ART 101 Mid-Term
Organic shapes
Shapes found in nature such as leaves, flowers, seashells. These shapes are free flowing and irregular.
Line/Line Types
Slides: "A line is a path traced by amoving point" Book: a mark, or implied mark, between two endpoints
Modeling
Slides: 1. In a sculpture, manipulating a plastic material such as clay or wax to create a form. 2. In figurative drawing, painting, and printmaking, simulating the efficts of light and shadow in order to portray optically convincing masses. (Primarily a charachterisitc of art from the renaissance onward in the West, prior to that there was no sense of a source of light or consistency in how it was reflected from subjects) Book: the representation of three-dimensional objects in two dimensions so that they appear solid
Mass
Slides: 3D form, often implying bulk, density, and weight. (Volume and Mass can be used interchangeably) Book: a volume that has, or gives the illusion of having, weight, density, and bulk
Representational
Slides: Descriptive of a work of art that depicts forms in the natural world. Therefore a work of art can be both representational and abstract. Book: art that depicts figures and objects so that we recognize what is represented
Naturalism
Slides: Descriptive of an approach to portraying the visible world that emphasizes the objective observation and accurate imitation of appearances. Naturalistic art closely resembles the forms it portrays. (The terms naturalism and realism are often used interchangeably, and both terms have a complicated history) Book: a very realistic or lifelike style of making images
Abstract
Slides: Descriptive of art in which the forms of the visual world are purposefully simplified, fragmented, or otherwise distorted. Book: (1) art imagery that departs from recognizable images of the natural world; (2) an artwork the form of which is simplified, distorted, or exaggerated in appearance
Nonrepresentation, nonobjective
Slides: Descriptive of art that does not represent or otherwise refer to the visible world outside of itself (aka no subject). This form is purely subjective, and presents no specifically recognizable likeness Book: art that does not depict a recognizable subject.
Stylized
Slides: Descriptive of representational art in which methods for depeicting forms have become standardized, and can thus be repeated without further observation of the real-world model. Book: art that represents objects in an exaggerated way to emphasize certain aspects of the object
Subject, Subject Matter
Slides: In representational or abstract art, the objects or events depicted. Book: the person, object, or space depicted in a work of art
Chiaroscuro
Slides: Italian for "light-dark" In 2D representational art, the technique of using values to record light and shadow, especially as they provide information about 3D form. It is the gradual shifting from light to dark through a successive gradation of tones across a curved surface. By use of many gradations of value, objects portrayed on a flat surface can be given a rounded, 3D appearance. Book: the use of light and dark in a painting to create the impression of volume
Volume
Slides: Similar to mass, a 3D form implying bulk, density, and weight; but also a void or empty, enclosed space. May be implied or "the illusion of mass/volume when on a 2D surface." (Volume and mass can be used interchangeably) Book: the space filled or enclosed by a three-dimensional figure or object
Value
Slides: The relative lightness or darkness of a hue, or of a neutral varying from white to black. Book: the lightness or darkness of a plane or area
Foreshortening
Slides: The visual phenomenon whereby an elongated object projecting toward or away from a viewer appears shorter than its actual length, as though compressed. When the object is in oblique view, foreshortening is diminishing the sieze of parts of the object that recede away from the viewer. Book: a perspective technique that depicts a form—often distorting or reducing it—at an angle that is not parallel to the picture plane, in order to convey the illusion of depth
Isometric perspective
Slides: Uses diagonal lines to convey recession, but parallel lines do not converge. It is principally used in East Asian art, which is not based in a fixed viewpoint. Book: a system using diagonal parallel lines to communicate depth
Context
Slides: What a work of art is about, its subject matter as interpreted by a viewer Book: Circumstances surrounding the creation of a work of art, including historical events, social conditions, biographical facts about the artist, and his or her intentions (Circumstances, place, time, etc.)
