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AP Art History > The Modes of Representation > Flashcards

The Modes of Representation Flashcards

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1
Q

representational

A

art that represents something real or depicts things that can be recognized from life

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2
Q

realism (realistic)

A

the precise, detailed, and accurate representation in art of the visual appearance of scenes and objects; seeks to imitate visible reality as close as possible (depicts ordinary and everyday subject matter and does not always display photographic precision)

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3
Q

naturalism (naturalistic)

A

often used interchangeable with realism; seeks to faithfully represent the actual appearance of things, with the least degree of distortion or subjective interpretation; refers to fidelity, not so much as appearance, but to the being of something (prehistoric art)

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4
Q

illusionism (illusionistic)

A

this art is so convincing in its realism, that it may be mistaken for the real thing; related concepts include photorealism, trompe loeil (fool the eye); this art gives the “illusion” of reality, or a convincing imitation of the actual appearance

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5
Q

idealism (idealized)

A

representative images are depicted according to a concept of perfection rather than real life (for example, human figures are young, good looking athletic, etc)

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6
Q

romanticism (romanticized)

A

representational art in which the subject is depicted in a nostalgic, emotional, fanciful, or other mysterious way

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7
Q

abstract (abstracted)

A

when artists interpret subjects (figures, objects, scenes) in a way that is unlike their natural appearance; the subject is distorted in color, shape, proportion, etc (Picasso)

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8
Q

stylized

A

representational art that depicts certain features as nonorganic surface elements rather than realistically; representation according to a given style or convention (Egyptian art)

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9
Q

non-objective (none representational, pure abstraction)

A

when artists express themselves not by using recognizable objects from real life, but by using compositional elements such as line, shape, color, texture, or value (splatter painting-Jackson Pollock); these works contain no recognizable subject matter - the subject matter consists of lines, forms, shapes, etc; note - there is still subject matter and meaning in nonobjective art

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10
Q

Why is it important to know about the elements of design?

A

They help us to understand art and artist’s intentions, and they help us to effectively communicate about art by developing a specific vocabulary to use.

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11
Q

Do all elements of design apply to every artwork?

A

no

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12
Q

line

A

an uninterrupted actual mark or implied direction going from one point to another; the path of a moving point through space

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13
Q

What is the quality of the line?

A

the expressive nature of the line; personality

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14
Q

What are some examples of the personality of a line?

A

bold, thin, wavy

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15
Q

How can lines differ?

A

in length, width, direction, texture, etc

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16
Q

What is the psychology of a line?

A

lines in art may have psychological effects on the viewer

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17
Q

What do horizontal lines imply?

A

calm, rest, and quiet

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18
Q

What do vertical lines imply?

A

power and strength and/or potential energy

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19
Q

What do we know about diagonal lines?

A

they are unbalanced and dramatic

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20
Q

What do we know about zig zag lines?

A

these are a combination of diagonal lines that connect at points; they create excitement and intense movement

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21
Q

What do diagonal lines imply?

A

movement, action, and motion

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22
Q

What do zig zag lines convey?

A

confusion and nervousness, as they change direction quickly and frequently; they can also imply danger and destruction

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23
Q

What do we know about curved lines?

A

they sweep and turn gracefully between end points; they express fluid movement; they can be calm or dynamic depending on how much they curve

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24
Q

actual lines

A

actual lines in an artwork; they are visible

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25
Q

Give some examples of actual lines.

A

outlines, contour lines, hatching

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26
Q

implied lines

A

lines that are indicated indirectly - suggested; they aren’t seen in the usual way; they may be created by points that the viewer’s eyes automatically connect

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27
Q

Give some examples of how implied lines may be impied.

A

they may be implied by the edges of two shapes where one shape begins and another shape ends, or they may be implied by the arrangement of objects in a work (pyramid configuration); they may also be implied by lines of sight/eye line - it is a natural tendency for us to follow these

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28
Q

broken lines

A

also considered to be implied lines

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29
Q

shape

A

a two dimensional area (flat) with a recognizable boundary; an enclosed area defined by elements, such as line, color, texture

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30
Q

organic shapes

A

are made by nature and are irregular, uneven, and free form (a leaf)

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31
Q

geometric shapes

A

precise and man made; they can be described using mathematical formulas (a triangle, square, circle)

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32
Q

form

A

refers to objects having three dimensions (width, length, and depth); these also may be organic or geometric; form can be viewed in 2D (figure painted on a surface) or 3D (statue)

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33
Q

texture

A

the quality of surface in regard to how it feels to the touch

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34
Q

simulated (visual/implied) texture

A

the illusion of roughness or smoothness of a surface; you can only see it

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35
Q

Give an example of simulated texture.

