Art Appreciation Flashcards

(107 cards)

1
Q

One of the innate qualities that “pretty art” can give is that it makes our dull, lifeless wall
come to life.

A

Beauty

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2
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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3
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

Identify and understanding the self

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4
Q

Many of the most poignant and humanistic products of art were made after the World
War II. Twentieth-century art mostly expressed human suffering and darkness in its
themes.
Throughout the years, artists have interpreted these shared human experiences in different
ways, which also help us process our grief.

A

Grief and healing

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5
Q

The monument of Rizal in Luneta Park is one example of a type of art that helps us
remember. Without the tangible characteristic of art, we we will not able to sustain our
nationalistic values well enough.

A

Remembering and mark-making

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6
Q

In the Philippines, many socially-concerned artists have emerged in the age of
modernism portraying politicians and the governments system in their most hateful
actions.

A

Raising awareness

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7
Q

Lastly, forms of art are often localized so that they bring identity also to certain regions.
This is very evident here in the Philippines, which is geographically separated by
thousands of islands – we are very regionalized.

A

Culture and togetherness

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8
Q

gives meaning, value, intensity and saturation to an object. It has series of wave lengths
which strikes our retina.

A

Color (Hue)

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9
Q

lightness, brightness, darkness of color

A

Value-

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10
Q

degree of quality, purity, and strength such as scarlet and indigo. 2 to 3 colors in things.

A

Saturation-

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11
Q

Properties of Colors

A

Value-

Saturation-

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12
Q

colors that cannot be formed from mixtures because they are pure colors.

A

Primary colors-

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13
Q

colors form out of combination of two primary colors.

A

Secondary colors-

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14
Q

colors form out of mixing one primary and one secondary.

A

Intermediate colors-

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15
Q

form out of combination of two secondary colors.

A

Tertiary colors-

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16
Q

one or two dimensional art that indicates direction, orientation, movement, and energy. It is
considered as the oldest, simplest, universal element.

A

Line

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17
Q

basic framework of all forms, power & delimination, strength, stability, simplicity, and
efficiency.

A

Vertical line-

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18
Q

creates an impression of serenity and perfect stability. Rest, calmness, peace, and
reposed.

A

Horizontal line-

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19
Q

it shows movement and instability. Portrays movement action.

A

Diagonal line-

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20
Q

it shows a gradual change of direction and fluidity. It signifies subtle form.

A

Curve line-

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21
Q
  • it denotes the means of artists to express his ideas, it pertains to materials used to express
    feelings through art.
A

Medium

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22
Q

pattern, arrangement of lines, color, synchronization or connection of path that suggest
gracefulness.

A

Rhythm-

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23
Q

the typical expressing and training of artist and outlook in life.

A

Style-

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24
Q

surface and quality of object either real or made to be appeared real. It gives variety and
beauty on art.