Content
Slides: What a work of art is about, its subject matter as interpreted by a viewer (What the work of art expresses about its subject as a fusion of medium, subject, elements, and form) Book: the meaning, message, or feeling expressed in a work of art
Shape
Slides: a 2D area having identifiable boundaries, created by lines, color or value changes, or some combination of these. Broadly, form. (Organic and Geometric) Book: a 2D area, the boundaries of which are defined by lines or suggested by changes in color or value
Linear perspective
Slides: a system for portraying the visual impression of 3D space and objects in it on a 2D surface. Based on the observation that parallel lines appear to converge as they recede form the viewer, finally meeting at a vanishing point on the horizon. "A system...that...allows the picture plane to function as a window through which a specific scene is presented to the viewer" - Henry Sayre Key Individual: Filippo Brunelleschi Book: a system using converging imaginary sight lines to create the illusion of depth
Tenebrism
Slides: from the italian tenebroso, meaning "murky", unnaturally bright highlights contrasted with unnaturally dark shadows. Key individual: Caravaggio Book: dramatic use of intense darkness and light to heighten the impact of a painting
Stylization
Slides: representation that conforms to a present style of set of conventions (abstract in form) By definition stylization is a kind of abstraction
Form
Slides: the physical appearance of a work of art - its materials, style, and composition Book: an object that can be defined in three dimensions (height, width, and depth)
Formal order
Slides: the way in which the elements are organized into a coherent expression Book: in art, refers to the visual elements and principles in a work "Formal order/composition" way the art is organized
Abstraction
Slides: to alter the visible world in some way, possibly through simplification or exaggeration; there are many levels of abstraction from low to high Book: the degree to which an image is altered from an easily recognizable subject
Space conventions
Suggest space through convention rather than illusion. We understand what the artist implies, but space does not look like it does in the real world. (Overlap, placement, size-diminution)
Space illusions
Suggest space through the creation of visual illusions. The intersection of art and science in the Renaissance finds many artists intent on creating a pictorial window which implies that the picture plane is an opening to another space.
Iconography
The identification, description, and interpretation of subject matter in art, including symbols
Organizational line
The line that provides the structure and basic organization for a drawing. Also called indicative or directional line.
Contour
The perceived edges of a 3D from such as the human body.
Geometric shapes
This style of shape is made with connecting lines and has recognizable geometry. Squares, rectangles, circles, triangles and crosses
Realism/Representational
To present the visible world in such a way that we recognize the likeness; truthfulness to appearances: trompe l'oeil, naturalism, idealism
Vanitas
a genre of painting that emphasizes the transient nature of earthly materials and beauty; often seen in still-life painting
Implied line
a line not actually drawn but suggested by elements in the work In representational art, the same directional cues we follow in life can create these (such as gazes)
Negative
a reversed image, in which light areas are dark and dark areas are light (opposite of a positive)
Continuous narrative
a work of art that contains several scenes of the same story painted or sculpted in a single frame
Trompe I'oeil
an extreme kind of illusion meant to deceive the viewer that the objects included are real
Positive
an image in which light areas are light and dark areas are dark (opposite of a negative)
negative space (ground)
an unoccupied or empty space that is created after positive shapes are positioned in a work of art
Line quality - shape, size, orientation, continuity
calligraphic, autographic, organizational, expressive, analytic/classical, implied, directional, contour/outline
Calligraphic line
derived from the Greek words for beautiful and writing, a flowing and expressive line that is as personal as handwriting. Calligraphic lines generally vary in thickness and velocity.
Idealism
elevating depictions of nature to achieve more beautiful, harmonious, and perfect depictions
Sublime
feeling of awe or terror, provoked by the experience of limitless nature and the awareness of the smallness of an individual
Figure-ground: reversal/ambiguity
is a visual phenomenon where the perception of a meaningful object, the figure, and a shape- less background, the ground, is not constant in an image, and can reverse spontaneously Slides: the reversal of the relationship between one shape (the figure) and its background (the ground), so that the figure becomes background and the ground becomes the figure
Analytic (classical) line
line that follows a linear, geometrical, or precise line. Horizontal, vertical, or angled lines are the most common example.
