MIDTEMR Flashcards

1
Q

is a term used to describe a period of
history when stones were used to make tools for
survival.

A

Stone age

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2
Q

(the late years of Stone age

A

Paleolithic Age

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3
Q

Middle Stone Age

A

Mesolithic Age

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4
Q

New Stone Age

A

Neolithic Age

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5
Q

Archaeological explorations reveal that there has
been a gradual shift from nomadic lifestyle of
human
* Witnessed how humans were able to lead more
stable lives
* Is a product of climate change
* Paintings evoke naturalism

A

Prehistoric Art

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6
Q

Developed especially when life for the early
humans has become stable
- Learned to cultivate the land and domesticate
animals
- Different elements of civilizations flourished in
various parts of the world

A

Neolithic Art

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7
Q

Fertile Ribbon starts from the banks of Nile
River, which flows north to Africa and ventures
into the Mediterranean.
- Egyptians recognized the integral role of the Nile
River to their daily lives.
- This led to the belief that art was something that
can be ascribed and associated with religion.
- Early Egyptian Civilizations ( Old, Middle, and
New Kingdom)

A

Egyptian Art

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8
Q

Art is something religious and spiritual
* Tombs were not just for keeping the dead bodies of
important people, particularly the pharaohs; they also served
as a shelter for the next journey – afterlife
* Human figures seen in the tombs were represented in a way
that the profile of the head was evident, while the pelvis,
legs and upper torso were prominent and the eyes are in
frontal view

A

OLD KINGDOM

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9
Q

Religion was bound to the afterlife
* Narmer Palette

A

Old Kingdom

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10
Q

Shift in the political hierarchy
* There is an emergence of powerful groups
* Art as taken a back seat because of internal
struggle
* Portrait and Fresco painting emerged

A

Middle Kingdom

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11
Q

Has a references from both preceding kingdoms.
* Monuments and sculptures where still linked with
death and reverence for the deceased
* Egypt has established itself as more advanced and
powerful civilization
* High regard for their people are seen through
their sculptures built on massive and monumental
scales

A

New Kingdom

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12
Q

requires the critic to
observe the artwork and
notice the obvious
features such as the
subject.

A

Describing

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13
Q

tells what you see (the
visual facts).

A

Describing

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14
Q

Mentally separate the parts or
elements, thinking in terms of textures,
shapes/forms, light/dark or bright/dull
colors, types of lines, and sensory
qualities.

A

ANALYZING

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15
Q

is explaining how well the
artwork meets criteria informed
by the art movement or style of
the artwork

A

JUDGING

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16
Q

is to make a statement
about what the artwork
means, expresses, or
signifies

A

: INTERPRETING

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17
Q

The Theories of Judging Art

A

Imitationalism
* Formalism
* Emotionalism

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18
Q

Refers to a point moving at an
identifiable path – it has length,
direction, and width

A

Line

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19
Q

It is one-dimensional, however, it has the
capacity to either define the perimeters
of the artwork (edges) and/or become a
substantial component of the
composition.

A

Line

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20
Q

are usually associated with rest or
calm. Landscapes often contain these elements as
works like these often connote a visua sense of being
parallel to the ground

A

Horizontal lines

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21
Q

connote elevation or height, which is
usually taken to mean exaltation or aspiration for
action.

A

Vertical lines

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22
Q

Convey movement and
instability

A

Diagonal line

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23
Q

Are reminiscent of
violent, conflict, or
struggle

A

Crooked line or jagged line

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24
Q

these are lines that bend or coil.
They allude to softness, grace,
flexibility, or even sensuality.

A

Curved lines

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25
Q

refers to two dimensions: height
and width

A

Shape

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26
Q

refers to three dimensions :
height, width, and depth

A

Width

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27
Q

these shapes find origin in mathematical propositions. - As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among others.

A

Geometric

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28
Q

b. Organic organic shapes are those readily occurring in nature, often irregular and asymmetrical. The design of the vase in Figure 55 is ‘foliage, a sample from a series that made use of morning glories.

A

Organic

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29
Q

It is usually inferred from a sense of depth,
whether it is real or simulated.

A

Space

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30
Q

Real space is three-dimensional.

A

Space

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31
Q

usually identified with the
white space

A

Negative

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32
Q

is the space where shadown is
heavily used.

A

Positive

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33
Q

can be simulated
through a variety of techniques such as shading

A

Three-dimensional space

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34
Q

Is one of the elements that enhances the apeal of
an artwork.

A

Color

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35
Q

Its effect has range, allowing the viewer to make
responses based on memory, emotion, and instinct,
among others.
- This element is a property of light as it is
reflected off the object.

A

Color

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36
Q

is not intrinsic to an object and without
light, one cannot perceive color.

