ARH 151: Exam 2

Elizabeth Catlett, Sharecropper, 1968

Stippling and hatching, subtle contours can be created with directional changes in hatched lines, they convey the gaunt ad wearied countenance of a life of labor

Dorothea Rockburne, Pascal's Provincial Letters, 1987

Study of pure form, explores the interplay of precisely rendered geometric shapes using overlapping and transparency, rectilinear

Salvador Dali, The Persistence of Memory, 1931

Surrealist artist- blend of reality and dreamlike qualities, time never stops but our memory persists

Paul Gauguin, Laundresses at Arles, 1888

The positive and negative shapes coexist, shifting and changing positions in an ambiguous space, bright background and 2-D figures

Daniel Libeskind, Extension of the Berlin Museum, Berlin Germany, 1989-1996

The structure a building is its content, dedicated to Jewish art and life and the memory of the Holocaust, in the shape of a lightning bolt ("bolt out of the blue"), catastrophic event that the Jews had no way of preparing for

Wassily Kandinsky, composition VI, 1913

The subject is hard to derive, expressionist painter, abstract, relationship of visual art and music

A Rubin Vase by Gestalt psychologist

The tendency of the eye and brain to shift focus when figure and ground are ambiguous, when the viewer focuses on the black area (positive shape) a pedestal vas appears, when the eye focuses on the negative shape 2 facing profiles appear

Sam Gilliam, Swing 64, 1964

Thick lines of color alternate with white lines, cutting across the canvas on a diagonal and then sharply shifting direction at a right angle, the visual potency of actual line

Vincent van Gogh, Starry Night, 1889

Turbulence in the wind, see brushstrokes, view from his window, turmoil

Gerrit Rietveld, Schroder House, Ultrecht, Netherlands, 1924

Volume described the space within the areas or rooms of the house, minimalistic

Alma Woodsey Thomas, Light Blue Nursey, 1968

We perceive discontinuous lines as continuous is an example of implied lines

Edgar Degas, The Laundresses (The Ironing), c. 1874-1876

Women are clearly the figures and the ochre-colored backdrop is the ground

genre

a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.

realism

a replication through artistic means of people and things as they are seen by our eye without idealization or distortion

chiaroscuro

a technique in which subtle gradation of value creates the illusion of rounded 3-D shapes in space, modeling

tenebrism

a values pattern characterized by abrupt and dramatic juxtapositions of light and dark, mimics the effects of a harsh spotlight emanating from a single light source

outline

an actual line that defines a boundary of an object or a figure

formalism

an approach to art criticism that concentrates primarily on the elements and design of works of art

emphasis

an attention-grabbing aspect that directs the viewer's eyes

space, time and motion

area around or within the components of a work of art; open and closed space, shallow space, actual space, illusion of 3-D space on 2-D surfaces; motion can be actual or implied

additive/subtractive colors

color created by mixing light/ created by mixing pigments, dyes, and inks

local/ optical/ arbitrary color

color that we typically associate with the natural appearance of things/ when artist simulate the visual effects of different lighting conditions and their effects on the objects/ doe not accurately reflect the visible reality of things

visible spectrum

colors of the rainbow, Isaac Newton did an experiment with a prism in a dark room to show the range of colors

variety

contrast and diversity, juxtaposing

value contrast/ pattern

degree of difference between shades of gray, imagery with high value contrast is easier to perceive/ describes the variation in light and dark within a work of art and the ways in which they are arranged within a composition

crosshatching/ stippling

dense patterns of crisscrossed lines create a sense of volume in shapes that might otherwise appear flat/ dense pattern of dots

Edvard Munch, The Scream, 1893

different style, turmoil and terror, red sky, attempt at visual representing an auditory sensation

abstract art/non-objective art

difficult to decipher because it no longer fully resembles the original thing or scene/ may make no reference whatsoever to the natural world

balance

distribution of weight, physical stability or a sense of equilibrium among the visual units of a composition

color

in visual arts, color theory is a body of knowledge for artists that describes and categorizes colors, its properties, behaviors, and effects

focal point

main point of interest in a work of art

volume/mas

measurable space within a 3-D form or object, the capacity/ describes the bulk of a solid

contour line

not an actual line but an edge that is perceived where a 3-D form curves away from the viewer

actual/ implied/ psychological lines

physically present/ the sense of line created by the perceptual tendency to connect a series of points/ a conceptual connection, an invisible linear path between elements

rhythm

recurrent visual motifs like patterns and compositional accents, movement and flow

content

refers to a work's array of intangible aspects; the emotional, intellectual, psychological and symbolic elements, the why

value

relative lightness or darkness of an image, refers to the broad and nuanced spectrum of grays between black and white

unity

sense of oneness or cohesiveness, effect of fathering the elements of a composition into a harmonious whole

shape: amorphous

shapes are essentially implied shapes

shapes: abstract

shapes are radical alteration of visible reality, bear little resemblance to the original entities from which they are derived

shape: geometric

shapes derived from mathematical formulas and rendered with great precision

line

shortest distance between 2 points and is the things creates by the connection of these points

scale/proportion

size of something relative to the human dimension of a viewer/ comparative size

iconography

study of themes and symbols

texture

surface character of materials as experiences by the sense of touch and sight

Sylvia Plimack Mangold, Three Exact Rules, 1976

the exercise of measuring

medium

the material and tools that artists use to create a work of art

figure-ground reversal

the shifting of viewer perception of the figure and the ground

expressionism

the style reflects a subjective, "inner world", conveys the psychological and emotional state of the artist

subject

the what of art, people, places, tangible elements

form

totality of a composition or design, all-encompassing framework, how the what is presented

highlighting

when the light is harshest, case shadows are most pronounced

Picasso, The Old Guitarist, 1903-1904

"Blue Period", monochromatic blue color tone, depressing, somber

Joan Mitchell, Cercando un Ago, 1957

"finding a needle", abstract, plays with color theory, juxtaposing colors

Janine Antoni, Gnaw (detail), 1992

600 lb. of chocolate

Theo Van Doesburg, Cornelis Can Eesteren, Model Maison d'Artiste, 1923

A direct translation of his paintings into 3-D; geometric shapes are replaced with geometric forms

