Quiz 1

Analogous Colors

colors that lie next to one another on the color wheel and share qualities of hue as a result of the mixture of adjacent hues - harmonious hues

Expressionistic Art

emphasizing the distortion of color and form to achieve an emotional impact art that puts a premium on expressing emotions - painters and sculptors communicated emotion by including distortion, aggressively stylized forms, violent and evocative color combinations, or a combination of these in a highly personal fashion - tend to favor asymmetrical compositions and often rely on diagonal axes, as does textured surfaces and thick paint application signal an expressive style - The Tempest : Oskar Kokoschka

Cross-Hatching

technique in which two series of parallel lines crisscross on top of one another

Shade

the degree of darkness of a color determined by the extent of its mixture with black

Pictorial Balance

the distribution of the apparent or visual weight of elements in dimensional works of art - contrast with actual balence

Balance

the distribution of the weight of the actual or apparent weight of the elements basic principle of art and is a visual interpretation of gravity in the artwork - balance is dependent upon the positioning of the visual elements (lines, shapes, colors, textures) and how they are arranged in terms of the distribution of the their weight within a composition - an energetically drawn area likewise draws the eye more than a delicate one, and strong contrast has more impact than low contrast

Stippling

using a pattern of dots that thickens and things - areas where the dots are thicker are darter and create the illusion of being more shaded

Realistic/Realism Art

"Realism" = a specific school of art "realism" = a style of art that is painted in a realistic way; the art generally contains recognizable imagery that is portrayed very much as seen in nature - realistic art portrays people and objects as they really are, without distortion * candid and depicts unadulterated reality

Tangled Fall

Elizabeth Murray (Fig. 2-21, pg 40)

Tar Beach

Faith Ringgold (Fig.1-28, pg.17)

American Gothic

Grant Wood (Fig. 4-9, pg. 97) - two sober models depicted as Iowa farmers are actually the artist's sister, Nan and his dentist - Wood positions his models in front of a neat house with a small lancet/pointed window, typically found on Gothic architecture, and from which the painting gets its title - man appears in worn overalls, while the woman wears an apron trimmed with rickrack. the dour expression on both faces gives the painting a severe quality - both figures and the house are painted realistically, Wood's meticulous attention to detail reveals the wrinkles, the loose skin on the farmer's face, and the pouty expression of the woman. Wood has not tried to glamorize these figures. Depicted them as they really were, wrinkles and all

Eclipse

Jaune Quick Too See Smith (Fig.1-28, pg. 16)

Number 14: Gray

Jackson Pollock (Fig 2-2, pg 29) - expresses forceful and gestural lines that are loose and fluid that seems to exude passion. - his lines weave, overlap and swell, their is a sense of movement. His work suggest the presence of a plan. The Presence of a human being weaving elegantly through the complexities of thought and life.

Gift Wrapped Doll #19

James Rosenquist (Fig. 2-21, pg. 55)

Death of a Loyalist Soldier

Robert Capa (Fig. 3-17, pg. 79)

Pure/Formal Balance

a concept of aesthetic composition involving equal weight and importance on both sides of a composition.

Content

all that is contained in a work of art - the visual elements, subject matter, and underlying meaning or themes

Atmospheric Perspective

an illusion of depth created through grades of texture and brightness, color saturation, and warm and cool colors - an indistinct or hazy effect produced by distance and the illusion of distance in visual or art

Bilateral Balance

bilateral symmetry - everything in a composition to either side of an actual or imaginary line is the same

Actual Line

can be distinguished from implied line, the points in an actual line are connected and continuous

Modeling

on a two-dimensional surface is the creation of the illusion of roundness or three dimensions through the use of light and shadow shading is representing by a pattern of dots - the closer the dots the darker the area appears - the shading gives the viewer the illusion of 3D

Texture

the surface character of material as experienced by the sense of touch

Representational Art

the work represents natural objects in recognizable, though not realistic, form

Trompe l'oeil Chiaroscuro

"trick the eye"

Asymmetrical Balance

- Has two sides that do not match, but yet are balanced. For the composition to be perceived as balanced, then the visual weight in the two halves much be very similar

Line

- Line can define shape. A line has both length and width. They also have direction: horizontal, vertical, diagonal, curved, meandering, zigzagged, or straight. - line may also be perceived as expressive, delicate, tentative, elegant, assertive, forceful or even brutal - the most basic element and is a tool of infinte variety.

Contrapposto

- a position in which a figure is obliquely balanced around a central vertical axis

Canon of Proportion / Golden Mean

- a set of rules about body parts and their dimensions relative to one another that became the standard for creating the ideal figure - a set of standard principles - proportioning can easily be exemplified in numbers: the geometric progression 1, 2, 4, 8 has the obvious similarity factor that the ratio 1:2 is maintained throughout - a proportion that has fascinated many artists and architects since its discovery by the ancient Greeks is the ration known as the golden mean

Linear Perspective

- a system of organizing space in two-dimensional media in which lines that are in reality parallel and horizontal are represented as converging diagonals - the method is based on foreshortening, in which the space between the lines grows smaller until it disappears, just as objects appear to grow smaller as they become more distant.