A

Color

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37
Q

This dimension of color give its name

A

Hue

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38
Q

Give me the primary colors

A

red, yellow, blue - RYB

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39
Q

Give me the secondary colors

A

green, orange and violet - GOV

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40
Q

six in total, these hues are achieved when primary and secondary colors are mixed

A

Tertiary colors

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41
Q

This refers to the brightness or darkness of color

A

Value

42
Q

taken as the source of light in the composition

A

Light colors

43
Q

Lack or even absence of light

A

Dark colors

44
Q

this is a lighter color than
normal value (e.g. pink for red)

A

Tint

45
Q

– this is darker color than normal
value (e.g. maroon for red)

A

Shade

46
Q

This is the colors brightness or dullness. It is identified the strength of the color, whether it is vivid or muted

A

Intensity

47
Q

Bright or warm colors

A

positive energy

48
Q

Dull or cool colors

A

Sedate/soothing, seriousness or calm

49
Q
  • use the variations of
    a hue.
A

Monochromatic
harmonies

50
Q

Involve two colors
opposite each other in
the color wheel.

A

Complementary
harmonies

51
Q

Make use of two
colors beside each other
in the color wheel

A

Analogous harmonies

52
Q

It can either be real or implied.
- Experienced through the sense of touch (and sight)

A

. Texture

53
Q

is the actual surface of the painting
or drawing, where no illusion of a third dimension
exists

A

Picture plan

54
Q

refers to the texture of the three dimensional art object

A

surface texture

55
Q

often use in depicting roads, tracks, hallways or rows; lone vanishing point

A

One point perspective

56
Q

pertains to a painting or drawing that makes use of two vanishing point

A

Two point perspective

57
Q

In this perspective the viewer is looking at a scene above or below; three vanishing points

A

Three point perspective

58
Q

Often associated with the terms, beat, meter, and tempo

A

Rhythm

59
Q

Refers to its speed

A

Tempo

60
Q

slowly and broadly

A

largo

61
Q

Walking space

A

Andante

62
Q

at moderate speed

A

Moderate

63
Q

fast

A

Allegro

64
Q

Vivace

A

lively

65
Q

gradually speeding up

A

Accelerando

66
Q

gradually slowing down

A

Rallentado

67
Q

getting slower, broadening

A

Allargando

68
Q

literally robbed time rhythm is played freely for expensive effect

A

Rubato

69
Q

refers to loudness or quitness

A

Dynamic

70
Q

very quiet

A

Pianissimo

71
Q

Piano

A

Quiet

72
Q

Moderately quiet

A

Mezzo piano

73
Q

moderately loud

A

mezzo forte

74
Q

loud

A

Forte

75
Q

very loud

A

Fortissimo

76
Q

former

A

crescendo

77
Q

latter

A

decrescendo

78
Q

refers to linear presentation of pitch

A

melody

79
Q

_______ is vertical

A

harmony

80
Q

________ can be describe “harshness”

A

hamrony

81
Q

______ is often likened to the color of music

A

Timbre

82
Q

________ the number of melodies, the type of layers, and their relatedness in a composition is the texture of music

A

Texture

83
Q

single melodic line

A

monophonic

84
Q

two or more melodic lines

A

Polyphonic lines

85
Q

main melody accompanied by cords

A

Homophonic lines

86
Q
  • is the distribution of visual weight in an
    artwork.
A

Balance

87
Q

The elements used on one side are reflected to the other. This offer the most stable visual sense to any artwork

A

Symmetrical

88
Q

the elements are not the same on each side putting the heaviness on one side

A

Asymmetrical

89
Q

there is a central point in the composition, around which elements and objects are distributed

A

Radial

90
Q

Pertains to the size in relation to what is normal for the figure or object in question

A

Scale and proportion

91
Q

Relates to the realistic size of the visual elements in the artwork, especially for figurative artworks

A

Natural

92
Q

refers to the unusual size relations of visual elements delibreately exaggerating

A

Exaggerated

93
Q

The most common to those follow canons of perfection the size relations of elements or objects

A

Idealized

94
Q

_________allows the attention of the viewer to a focal point(s), accentuating or drawing attention to these elements or objects. This can be done through the manipulation of the elements or through the assistance of other principles, especially that of contrast.

A

Emphasis

95
Q

_________is the disparity between the elements that figure into the composition. One object may be made stronger compared to other objects (hence, emphasis). This can be done in many ways using the elements of art. For instance, space, specifically the use of negative and positive space, is an example of contrast. Another example is the use of complementary colors in a work of art.

A

Contrast

96
Q

Unless intended to be otherwise, compositions are intended to imbue a sense of accord or completeness from the artwork. This is unity.

A

Unity and variety

97
Q

Like what is hinted above, unity and variety is related to the principle of harmony, in which the elements or objects achieve a sense of flow and interconnectedness.

A

harmony

98
Q

This refers to the direction of the viewing eye as it goes through the artwork, often guided by areas or elements that are emphasized. These focal points can be lines, edges, shape, and color within the work of art, among others.

A

Movement

99
Q

This is created when an element is repeated, creating implied movement. Variety of repetition helps invigorate rhythm as depicted in the artwork.

A

Rhythm

100
Q

Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner. This is called repetition. In addition, the image created out of repetition is called pattern. With repetition, there is a sense of predictability that is conveyed, which in turn imbues the feelings of security and calmness.

A

Repetition and Pattern