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Midterm Flashcards

1
Q

Subject Matter

A

What is literally being depicted in the art

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2
Q

Content

A

The meaning, message, or feeling expressed in a work of art

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3
Q

Two-Dimensional

A

Having height and width

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4
Q

Three-Dimensional

A

Having height, width, and depth

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5
Q

Contour

A

The outline that defines a form, but not necessarily the complete outline of a shape

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6
Q

Plane

A

A flat, two-dimensional surface on which an artist can create a drawing or painting; Can also be implied in a composition by areas that face toward, parallel to, or away from a light source

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7
Q

Implied Line

A

A line that is suggested by movement or by gesture rather than being physically drawn or constructed; No actual solid line is present; just the idea of a line is created; Gives viewers the impression they are seeing a line where there is no continuous mark; For example, a continuous line of dots

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8
Q

Line Orientation

A

The structure a line evokes can have a great impact on the understanding of a painting

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9
Q

Organic

A

Having irregular forms and shapes, as though derived from living organisms

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10
Q

Geometric

A

Forms that are regular and are readily expressible in words or mathematics: cubes, spheres, cylinders, cones, pyramids, etc.

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11
Q

Positive Shapes

A

What we see as the “figure” is the positive shape

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12
Q

Negative Shapes

A

What we interpret as the “ground” is considered the negative shape

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13
Q

Figure-Ground Reversal

A

When the figure becomes the background and the background becomes the figure

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14
Q

In the Round

A

A form that can be seen from all sides

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15
Q

Relief

A

A 3-D surface designed to be viewed only from one direction; A work in which forms project from a flat surface (usually on a wall)

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16
Q

Open Volume

A

When artists enclose a space with materials that are not completely solid they create an open volume

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17
Q

Subversive Texture

A

A subversive texture contradicts our previous tactile experience

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18
Q

Chiaroscuro

A

A method of applying value to a two-dimensional artwork to create the illusion of three dimensions; Italian for “light-dark.”

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19
Q

Hatching

A

A series of straight parallel lines set close to one another to differentiate planes of value in a work of art

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20
Q

Cross Hatching

A

Two sets of parallel lines that cross over one another

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21
Q

Cross Contour

A

Cross hatching lines but they curve to flow with the surface they are attempting to establish

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22
Q

Linear Perspective

A

Using lines to make perspective

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23
Q

Atmospheric Perspective

A

Distant objects lack contrast, detail, and sharpness of focus because the air that surrounds us is not completely transparent