Realism
nineteenth-century artistic style that aimed to depict nature and everyday subjects in an unidealized manner. "Realism" is also used to describe a historical movement from the same period, which tried to achieve social change and equality by highlighting, in art and literature, the predicament of the poor
Medium (plural media)
the material on or from which an artist chooses to make a work of art
Points of view
the perspective from which a story is told
Positive and negative
the relationship between contrasting opposites
Iconographic Analysis
the study of art by interpreting symbols, themes, and subject matter as sources of meaning
Relief
(1) a raised form on a largely flat background. For example, the design on a coin is "in relief"; (2) a print process where the inked image is higher than the non-printing areas
Describe the following image: Duane Hanson, "Housepainter III", 1984/1988, Autobody filler, polychromed, mixed media, with accessories, life-size
- Took 4 years to make because of the attention to detail applied -Takes realism to a new level, definitely could be called Trome I'oel -Duane Hanson intentionally pics subjects that you could find anywhere. -His subjects are depicted as realistically as possible (height, skin texture, hair, wrinkles, sweat) and the placement of them at his art shows is equally important. -Because of his subject choice, he's able to avoid adding any amount of idealism, and instead focuses on how to make each piece as life-like as possible -Both Trompe I'oel and naturalism, including the materials surrounding the pieces, such as rugs, trash cans, or in this example paint
Describe the following image: Mel Bochner, Vertigo, 1982, Charcoal, conte crayon, and pastel on canvas, 9' x 6'2", Albright-Knox Art Gallery, Buffalo, NY
-Appears to be non-objective, although that doesn't mean there wasn't inspiration for the design -uses both direct and implied lines, as most lines overlap each other at one or multiple points -geometric lines and mixed media -multiple viewing paths to follow to engage people looking at the piece
Describe the following image: Raphael, "The School of Athens", 1510-11, Fresco, 26'x18', Stanze Della Segnatura, Vatican
-At the time historical art (depicting biblical, mythological, or historical subjects was at the top of the order of importance in art -Represents the marriage of art, philosophy, and science during the renaissance, which means rebirth. Raphael shows himself in the far bottom right of the image to show that he considered himself a part of this group, and also as a signature. -Uses linear perspective to create the illusion of depth, not quite Trome I'oel -Aristotle (right) and Plato (left) are in the center of the painting, and Plato is pointing up to draw attention to the the sense of realism in the arches of the building and sky in the background. This also leads your eye to the top of the painting which then follows the large prominent arch in the foreground back down to the other people in the painting. -Example of continuous narrative
Describe the following image: Lorenzo Ghiberti, Story of Jacob and Esau, from the Gates of Paradise, third set of doors for Florence Baptisery, 1435, Gilt bronze, 31 1/4" square, Museo dell'Opera del Duomo, Florence
-Ghiberti cast this as a single sculpture which he was consistent at, won the contest for the "sacrifice of Isaac" partly because of this -the relief technique used provided light and shadows to reflect off the subjects creating a sense of depth -highly esteemed for his ability to sculpt with a sense of realism without the need for color using foreshortening and contrast
Describe the following image: Hans Holbein the Younger, The Ambassadors, 1533, oil on panel, 6'9 1/2" x 6'10 1/2", National Gallery, London.
