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Preliminary Flashcards

(106 cards)

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1
Q

Whether made in the past, is part of the PRESENT. As a persisting event.

A

Art

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2
Q

You can see and touch __

A

Art

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3
Q

Cannot see or touch _

A

Vanished human events

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4
Q

Not necessary to know specifics of a work’s creation [that is; __] to appreciate it.

A

it’s history

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5
Q

Remember: Museums as places to view art are a __

A

modern phenomenon.[cf. Kristeller The Modern System of the Arts]
.

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6
Q

Most art before the modern era was created for a __to fill a particular purpose or function.

A

specific patron and/or place

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7
Q

The role of ART HISTORY is, __

A

in part to discover the historical context of a work of art.

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8
Q

The range of objects art historians studies includes:

A

–Objects from the past not made to be viewed as “art”

–Modern creations that use computer generation and/or conceptual elements as well as “performance elements”.

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9
Q

Art Historians ask the same questions whether their definition of art is narrow or inclusive.

A 
–How OLD is it?
–What is its STYLE?
–What is its SUBJECT?
–Who MADE it?
–Who PAID for it?
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10
Q

being defined as non-object, ephemeral

A

performance

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11
Q

Establish a Chronology through:

A

Physical Evidence
Documentary evidence
Visual evidence
Stylistic evidence

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12
Q

Materials – when used.

A

Physical evidence

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13
Q

Oil paint vs. tempera

A

Physical evidence

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14
Q

Methods of casting

A

Physical evidence

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15
Q

Bronze vs. Resin

A

Physical evidence

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16
Q

such as official records

A

Documentary evidence

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17
Q

the style of dress, furniture, hairstyle from a specific period.

A

Visual evidence

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18
Q

the art historian’s domain, but more subjective.

A

Stylistic evidence

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19
Q

Types of styles

A

Period style
Regional style
Personal style

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20
Q

Distinct time period, usually within a specific culture, but not all display uniformity.

A

Period style

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21
Q

Variations in Style tied to geography

A

Regional style

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22
Q

Ex. Italian vs. French Gothic.

A

Regional style

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23
Q

What is its subject?