Visual Elements

- are the elements from which a painting is constructed and are the elements that we perceive and respond to when we look at the work;s form. * line * shape * light * value * color * texture * space * time * motion - are used in art for expression, and to communicate feelings. - elements, such as a line, shape, color, texture, that are used by artists to create imagery

Kinetic Art

- art that moves, such as a mobile

Ways to create depth/texture

- artists may use stippling, hatching, cross-hatching, and contour hatching as ways not only create texture but also depth

Outline

- can define shapes and also can areas of color or value changes

Balance

- color also has visual weight. Brightly colored objects hold more weight than pastel colors, particularly the color red holds a lot of weight - highly saturated colors of busily detailed areas will draw attention and, therefore seem to carry more weight than less saturated colors or visually simpler areas - you can balance designs in three ways: symmetrical balance, asymmetrical balance and imbaleance

Implied Line

- completed by the viewer and can be used as an organizational device of a composition - can see implied lines in the movements and glances of figures in a composition

Suggest movement by using lines

- horizontal lines suggest stability -vertical lines defy gravity and suggest assertiveness - diagonal lines are often used to imply movement of the breath

Value

- one of the seven elements of art - Value deals directly to light. We see things because light reflects off of objects and goes into our eyes. Our mind processes the light and rationalizes what we are seeing. Without light, we cannot see anything. In order to draw or paint in a way that creates an illusion of what we normally see, we must fully understand light and how it reacts on surfaces. Value is the key to the illusion of light. This is why value is so incredibly important to drawing and painting.

Primary Colors

- red, blue or yellow that is not obtained by mixing other hues - other colors are derived from primary colors

Stippling

- shading is representing by a pattern of dots - the closer the dots the darker the area appears - the shading gives the viewer the illusion of 3D

Principles of Design

- some people have a better grasp of the principles of design and how to apply them in everyday situations - The principles of design are a natural part of perception. Artists usually are very aware of them because they have trained themselves to be aware - these principles explain systematically our sense of 'rightness' and help to show why certain designs work better than others - they offer guidelines for making the most effective choices

Imbalance

- suggest motion or action. Imbalance can make people uncomfortable or uneasy - if it is the artist's intent to make the viewer uncomfortable or make people think, an imbalanced composition can work well * Spanish Civil War - Robert Capa 1939

Saturation

- the degree of purity of hue measured by its intensity or brightness

Tint

- the lightness of a color as determined by the extent of its mixture with white

Scale/Hierarchical Scale

- the relative size of an object compared to other objects, the setting or object - size relationship of objects to each other, to their surroundings, and often to human size - scale is the size of something in relation to what is standard or 'normal' size. Normal size is the size we expect something to be

Unity & Variety

- unity and variety; balance; emphasis and focal point; rhythm, scale and proportion - a work of art achieves unity when its parts seem necessary to the composition. Unity is a sense of oneness, of things belonging together and making up a coherent whole. -Variety provides interest. We discuss them together because the two generally coexist in work of art. - Although unity is a tradition objective in art, many contemporary artists have departed from tradition to create works that do not look or feel unified

Intentional distortion of scale

- used to provoke viewers to look and think more carefully about what is being said by an artwork

Four Marilyns

Andy Warhol (Fig. 1-9, p. 7) - Pop art impels us to cast a more critical eye on the symbols of objects with which we surround ourselves - In weeks following the movie star's death in August 1962 he was trying to tell us something more than what the pubiclity photo showed. He was trying to reveal that the public did not know the real Norma Jean Baker. His work also sheds light on our consumer culture. - He has arranged her lined up in multiplies, which suggests that we was commenting on the way in which she has been packaged and sold during her life as well as her death. The repetition of Monroe's face reinforces her status as a consumer product. - She remains a consumer product even today as many objects, from posters, books and handbags, containing her image, can be found in numerous shops

Saturday Night

Archibald J. Motely Jr. ( Fig. 3-2, pg. 71) - depicting a variety of captivating characters from seated patrons, to the waiters balancing their orders on tottering trays, to the curvaceous woman in the re feathered costume - Motley achieved unity in this work through color, and repetition of shape. Use of color to unify a composition often revolves around repetition of a certain color theme - has a limited color palette; he chooses only a few non-contrasting hues, and combined them with neutral whites, browns, grays, and blacks. The viewer's eye leaps from patches of black to black and from white to white, which leads our eye from the foreground through to the back - the result is coherent because nothing pulls away from the central reddish-pink color that produces a warm, energetic glow over the nightclub. His use of color also sets a certain mood, one of exhilaration, excitement and sophistication - he creates variety by the use of shapes and patterns actively within the composition. He has repeated the curving lines of arched bodies that is seen in the man in the front who is leaning sideways in his chair. The curves are echoed in the bowed body of the dancer, and the waiter and musician seen in the background

Lucas II

Chuck Close (Fig. 3-19, pg. 80) - close draws our attention to this single point, the focal point of his artwork, by creating concentric splotches of brightly colored circles within little squares - he arranged them along radical diagonal lines, that act as directional lines, which coverage toward the center and meet at a single point right between Lucas's eyes. - the artist use more intense and saturated colors toward the center of the face - the entire face is the emphasis, as everything within the face draws our attention or emphasize the focal point, which is directly between the eyes