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24
Q

Isometric Perspective

A

Parallel lines are arranged diagonally in a work to give a sense of depth

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25
Foreshortening
A perspective technique that depicts a form from a very extreme or exaggerated viewpoint; It uses differences in scale and oblique and angles to create a sense of depth in space
26
Pigment
The colored material used in paints. Often made from finely ground material.
27
Binder
A substance that makes pigments adhere to a surface
28
Hue
Each of the basic colors of the spectrum; just a fancy word for color; ON EXAM IT WILL ASK WHAT HUE IS AND IT IS JUST COLOR
29
Additive Color
Mixing colored light; Red, blue and green are the additive colors (RGB)
30
Subtractive Color
Mixing pigments; Cyan, magenta, yellow, and black are the subtractive colors (CMYK)
31
Primary Colors
Red, yellow, and blue; Primary colors produce the purest color because they are not created by mixing other colors
32
Secondary Colors
Orange, green, and violet; Comes from mixing two primary colors.
33
Tertiary Colors
Red-orange, red-violet, yellow-green; Mixing primary and secondary colors together. In the name, primary color comes first.
34
Complimentary Colors
Opposite colors on the color wheel that are radically different in wave length. When mixed, produce gray (or black) and when painted side by side, they intensify one another.
35
Analogous Colors
These colors are adjacent to each other on the color wheel; Similar in wavelength; Create color unity and harmony
36
Tint
A color lighter in value than its purest state; A Hue/Color mixed with white
37
Tone
The weaker chromatic state of any hue; A hue/color mixed with (Gray-Black and white)
38
Shade
A color darker in value; A hue/color mixed with black
39
Saturation
Color in its purest state is its highest level of saturation; Saturation is not related to value
40
Chroma
We tend to associate a color with its purest state, its highest level of chroma; Refers to the strength or weakness of a color.
41
Color Temperature
Based on our associations with warmth and coolness (e.g. red is hot); Communicates physical and emotional states; Can be relative to other colors nearby
42
Stroboscopic Motion
The kind of motion that is created by showing a series of static images in quick succession.
43
Kinetic Art
Art that can move and change its visual form
44
What are the six attributes of time?
Duration, tempo, intensity, scope, setting, and chronology
45
Bioart
Art that is created with living, changing organisms; Uses the changing properties of organic material to create a sense of time passing in their art,
46
Compositional Unity
An artist creates compositional unity by organizing all visual aspects; Binds different elements of art in a unified manner
47
Conceptual Unity
Refers to the cohesive expression of ideas within a work of art; An artist may link different images that conjure up a single notion
48
Gestalt
German word for form or shape; Complete order and indivisible unity of all aspects of an artworks design; Refers to something in which the whole seems greater than the sum of its parts
49
Symmetrical Balance
If a work can be cut in half and each side looks exactly (or nearly exactly) the same, then it is symmetrically balanced
50
Asymmetrical Balance
Artists often use different visual “weights”on each side of a composition; Elements on the left and right sides are not the same, but the combination counters each other
51
Radial Balance
Radial balance (or symmetry) is achieved when all elements are equidistant from a central point and repeat in a symmetrical way from side to side and top to bottom; Can imply circular and repeating elements
52
Monumental
Having massive, or impressive scale
53
Hierarchal Scale
Refers to the deliberate use of relative size in a work of art, in order to communicate differences in importance. Larger almost always means more important, and smaller means less important.
54
The Golden Section
A proportional ratio of 1:1.618, which occurs in many natural object.
55
Subordination
The opposite of emphasis; it draws our attention away from particular areas of a work
56
Motif
A design repeated as a unit in a pattern; An artist can create a strong unified design by repeating a motif.
57
Alternating Rhythm
Art that contains a repetition of two or more components that are used interchangeably
58
Representational Art
Art that represents objects and events in the real world; Real things; Easily recognizable
59
Abstract Art
Art that departs from the recognizable images of the natural world; Almost warps the real world and doesn't really represent "real" things, but uses shapes, forms, colors, and textures to make us almost see the real world.
60
Non-Objective/Non-Representational Art
Art that does not depict anything from the real world; Usually just shapes and lines; Can provoke emotion
61
Formal Analysis
The process of analyzing the elements and principles used by the artist
62
Composition
The overall design or organization of a work
63
Stylistic Analysis
Artworks have style, or specific characteristics that make them look the way they do; Can be individual or shared; Used to categorize or identify artworks
64
Iconographic Analysis
Identifies and interprets the symbolic meanings of objects and elements in artworks; Reveals previously unsuspected insights into content
65
Contextual Analysis
Studies the atmosphere and ideas, often from a particular time and culture, that an artwork reflects; Both artists and viewers play roles in providing content (meaning)
66
Feminist Analysis
Considers the role of women in an artwork as its subjects, creators, patrons, and viewers; Can reflect the intentions of an artist, the perspective of a viewer, the interpretation of a critic, or all three
67
Historical Analysis
Considers historical events, either past or present, and the way they appear in an artwork
68
Biographical Analysis
Considers whether the artist’s personal experiences and opinions may have affected the making or meaning of the artwork
69
Critical Race Theory
Critically examines society and culture as it intersects with race, power, and institutional practices
70
Psychological Analysis
Considers the state of the artist’s mind when creating an artwork
71
*Line
A mark left by a moving point, actual or implied, and varying in direction, thickness, and density
72
*Shape
A two-dimensional area the boundaries of which are defined by lines or suggested by changes in color, texture, or value. Shapes can be classified into two types: geometric and organic
73
*Implied Shape
Implied shapes are shapes we can see where no continuous boundary exists
74
*Contrast
When an artist uses two noticeable different states of an element; A drastic difference between such elements as color or value when they are presented together
75
Visual/Implied texture
What the piece of art appears to feel like
76
*Impasto
Thick application of paint-with brush or palette brush
77
Implied motion
Motion is implied when we do not actually see the motion happening, but visual clues tell us that it is a key aspect of the work
78
*Foreground
The part of a work depicted as nearest to the viewer
79
*High Relief
A carved panel where the figures project with a great deal of depth from the background
80
*Bas-Relief (Low)
A sculpture carved with very little depth: the carved subjects rise only slightly above the surface of the work
81
Focal point
The main part of the artwork the artist draws your eyes to; the focus point of the work.

Art-111 (2 decks)

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