A

Structure-

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25
the enclosed space defined by other elements of art. shapes may take on the appearance of two-d or three- objects.
Shape
26
the composition refers to developing points of interest to pull the viewer's eye to important parts of the body of the work.
Emphasis
27
it is a sense of stability in the body of work. It can be created by repeating same shapes and by creating a feeling of equal weight.
Balance
28
achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to your work.
Harmony
29
refers to the differences in the work, you can achieve variety by using difference shapes, textures, colors and values in your work.
Variety
30
adds excitement to your work by showing action and directing the viewers eye throughout the picture plane.
Movement
31
a type of movement in drawing and painting. It is seen in repeating of shapes and colors. Alternating lights and darks also give a sense of rhythm.
Rhythm
32
refers to the relationships of the size of objects in a body of work.
Proportion or scale
33
is seen in a painting or drawing when all the parts equal a whole. Your work should not appear disjointed or confusing.
Unity
34
``` Cave painting, fertility goddesses, megalithic structures ```
``` Stone Age (30,000 b.c.–2500 b.c.) ```
35
``` Lascaux Cave Painting, Woman of Willendorf, Stonehenge ```
Mesopotamian | 3500 b.c.–539 b.c.
36
Warrior art and narration in stone relief
Mesopotamian | 3500 b.c.–539 b.c.
37
Art with an afterlife focus: pyramids and tomb painting
Egyptian (3100 | b.c.–30 b.c.)
38
Imhotep, Step Pyramid, Great Pyramids, Bust of Nefertiti
Egyptian (3100 | b.c.–30 b.c.)
39
``` Greek idealism: balance, perfect proportions; architectural orders(Doric, Ionic, Corinthian) ```
Greek and Hellenistic (850 b.c.–31 b.c.)
40
Parthenon, Myron, Phidias, Polykleitos, Praxiteles
Greek and Hellenistic (850 b.c.–31 b.c.)
41
Roman realism: practical and down to earth; the arch
Roman (500 b.c.– | a.d. 476)
42
``` Augustus of Primaporta, Colosseum, Trajan’s Column, Pantheon ```
Roman (500 b.c.– | a.d. 476)
43
Serene, meditative art, and Arts of the Floating World
Indian, Chinese, and Japanese(653 b.c.–a.d. 1900)
44
Gu Kaizhi, Li Cheng, Guo Xi, Hokusai, Hiroshige
Indian, Chinese, and Japanese(653 b.c.–a.d. 1900)
45
``` Heavenly Byzantine mosaics; Islamic architecture and amazing maze-like design ```
Byzantine and | Islamic (a.d.
46
``` Hagia Sophia, Andrei Rublev, Mosque of Córdoba, the Alhambra ```
Byzantine and | Islamic (a.d.
47
``` Celtic art, Carolingian Renaissance, Romanesque, Gothic ```
Middle Ages | 500–1400
48
``` St. Sernin, Durham Cathedral, Notre Dame, Chartres, Cimabue, Duccio, Giotto ```
Middle Ages | 500–1400
49
Rebirth of | classical culture
Early and High Renaissance (1400–1550)
50
``` Ghiberti’s Doors, Brunelleschi, Donatello, Botticelli, Leonardo, Michelangelo, Raphael ```
Early and High Renaissance (1400–1550)
51
``` The Renaissance spreads north- ward to France, the Low Countries, Poland, Germany, and England ```
Venetian and Northern Renaissance (1430–1550)
52
``` Bellini, Giorgione, Titian, Dürer, Bruegel, Bosch, Jan van Eyck, Rogier van der Weyden ```
Venetian and Northern Renaissance (1430–1550)
53
Art that breaks the rules; artifice over | nature
Mannerism
54
Tintoretto, El, Greco, Pontormo, Bronzino, Cellini
Mannerism
55
``` Splendor and flourish for God; art as a weapon in the religious wars ```
Baroque | 1600–1750
56
``` Reubens, Rembrandt, Caravaggio, Palace of Versailles ```
Baroque | 1600–1750
57
Art that recaptures Greco- Roman grace and grandeur
Neoclassical | 1750–1850
58
David, Ingres, | Greuze, Canova
Neoclassical | 1750–1850
59
The triumph of imagination and individuality
Romanticism | 1780–1850
60
``` Caspar Friedrich, Gericault, Delacroix, Turner, Benjamin West ```
Romanticism | 1780–1850
61
``` Celebrating working class and peasants; en plein air rustic painting ```
Realism | 1848–1900
62
Corot, Courbet, | Daumier, Millet
Realism | 1848–1900
63
Capturing fleeting effects of natural light
Impressionism | 1865–1885
64
Monet, Manet, Renoir, Pissarro, Cassatt, Morisot, Degas
Impressionism | 1865–1885
65
The creative process requires the use of both sides of our brain.
The free-thinking right brain analytical left brain
66
controls our ideas, inspiration, and most of the production process,
The free-thinking right brain
67
is in charge of evaluating, reworking, and sharing.
analytical left | brain
68
is important to finding | success in anything in life, not just creating art.
Understanding your strengths (and weaknesses), and accepting them,
69
Steps of the Creative Process
1. Inspiration  2. Idea  3. Research  4. Production  5. Critique  6. Rework  7. Evaluation  8. Presentation 
70
We are all inspired by different things.  It may be an object, a person, an experience, a song, or even a feeling.  But one thing is common – our inspiration comes from an external source.