The Dinner Party

Judy Chicago (Fig. 1-10, pg. 8) - A pioneer of the Feminist Art movement, Chicago is one of the most influential artists of our time. Her monumental installation The Dinner Party has become an icon of the 20th century. - The Dinner Party was executed with the help of hundreds of women and several men. Arranged around a triangular table are 39 place settings, each one created in honor of an influential woman such as the Egyptian ruler Hatshepsut, artist Georgia O'Keefe, and the novelists Virginia Woolf and Emily Dickinson. - The names of additional 999 important women are written on the porcelain women are written on the porcelain tiled floor. By using such craft techniques as ceramics, weaving, needlepoint, and embroidery, Chicago demanded artistic equality for occupations that had long been considered "women's work". - The Dinner Party honors majority of women that had been limited to craft expressive outlets - the 13 places on each side of the triangle intentionally invoke the seating arrangement of Leonardo's The Last Supper, a central work in the history of Western art, and one that depicts and all-male gathering.

Forget It! Forget Me!

Roy Lichtenstein (Fig. 4-2, pg. 92) - his translated comic-book images with their simple graphic black outlines and flat colors into his paintings - his signature mark is the Benday dots - used the dots in his paintings to convey tone, shading and form, yet unlike the mechanically printed original comics - measure 6.5 by 5.5 feet therefore, when we see a large comic-strip painting on a gallery or art museum wall it is his * representational

Style

a characteristic manner or mode of artistic expression or design - handling of distinctive elements and particular media throughout the various artistic periods associated with the work of an individual artist, a school or movement of a specific culture or time period - every work of art and architecture has a set of characteristics special to it. Style is this particular combination of characteristics EX. in a work of granite sculpture, one element of style will be the way the stone is cut and finished - distinguishing characteristics of one artist work * artists can develop unique, personal styles - are not static, but evolve due through circumstances such as changes in religion, historical events such as war and contact with other cultures through trade or colonization

Mass

a large area of one form or color - in three dimensional art, the built of an object - terms mass and volume tend to be used interchangeably in speaking about three-dimensional arts such as sculpture and architecture - Mass is a solid form that takes up real space. Volume takes up space, but may contain space as well, as a building does. Mass is always solid; volume can be both solid and hollow

Iconography

a set of conventional meanings attached to images - as an artistic approach representation or illustration that uses the visual conventions and symbols of a culture

Impasto

application of a medium such as oil or acrylic paint so that an actual texture is built up on a suface

Contour Line

are created by the edges of things - perceived when three-dimensional shapes curve back into space

Nonobjective Art

art that does not portray figures or objects; art without real models or subject matter does not make any reference whatsoever to nature or reality - relies instead on formal elements (the visual elements, design principles) to carry its message - developed from the search for art's essence - contains imagery that is completely generated in the mind of the artist - nonobjective implies that the work does not depict, or claim to depict, real figures or objects - is not derived from nature nor is it intended to make any reference to reality

Abstract Art

can be derived from an actual object, and it can give visual form to something essentially non-visual, like emotions or sensations - does not attempt to represent the true appearance of objects, and could be said to be the reduction of natural forms to their essentials, or the combination of shapes, lines, and colors divorced from representational intent and created for their own sake - may or may not be recognizable, but it has been derived from reality by distorting, enlarging, and/or dissecting objects or figures from nature

Hue

color; the distinctive characteristics of a color that enable us to label it and assign it a place in the visible spectrum

Overlapping

nearby objects are placed in front of more distant objects, they obscure part or all of the distant objects

Cross-hatching

similar to hatching but as the name implies, a series of lines run in different directions and cross one another - technique in which two series of parallel lines crisscross on top of one another

Complementary Colors

specific pairs of colors the most enhance, or exaggerate, one another by virtue of their simultaneous contrast - each pair of complementary colors contains one primary color plus the secondary color made by mixing the two other primaries - the eye readily tells them apart - when complementary colors are placed next to one another, the effects are often jarring

Symmetrical Balance

the implied center of gravity is the vertical axis, which can be viewed as an imaginary line drawn down the center of the composition - forms on either side of the axis, the line, correspond to one another in size, shape and placement - sometimes the symmetry is so perfect that the two sides of a composition are mirror images of one another. The correspondence is very close but not exact - achieved by placing elements in a very even fashion in the design (whatever is on the left is also on the right) - centering is the easiest way to get a symmetrically balanced composition. It can be difficult to create a centered design that doesn't look flat or boring. * Proportion of the Human Figure

Volume

the mass or bulk of a three-dimensional work - the amount of space such a work contains - terms mass and volume tend to be used interchangeably in speaking about three-dimensional arts such as sculpture and architecture - Mass is a solid form that takes up real space. Volume takes up space, but may contain space as well, as a building does. Mass is always solid; volume can be both solid and hollow

Form

the totality of what the viewer sees in a work of art - a product of the composition of visual elements

Hatching

using a series of closely spaced parallel lines to achieve a similar effect