A

The narrative
Subject
Iconography

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24
Q

people, time, place & story

A

The narrative

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25
Subject
Religious, Historical, Mythological, Genre, Portraiture, Landscape, Still Life.
26
Study of SYMBOLS:
Iconography Images that stand for other images or represent ideas. Ex: the Christian cross. Or scale of justice. –Attributes that a person may have.
27
``` Ex. 4 evangelists John-eagle Luke-ox Mark-lion Matthew- winged man . ```
Symbols
28
Who made it?
Signing and Dating •Personal Style •By Grouping Works: [may not even have a name.] –Can reconstruct careers this way •By “Schools” – chronological, geographical and stylistic similarity. Ex. School of Utrecht
29
Who paid for it?
Role of patron: Portraiture Church art
30
Augustus was always young 
Portraiture
31
Produced by monks
Church art
32
``` The presence of a __ reduces the role played by the artist’s personal style. ```
patron
33
The words art historian use
``` Form Material and Technique Line Color Terms Color triangle Texture Space/Mass/Volume Perspective Foreshortening Proportion Scale ```
34
[object’s shape & | structure]
Form
35
[how forms are organized]
Composition
36
medium, instrument & process
Material and technique
37
They are central to Art History analyses.
Form, Material & Technique
38
“path of a point moving in space”
Line
39
can have many qualities, cf. Durer
Line
40
It is a continuous line defining object’s outer shape.
contour line
41
It gives a color its name
Hue
42
–2 basic variables
Amount of life reflected and purity
43
A change in __ must produce a change in the other.
One
44
Value/Tonality | Intensity/Saturation
Term
45
[lightness/darkness]
Value/Tonality
46
brightness/dullness]
Intensity/Saturation
47
–Artist’s light is “__”
Subtractive
48
the __ reflect a segment of the spectrum, while absorbing the rest.
Pigments
49
Color Triangle:
Primary, Secondary & | Complementary Colors.
50
The quality of a surface that the light reveals.
Texture
51
Two kinds of texture
Actual | Represented
52
The texture of the artwork itself
Actual
53
The textures of the objects being represented
Represented
54
ACTUAL:
Van Gogh/Rembrandt [brush strokes-”impasto”] Texture: REPRESENTED: Van Dyck/Claesz/Tocqué
55
It is studying, understanding, and judging works of art.
Art criticism
56
The 2 images of the Maori chief remind us that:
Art Historians belong to a particular culture and cannot be completely objective. –Different cultural thought patterns will result in different ways of representation.
57
Different elements/aspects of a subject will be important in different cultures.
Gombrich | Art historians
58
defines representation as “giving no false information to a member of that culture” [cf. Ogata Korin landscape]
Gombrich
59
They do their best, but can never truly inhabit the other culture’s “mind.” [They share this limit with other fields such as anthropology]
Art Historians
60
__ selects and arranges the elements of nature and illuminates the un- meaningful.
Art
61
The Hierarchy of __
Arts
62
__ can make one believe that something which does not exist, exists.
Arts
63
Art is universal because it’s good.
Art is good because it’s universal.
64
The three principles of art are
unity, dominance and contrast.
65
On imitation,
tragedy vs. comedy
66
Texture: REPRESENTED:
Louis Tocqué | •Portrait of Marie Leczinska, wife of Louis XV.
67
Two kinds of SPACE:
Actual | Illusionistic
68
the space the object occupies
Actual
69
gives the "illusion" of the 3 dimensional spatial world on a 2 dimensional surface
ILLUSIONISTIC
70
these terms describe 3 dimensional space – the exterior and interior forms of a work of art.
Mass Volume Space
71
It is the bulk, density and/or weight
Mass
72
not necessarily solid
Mass
73
–would include pots, hollow sculptures, architectural shells.
Mass
74
It is the space that MASS organizes, divides & encloses.
VOLUME
75
The interaction of Mass/Volume.
Space
76
It is an important pictorial device for organizing forms in space
Perspective
77
Lorrain uses 3 kinds:
1. Size difference 2. Lines that converge beyond the structure 3. Blurring of distant objects .
78
•NOTE: All kinds of "perspective" are __ -- linked to a specific culture.
Pictorial conventions
79
He used none of the Western conventions.
Ogata Korin
80
He used different points of view for different objects.
Ogata Korin
81
–He was more concerned with the painting's composition than any Western conception of perspective.
Ogata Korin
82
``` Remember: One set of conventions is not "__" than the other; they just approach the problem of picture- making differently ```
better
83
Foreshortening
Rubens | Heshire
84
``` __ used foreshortening by representing bodies at an angle to the picture plane. ```
Rubens
85
In real life a body "__" when viewed at an angle.
Contracts
86
The use of ___ captures this illusion on the pictorial plane. [Note especially the gray horse on the left]
foreshortening
87
Art History is
Interdisciplinary | Multidisciplinary
88
Archival research is supplemented by methodologies from literary criticism, philosophy, sociology and gender studies,
Interdisciplinary
89
The Art Historian works with people from other disciplines such as chemistry, geology, x-ray technology.
Multidisciplinary
90
The Art Historian also offers their expertise to __, for example.
historians
91
Architectural drawings:
Beauvais Cathedral, France
92
a map of a floor
Plan
93
– across a structure’s width
Lateral section
94
the length of a structure
Longitudinal
95
It is SUBTRACTIVE
Carving
96
Casting from a hollow mold or building up clay on an armature is __.
Additives
97
It can be used for expressive purposes. 
Disproportion and Distortion
98
``` It can be used to focus attention on one part of the body or to single out the leader in a group. ```
Disproportion
99
Relationships in terms of size of part of persons, building or objects.
Proportion
100
Can be intuitive or mathematical. [Fibonacci/Corbusier]
Proportion
101
– In certain periods, “ideal” proportions for representing humans are “___” –
Canonized
102
Many “canons” are based on the Greek ideal of human beauty.
Ex. Michelangelo Unfinished Captive
103
No foreshortening used.
Hesire
104
Intent was to present body parts as clearly as possible.
Hesire
105
So different points of view present in the same work.
Hesire
106
Art for __
art’s sake.

Art Appreciation (2 decks)

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