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ARTS > M2: Elements of Art 1 > Flashcards

M2: Elements of Art 1 Flashcards

1
Q

man’s own invention; it does not exist in nature.

A

Line

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2
Q

have many qualities which the artist exploits (short or long, heavy or light, wavy or jagged, straight or curved).

A

Line

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3
Q

The artist uses ___ to imitate or to represent objects and figures on a flat surface.

A

lines

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4
Q

Line

A

David by Michaelangelo

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5
Q

can be used to simplify ideas;

A

Shapes

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6
Q

Classified according to their sources,

A

Shapes

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7
Q

Our world is composed of a variety of ___, some of which, because of constant use, have gained permanent meaning;

A

shapes

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8
Q

Classification of shapes

A

natural shapes, abstract shapes, non-objective (biomorphic) shapes, and geometric shapes

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9
Q

shape is an area on a flat surface enclosed by a line.

A

shape in painting

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10
Q

It stands out from the surface because of a difference in color, value, or texture, or a combination of these.

A

shape in paintingH

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11
Q

shape in painting

A

john miro’s works

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12
Q

shapes are identified either as mass or as volume.

A

shape in sculpture

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13
Q

is matter that has weight and solidity; it can be lifted, pushed, or viewed in the round.

A

mass

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14
Q

is mass that is structured or has a definite shape.

A

volume

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15
Q

The fundamental unit in sculpture is the

A

single volume

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16
Q

shape in sculpture

A

Rajah Soliman Monument in Malate Park
Bonifacio Monument

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17
Q

A house, a church or an office building has a shape of its own, defined by walls and roof. The individual parts that composed a building have their own shapes which add up to the shape of the whole. (This we note as we look at the building from the outside.)

A

shape in architecture

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18
Q

The form or shape of the building and other structures depends upon the materials and type of construction used.

A

shape in architecture

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19
Q

refer to the feel or tactile quality of the surface of the object.

A

texture

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20
Q

For the_____ texture results chiefly from the physical properties of the materials they use.

A

sculptor and the architect,

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21
Q

Texture

A

Flagellant by Solomon Saprid
Starry Night by Vincent Van Gogh
Vincent Van Gogh

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22
Q

not a permanent property of things we see around us. It is derived from light, whether natural, like sunlight, or artificial, like fluorescent light.

A

color

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23
Q

a series of wave lengths which strike our retina. Every ray of light coming from the sun is composed of different waves which vibrate inn different speeds. The ray of seen light will break up and be seen on a sheet of white paper as bands of different

A

color

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24
Q

It is the quality which gives a color its name. The colors of the spectrum are therefore called ___.

A

hue

25
Q

Adding neutrals to any hue results in changing the quantity of light it reflects. The lightness or darkness of a color is called

A

value

26
Q

Neutrals, Primaries or Primary Colors, Secondary Colors, Intermediate Colors

A

value

27
Q

the strength of the color’s hue. It refers to the quality of a color. Hues become less intense (dull) when pigments are mixed with them. When gray is added, the result will be a variation in intensity without any change in value.

A

intensity

28
Q

Color may be used to give pictorial field a three-dimensional quality, or create interest through the counterbalance of backward and forward movements.

A

Color may give spatial quality to the pictorial field

29
Q

colors make us feel happy and gay.

A

LIGHT, BRIGHT

30
Q

ones can depress us.

A

COOL, SOMBER

31
Q

The different hues on the color spectrum have different emotional impacts.
Hues are often used to symbolize ideas or abstract qualities such as virtue, loyalty, evil, and cowardice.

A

Color may create mood and symbolize ideas and express personal emotions

32
Q

of colors create mood.

A

values and intensity

33
Q

Contrasting light and dark together produces a sensation of ________;

A

vitality and directness

34
Q

hues closely related and at low intensities produce ______

A

calm and repose.

35
Q

color provokes physical sensations, such as exhilaration or euphoria. (i.e Fall by Bridget Riley)

A

color has the ability to arouse sensations of pleasure because of a well-ordered system of tonality

36
Q

color plays a secondary role. The materials used in a building have their own integral color which the architect takes into account when the designs a building.

A

architecture (color is not exclusive to painting)

37
Q

color is linked to the material chosen by the sculptor. Sometimes, color is used in sculpture as a purely decorative element.

A

sculpture (color is not exclusive to painting)

38
Q

a tonal relationships between light and dark areas in a painting.

A

Value

39
Q

value is also referred to as

A

tone

40
Q

an element that must be considered in relation to other elements such as line, color, texture and, shape.

A

value

41
Q

create the illusion of roughness or smoothness;

A

shadow and highlights

42
Q

value is also used in the

A

creation of texture

43
Q

may be used to create the illusion of form, to break up the picture surface into patterns of dark into patterns of dark and light, to create the illusion of light space, and movement, and to express emotion.

A

Value or tone

44
Q

are often used to express surface changes resulting in the creation of forms.

A

Tonal gradations

44
Q

Renaissance painters

A

represented their pictorial images as free-standing solid forms so that they seem to have the weight and volume within the picture space. The images are like sculptural pieces in a yard or a building.

44
Q

Values break up the picture surface into patterns of

A

light and dark.

44
Q

They are concerned only with a selection of appearances, not so much with

A

spatial depth.

45
Q

Value (Tone)

A

Work of Matisse
Cezanne’s Still Life
Pablo Picasso’s Work
Work of Braque

46
Q

value is also used to express.

A

emotion

47
Q

A painting where there is a preponderance of dark areas cannot but show an atmosphere of gloom, mystery, or drama . . .

A

Work of Rembrandt

48
Q

while another one that has predominantly lighted areas produces the opposite effect.

A

Nostalgia of the Infinite by De Chirico

49
Q

refers to the technique which concentrates on the effects of blending light and shade on objects to create an illusion of space and atmosphere

A

Chiaroscuro

50
Q

is the style of painting which exaggerates the effects of chiaroscuro.

A

Tenebrism

51
Q

exists as an “illusion” in the graphic arts, but in sculpture and architecture it is actually present

A

space

52
Q

depthless space, it exists across the plane rather than in it.

A

decorative space

53
Q

the term applied to the third dimension which is a matter of “illusion” in the case of painting.

A

plastic space

54
Q

plastic space

A

The Avenue by Mainhardt Hobbema

55
Q

The analytic study of how the various elements and material features of the art work produce meaning should lead to a more stable and consensual field of meaning leading to a better understanding of an artwork by an ordinary audience or viewer.

A

Artwork Analysis

ARTS (23 decks)

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