-Hans Holbein was a painter for King Henry VIII, known for his ability to add to the realism of a painting using visual texture (seen on coat fur, drapes, etc) -Skull in the middle is anamorphic art or stretched perspective, meaning that it comes into perspective when you view the art at a very specific angle, very trendy during this time period -potentially idealism over realism
Describe the following image: James Allen, The Connectors, 1934, Etching, 12 7/8 x 9 7/8"
-Made up of mostly analytical or classical and organizational lines which are diagonal, but frame the use of thirds, and define the perspective -The diagonal lines are slightly skewed which could be defined as expressive lines. They add a sense of height and instability to engage the viewer in the activity being performed -use of intalio or etching (referring to acid eating materials) on a metal plate, which is in example of printmaking
Describe the following image: Artemisia Gentileschi, Judith and Maidservant with Head of Holofernes, 1625, oils, 6'1/2" x 4'7 3/4"
-Uses Tenebrism or unrealistic/unnatural bright highlighted contrasted dramatically with dark shadows -Completed in the Baroque (17th century) which was a time period that had a flare for drama -tells the story of a maidservant trying to high the head of holofernes with Judith, that gives the feeling of being caught -although the contrast between light and dark is dramatic, the direction of light is consistent, and it is technically non-chiaroscuro, there is still a strong sense of realism provided by the applied shadows and consistency in the direction of light
Describe the following image: Jan Van Eyck, "The Arnolfini Portrait", 1434, Oil on Canvas
-Uses iconography, which in this example is almost more important than the subject matter -Some theorize that this painting is a document of a wedding ceremony -Also a self portrait as you can see the painter in the mirror -Literal autographic line in the form of the artist's signature "Van Ike was here" above the mirror -Expired candle on the side of the bride indicate that she may be dead, as opposed to the single lit candle above the husband -You can see that there is no dog in the mirror, which indicates that it was placed there afterwards, a common technique at this time -Shoes bottom left, means they are standing on holy ground, her shoes are placed much farther in the background
Describe the following image: Abelardo Morell, Camera Obscura Image of the Pantheon in the Hotel des Grands Hommes, 1999, Gelatin silver print, 20x24.
-although this image was created in modern times, it reflects the earliest uses of photography from the 16th & 17th century (concept technically dates back to 5th century BCE China) -created by turning the entire room into a camera obscura -did this by blacking out all of the windows to remove any form of light, then cutting a small hole in one of the blackout canvases, which reflects the outside image of the Pantheon into the hotel room -balanced composition, filling the rule of thirds, and avoiding non-aesthetic tangents
Describe the following image: Constantin Brancusi, "Bird in Space", 1925, White marble, height 5' 11 5/8"
-artist was very controlling over how people viewed his art, and almost always made his own display pedastools -you could argue that this piece of art could easily be classified as non-representational or non-objective if you didn't know the title -knowing the title, we can see similarities between the sculpture and a bird in flight, such as the vertical presence and aerodynamic design of it -This piece was so controversial/misunderstood, that it started the trial of 1927, after it was mistaken as something other than art by customs. The court eventually ruled in favor of Brancusi by saying that "intent" makes something art. Changed the definition of sculpture in the dictionary -part of a set made of different materials, that adds more context to the piece
Describe the following image: Hathor and Sety, Detail of a pillar from the tomb of Sety I, Egypt, 1300 BCE, Painted plaster on limestone, height 7'5"
-example of sculptural relief, in some areas Bas or Low relief -subjects are facing sideways and forwards at the same time, known as a composite pose or combined view -The subjects are Hathor and Sety, a god and goddess during Egyptian times -after the limestone was carved using sculptural relief, it was painted, common for these times -completed before the time of Amenhotep IV who radically transformed their world politically and culturally, he also transformed the style of art to include more of a sense of naturalism or much more gestural -Later on these pieces were made in a similar fashion to Hathor and Sety, meaning that mostly rulers, gods and goddesses were depicted in composite view
Describe the following image: Masaccio, The Tribute Money, 1427, Fresco, Santa Maria del Carmine, Florence
-one of the pieces painted in a very small chapel in Florence, Italy, the walls are filled with fresco style images that cover almost all of the walls completely, each image tells a story -Attempt at chiaroscuro using light and shadows, although it wasn't completed with genuine realism for multiple reasons -There isn't a clear sense of light direction or shadow except for in a couple of places in the painting, but there were small details that indicated the attempt at it (halos are physical disks above subjects heads, light and shadow near the entrance of the building far right, blue-grey affect as the mountains/horizon move further away) -Continuous or simultaneous narrative, meaning that there are multiple stories, even repeated subjects on one picture plane. -Story of the Roman tax collector with people depicted in multiple narratives
Describe the following image: Eugene Delacroix, Liberty Leading the People, 1830, oil on canvas, 8'6" x 10'10", Musee du Louvre
-pyramidal composition (anchors the composition and creates depth) -Bottom made up of the dead bodies, flag and musket makeup the top -tenebrism style
Describe the following image: Audrey Flack, "Marilyn Monroe", 1977, Oil over acrylic on canvas
-vanitas themed - dwelling on the morbidity or lifespan of things and eve people, that's why you'll commonly see things like flowers or fruit to represent the fragility and expiration of such items -Audrey Flack was a part of a realism movement that came back in the late 1960's-70's. Some of her other images are more realistic than this painting. - Marilyn Monroe does not have much makeup on in the picture, but her reflections shows the colors on her hair and appearance of applying lipstic
Elements of Chiaroscuro
1. Highlights: areas closest to the source reflecting greatest amount of light. 2. Gradual darkening of color to make the transition from light to dark. 3. Shadow: indicating distance from the source or blocked light. 4. Cast shadow: where light is blocked from surrounding objects or space
Shape versus Mass
2D vs 3D
Expressive line
A kind of line that seems to spring directly from the artist's emotions or feelings-loose, gestural, and energetic- epitomized by curvilinear forms.