A

trompe loeil (or “fool the eye”) texture, Photorealist paintings

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36
Q

actual (tactile) texture

A

the physical roughness or smoothness of a surface

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37
Q

Give an example of actual texture.

A

Meret Oppenheim’s Fur Lined Tea Cup

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38
Q

color

A

has many psychological effects on the viewer

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39
Q

hue

A

a color’s name; identifies color, for example, red

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40
Q

value

A

refers to a color’s lightness or darkness; for example, yellow is lighter in value than blue

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41
Q

intensity

A

brightness or dullness of a hue

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42
Q

tint

A

add white to a hue

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43
Q

shade

A

add black to a hue

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44
Q

the color wheel

A

a way of organizing colors according to how they are made

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45
Q

primary colors

A

elemental hues from which all other colors are derived (red, yellow, blue)

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46
Q

secondary colors

A

made by mixing two primary colors in equal amounts (green, orange, violet)

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47
Q

tertiary colors

A

made by mixing one primary and one secondary color in equal amounts

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48
Q

complementary colors

A

colors are opposite each other on the color wheel; when placed side by side, they enhance each other, create optical effects (example: violet and yellow)

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49
Q

analogous colors

A

colors are related to, or next to each other on the color wheel

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50
Q

warm colors

A

red, yellow, orange; advance toward the viewer (fire, sunshine)

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51
Q

cool colors

A

blue, green, violet; recede away from the viewer (ice, water, snow, grass)

52
Q

neutral colors

A

black, white, gray, sometimes brown

53
Q

monochromatic

A

artwork done in one color; one color + black and white; one color + tint and shade

54
Q

mono

A

one

55
Q

chroma

A

color

56
Q

optical color

A

when artists reproduce the colors of their subject matter as they see them or in nature

57
Q

arbitrary color

A

when artists choose color arbitrarily, by personal preference, for example, to express feelings; the subject matter’s colors are not as they appear to the eye, in nature

58
Q

value

A

lightness or darkness of a color; effects of light on an object

59
Q

light source

A

direction light originates from in an artwork

60
Q

cast shadow

A

shadow created by the blocking of light by an object

61
Q

modeling

A

when an artist uses value (shading) to make an object look 3D (not flat); example - Mona Lisa’s face

62
Q

What was modeling called in the Italian Renaissance?

A

chiaroscuro

63
Q

space

A

the appearance (or not) of depth on a two dimensional surface; receding into space; an artwork may be flat or deep

64
Q

linear perspective

A

a mathematical system for showing depth

65
Q

What are the three elements of linear perspective?

A

horizon lines, vanishing point, converging lines (orthagonal)

66
Q

Where do lines converge?

A

at a point in the distance

67
Q

Who invented linear perspective and why?

A

Filippo Brunelleschi (15th C Italy) as a means of rendering buildings seen receding away at an angle on the picture plane; may use one vanishing point or multiple vanishing points

68
Q

intuitive perspective

A

a method of giving the impression of depth by visual not by the use of an overall program or system

69
Q

Give an example of intuitive perspective.

A

Diagonal lines appear to converge but do not meet at a certain point, objects are made smaller as they appear to recede into the distance

70
Q

atmospheric or aerial perspective

A

the illusion of space is achieved by simulating the way we perceive color and surface textures of objects; further away = paler, less detail and texture

71
Q

division of the picture plane

A

another way that artists show space/depth on a flat surface

72
Q

What is the picture plane?

A

the surface of a painting or drawing

73
Q

How is the picture plane divided?

A

into three horizontal strips (thirds): foreground, middle ground, and background

74
Q

What is the foreground of the picture plane?

A

contains objects which seem nearest to us; generally lowest third of a painting or drawing

75
Q

What is the middle ground of the picture plane?

A

contains objects in between the foreground and background; middle ground

76
Q

What is the background of the picture plane?

A

objects which appear furthest away from viewer; upper third

77
Q

placement

A

used to show where in space an object is

78
Q

overlapping

A

is also used when forms in front overlap those behind

79
Q

foreshortening

A

making an object seem to recede into space by shortening the lines of perspective or dimension of depth

80
Q

Give an example of foreshortening.

A

Andrea Mantegna’s Christo Morto

81
Q

Negative and positive space are also sometimes referred to as what?

A

positive and negative shape

82
Q

positive space

A

the space that the main object occupies in a work of art (figure)

83
Q

negative space

A

the space not occupied by/around the main object (ground)

84
Q

closed compositions

A

are self contained; the subject matter is contained within the borders and nothing can penetrate

85
Q

open compositions

A

allow space to access/enter them

86
Q

Give an example of an open composition.

