drying, but this property can be accelerated by the addition of various agents to the basic mixture

A

Oil Paint

58
Q

Is a mixture of pigment and a plastic vehicle that can be
thinned with water. A synthetic painting medium, developed by chemist, allows a similar if not broader range of color but dries faster than oil paint

A

Acrylic Paint

59
Q

composed of pigment and gum arabic

A

Watercolor

60
Q

a high concentrate of pigment and an opaque material such as chalk diluted
with water

A

Gouache

61
Q

Sculpture can be broken down into two categories:

A

Relief Sculpture and Free Standing

62
Q

Low Relief, High Relief or both

A

Relief Sculpture

63
Q

Carving material away

A

Subtractive Process

64
Q

Modeling or material is added or built up

A

Additive Process

65
Q

when an artist uses an object that has already been made, and places it
in a different context

A

Ready Mades

66
Q

preexisting or found sculptures are constructed together to

create a unified theme

A

Assemblage Sculpture

67
Q 
Ceramics
Glass
Textile Arts
Basket Weaving
Metalwork and Jewelry
wood
A

Craft Arts

68
Q

Refers to the art process of making objects out of baked clay.
From pots, bowls, pottery, to sculpture

A

Ceramics

69
Q

Pottery is glazed for functional and artistic reasons. Without which a clay pot
would remain porous and therefore useless for carrying liquids

A

Glazing

70
Q

slightly porous clay

A

Earthenware

71
Q

hard baked red clay

A

Terra Cotta

72
Q

usually gray or brown- owing to impurities in the clay

A

Stoneware

73
Q

hard, non porous clay- typically white or gray in color

A

Porcelain

74
Q

Arts in which fibers are used to make functional or decorative objects or
works of art

A

Textile Arts

75
Q

when two stones are set vertically and a third stone laid across them, creating an opening beneath

A

Post and Lintel

76
Q

refers to the degrees of difference between shades of gray or color

A

Value Contrast

77
Q

Any two color next to each other on a color wheel

A

Analogous

78
Q

tactile, physicality that we can see, or touch

A

Actual Texture

79
Q

The illusion created by a mark or material that gives us the sense of
texture

A

Visual Texture

80
Q

a layer of thickly applied pigment or paint

A

Impasto

81
Q

The illusionistic space of a two-dimensional composition

A

Implied Space or Pictoral Space

Art Appreciation (2 decks)

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