Contour line
A line inside the outline, which describes 3D details about the object's surface. May be direct or implied. Lines used to indicate these perceived edges in 2D art.
Directional/Direct line
A line made by directl drawing, carving, painting or otherwise executing it on the surface of the artwork. Deliberate, and the result of a distinct mark on a surface. Directional when they create movement.
Overlapping
A technique in which the artist creates the illusion of depth by placing one object in front of another.
Auto graphic line
Any use of line that is distinct to the artist who employs it and is therefore recognizable as a kind of "signature" style
Outline
Describes the outer edge or silhouette of the object, separates the object from its background. May be direct or implied. Defines a 2D shape.
Contextual/Extrinsic Analysis
Description of how the artwork fits into and impacts on the world around it
Describe the following image: Caravaggio, The Calling of St. Matthew, 1599-1600, oil on canvas, 11'1" x 11'5".
Dramatic and beautiful effects can be achieved through the use of chiaroscuro, especially if it is exaggerated. The Calling of St. Matthew by the Italian artist Caravaggio (1571-1610) uses strongly contrasting values to convert a quiet gathering into a pivotal and powerful event (1.3.6). This extreme type of chiaroscuro, often referred to as tenebrism, relies on a single light source and broad areas of darkness or shadow. The intense difference between lights and darks places extra emphasis on Christ's hand as he singles out Matthew, who points to himself in response. The light also frames Matthew and highlights the surprised looks of the others in the room as he is called to become one of Christ's disciples.
Texture: impasto
From the italian for "paste", a thick application of paint (adds a level of relief)
Bochner used _____________ line in the work Vertigo because it is controlled and measured. A. Directional B. Implied C. Irregular D. Organic E. Geometric
Geometric
Positive and negative shapes
In pictures, positive shapes are the figures and negative shapes make up the ground
Natural light
Light that is not man-made and comes from the sun
Texture: actual texture
Literally tactile, a quality we could experience through touch
Compositional shapes
Most commonly a triangle form that anchors the composition or creates depth, known as Pyramidal Compositions
Mel Bochner's Vertigo uses a/an __________________ form of representation. A. Abstract B. Objective C. Representational D. Non-representational E. None of the Above
Non-Representational
A shape on a picture plane that is defined by surrounding empty space is known as a ___________ shape.
Positive
Intrinsic Analysis
Refers to a value that the art has "in itself" or "for its own sake"
Artificial light
Refers to light produced by electricity as opposed to a Natural source such as the sun.
Texture: visual/simulated texture
Refers to the illusion of various textures in flat drawings and paintings
Forms of Representation
Representational, Realism, Naturalism, Idealism, Trompe I'oeil, Abstract, Stylization, nonrepresentation/nonobjective
M.C. Escher's Day and Night is an example of figure-ground ________________. A. Space B. Negative C. Resolution D. Reversal
Reversal
Relief - in sculpture
Sculpture in which figures are attached to a background and project from it to some degree- bas, haut, and sunken