A

the artist shows a slice of an entire scene and invites us to imagine what is not known or outside the boundaries

87
Q

What do the principles of design do?

A

they build upon, use, and apply the elements of design

88
Q

What must you use to use the principles of design?

A

a higher level of thinking (application)

89
Q

When using the elements of composition, what do you do?

A

you simply respond to what you see

90
Q

Give an example of using the elements of composition using the lower, basic knowledge level of thinking.

A

does the work contain mainly warm, cool, or neutral colors

91
Q

Give an example of using the elements of composition using the higher level of thinking and the principles of design.

A

how do the elements work in the composition; how is the artwork balanced?

92
Q

unity

A

when the visual elements work together as a unit

93
Q

What happens when an artwork doesn’t have unity?

A

it appears to be a collection of parts

94
Q

What are the three techniques through which unity can be achieved?

A

proximity, similarity, and continuation

95
Q

proximity

A

artist makes separate objects look unified by placing them close together; grouping of objects - vision moves from one to another

96
Q

similarity

A

artist achieves unity by making things similar in color, texture, shape, and/or form

97
Q

continuation

A

occurs in an artwork when the viewer’s vision is directed through the work by a line, edges of shapes, or an arrangement of objects; movement of the viewer’s vision in a line

98
Q

variety

A

differences within a composition which add visual interest or contrast; when the artist uses a variety of colors, lines, textures, shapes in an artwork

99
Q

dominance

A

sometimes called emphasis; when one element appears to be more important; attracts more attention than anything else in the composition

100
Q

What is the most dominant element called?

A

focal point

101
Q

What are the four things that help you find the focal point of a piece?

A

color, contrast/differences from everything else, location (placement, sometimes the focal point is the direct center of the composition, lines direct the eye to it (implied lines)

102
Q

What are other elements considered to be?

A

subordinate elements

103
Q

Can there be an absence of a focal point?

A

yes

104
Q

What is rhythm and movement?

A

a sense of flow or visual rhythmic movements in an artwork

105
Q

What does rhythm and movement result from?

A

reoccurring visual elements like lines and shapes, or repeated positive shapes/space separated by negative space

106
Q

pattern

A

visual repetition of motifs

107
Q

balance

A

the equal distribution of visual weight or eye attraction on either side of a composition’s center

108
Q

visual weight

A

determined by an object’s size, value, texture, distance from the center

109
Q

What are the four types of symmetry?

A

symmetrical, approximate, asymmetry, radial

110
Q

symmetrical

A

looks exactly the same on each side; identical elements distributed on either side of a vertical axis in the center of the composition

111
Q

approximate symmetry

A

two sides are similar enough to imply a vertical central axis, and varied just enough to challenge you to identify the differences

112
Q

asymmetry

A

artist achieves the feeling of equally distributed visual weight with figures and objects that are different - it can still be balanced

113
Q

radial

A

results from the repetitive placement of two or more identical or very similar elements around a central point (fulcrum); the elements of design come out (radiate) from a central point (fulcrum); this occurs frequently in nature (growth patterns), architecture (domes) or manufactured items (wheels)

114
Q

proportion

A

size relationships of one part to another or parts to the whole

115
Q

What is proportion usually judged according to?

A

body size (life size, miniature, oversized, enormous)

116
Q

scale

A

size as measured against a standard reference; size of the object in relation to the environment it is in

117
Q

What is another way to describe scale?

A

the size of one object in relation to another

118
Q

hieratic scale

A

disregards the actual size of objects in order to indicate rank or importance; more important people are larger

119
Q

Give an example of the hieratic scale.

A

Size = power (ancient Egyptian art)

120
Q

canon proportions

A

fixed rules for size relationships in the human body; a system to determine relative sizes (parts of the human form)

121
Q

Give an example of canon proportions.

A

the average human adult is 7.5 heads tall; Egyptian and Greek art had their own

122
Q

exaggeration and distortion

A

deviations from expected, normal proportions

123
Q

media

A

refers to the materials used to make art, such as oil on canvas, charcoal, marble, etc

124
Q

subtractive methods

A

these involve the reduction of an original mass, including a block of marble, plaster, wood, etc; the original material is carved or chiseled into a work of art

125
Q

additive methods

A

these involve putting together materials to make an artwork; this may occur through modeling, or building up the surface of a form of a pliable material; using this method, a material such as clay may be applied to an armature, or framework

AP Art History (2 decks)

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