Inspiration 
71
Your idea and your inspiration are different.  For some, the idea comes almost immediately after inspiration, making the distinction between the two a little more difficult to detect.
Idea 
72
This step can also be considered as planning.  We may sketch out our idea or research methods and/or media to communicate our newly formed idea.  Sometimes, the idea may change at this stage, taking on a new life or direction.
Research 
73
The inspiration has led to an | idea, the planning and research have been completed, and the art is now being produced.
Production 
74
The process now shifts from a creative endeavor to an analytical one.  The artist must now remove themselves from the work, recognize the flaws, and make the necessary changes.
Critique 
75
With flaws exposed and recognized, the art is revisited.  Changes are made based on the judgments made in the critique.
Rework 
76
It is not until all changes have been made to the art that the evaluation of the success or failure of the work is decided.
Evaluation 
77
Art is meant to be shared.  Whether that be in a prestigious gallery or on the walls of your home, your art should not be hidden away.
Presentation 
78
He developed the use of light—actually, backlight—which is his greatest contribution to Philippine painting. Characteristically, his painting contains a glow against which the figures are outlined, and at one point of the canvas there is generally a burst of light that highlights the smallest detail.
Fernando Amorsolo
79
His unique approach to cubism utilizing translucent color would be coined as “transparent cubism”. Though he went through a black-and-white phase for a time, primarily for crucifixes and madonna and child paintings, he found a huge advantage in color manipulation which would become a vital element of his art.
Vicente Manansala
80
is a Filipino National Artist in the visual arts. He is also fictionist, a playwright and editor. He was a leading radical modernist artist in the Philippines.
Hernando R. Ocampo
81
His long and fruitful career as a sculptor has lent him the official title of the National Artist of the Philippines, and the unofficial recognition of being the father of contemporary Filipino sculpture.
Napoleon Abueva
82
Arts for ritual purposes or for everyday use. As local communities become established, art starts to go beyond mere craft, i.e. stone weapons or jewelry but starts to have decorative elements, meaning and context.
ETHNIC | ART
83
Characterized by geometric designs and patterns eliciting focus from believers
ISLAMIC | ART
84
When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images.
SPANISH | ERA
85
was the first painter of note for the 20th century. He was noted for his realistic portraits, genre, and landscapes in subdued colors.
Fabian dela Rosa
86
Angono-based painter, depicted | Philippine history in his “History of Manila” mural at the Manila City Hall.
Carlos “Botong” Francisco,
87
Founder of the Academia de Dibujo y Pintura, the first school of drawing in the Philippines (1821)
Damian Domingo
88
by Diosdado Lorenzo
“Rape and | Massacre in Ermita”
89
by Vicente Alvarez Dizon,
“A Day Begins”
90
in Philippine Art began after World War 2 and the granting of Independence. Writers and artists posed the question of national identity as the main theme of various art forms.
MODERN | ERA
91
as the work of artists who are living in the 21st century.
Contemporary art
92
Initially used as material for rope, the abaca found its way inside Filipino homes as a great material for furniture and decor.
Abaca
93
laminates are considered at par with the quality and appearance of turquoise shells or ivory.
Coconut shell
94
Homes in the provinces often use bed frames, sofa sets, and tables made of bamboo—proving that it's a versatile must-have that designers and homeowners should consider.
Bamboo
95
If you think about it, you have seen capiz shells in different homes, in various forms. These shells are often used in crafting wall art, decor, and even lighting fixtures. Invest in one piece and use it as a focal point in the living area or dining room.
Capiz Shells
96
Quite common among Filipino backyards and farms, santol is mostly known for its fruit that is popularly consumed and used as an ingredient.
Santol Wood
97
Concrete is essential in modern homes, but if you're looking for a more cost-effective and sustainable alternative—RHAC is the answer.
Rice Hull Ash Cement (RHAC)
98
English equivalent: Purple
Morado
99
English equivalent: Green
Lungti
100
English equivalent: Violet, lavender, or lilac
Lila
101
English equivalent: Red
Mabaya (Ivatan)
102
English equivalent: Pink
Kalimbahin
103
English equivalent: Orange
Kahel
104
English equivalent: Gray
Malamaya
105
English equivalent: Ivory
Garing
106
Dictionary definition: Mapusyaw na dilaw | English equivalent: Canary
Kanaryo
107
English equivalent: Emerald or emerald green
Esmeralda