Angelica Kauffman, Hebe, 1770

A full spectrum of values from bright white to velvety black is captures through the varying density of line, crosshatching

Frank Hurley, The Endurance by Night, 1915

A network of chalky lines, the ship's rigging; the character of the lines evokes a certain almost surrealistic narrative with tension, high contrast

Marc Brandenburg, Untitled, 2004

A pencil-on-paper drawing of Michael Jackson that emulates a photographic negative in its tonal contrasts

Jackson Pollock, Number 19, 1948

Abstract, the what, the subject, is the how, the process, an action painter, unconventional artist with an unconventional process, did not want viewers to try and find the meaning behind the painting

Kristin Baker, Oculatie Der Boomen, 2009

Acrylic on PVC, Lines can play the role of shape, a landscape scene

Snefuru, Red Pyramid, Dashur, Egpyt, 2613-2589 BCE

Actual mass, occupy 3-D space

Helen Frankenthaler, Before the Caves, 1958

Amorphous or shapeless in nature, poured paints

Antoni Gaudi, Casa Mila Apartment House, Barcelona, Spain, 1905-1907

An apartment house, is a building façade of undulating carved stone has few straight lines or flat surfaces, rooftop is wavelike, evoke an illusion of "living and breathing" stone, appears organic

Coca-Cola in its iconic bottle is advertised on a sign in Beijing, China

An instantly recognizable shape

Niko, Movie Poster for Che, Hoy y Siempre (Choe, Now and Forever), 1983

Che Guevara has become an icon associated with class struggle, guerrilla warfare, counterculture

Bronzino, Venus, Cupid, Folly and Time, c. 1546

Conceived the painting for King Francis I of France, who was very risqué, allegory, many symbols, Father time (bearded guy) exposes Cupid (with arrow) fondling his mom Venus (with a golden apple and 2 doves), the unknown character (the personification of jealousy or syphilis)

Georgia O'Keeffe, New York Street with Moon, 1925

Consistent style, depiction of skyscraper, relationship with nature

Matthew Ritchie, Proposition Player, 2003

Conveys a certain intellectual detachment; the "human element" is deemphasized, like Pollock's work the lines reflect a clear human presence, all about gesture and artist's creativity

Liubov Popova, Study for a Portrait, 1915

Cuban artist, abstract, not completely removed from subjectivity, reduce objects to basic shapes and descriptive colors

Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1997

Curvilinear, a "metallic flower," organic shape, for many it looks like a ship

Pablo Picasso, Les Demoiselles d'Avignon, 1907

During his rose period, interested in African masks, launched Cubism, the contours of the body are harsh and rectilinear, abstract objects, timeless and placeless

Theo Van Doesburg, Composition VII (The Cow), 1917

Dutch painter, popularizing the group De Stijl ( "The Style"), all art can be broken down into their fundamental element, abstract

Henri Matisse, Woman with a Hat, 1905

Early expressionist, the colors imply a mood, somber feeling reflected in the color palette and pose

shape: organic

Enclosed spaces formed by uneven curves

Picasso, Woman with a Flower, 1932

Geometric shapes, surrealism, abstract

Façade of the Apple Store, 5th Avenue, New York

Has come to signify the worldwide apple brand

A Value Scale of Grays

High key and low key and middle gray

Edward Weston, Dunes, Oceano, 1936

Highlights the aesthetic possibilities of contour line and shape, dramatic contrast

Shepard Fairey, Barack Obama "Hope" Poster, 2008

Iconic and recognizable image of Obama, simplified colors

Jan Van Eyck, The Arnolfini Portrait, 1434

Iconography, infused a lot of symbolism and detail, wedding portrait because of the joining of hands and the dog, couple were shown as wealthy but not royalty

Ger Van Elk, Untitled II, 1981

Implied mass of a dense looking charcoal-gray pyramid is exaggerated by the lack of space and air between the sloping sides of the pyramid and the 2 men in suits whose bodies appear to be stuck against them

Pierre Auguste Renoir, Tamaris France, 1885

Impressionist, style characterized by pastel, light airy color and feathery brushstroke

shape

In 2-D work of art, an area of composition that is created by other shapes surrounding it' in 3-D art, shape is the fundamental visual component

Robert Colescott, Les Demoiselles d'Alabama: Vestidas, 1985

In Picasso's painting women are dehumanized in part by their nudity, the women in Colescott's have individuality with their costumes, curvilinear

United States Supreme Court Building, Washington DC, 1935

Influenced by Greek and Roman architecture, symbolizes connection to history's greatest contributions to civilization: democracy, the rule of law, duty to country and fellow citizen. Inspiration: Parthenon, Athens, Greece,

I.M. PEI, Pyramids at the Louvre, Paris, France, 1989

May evoke images of its ancient counterpart in sands of Egypt, Pei's empty glass pyramid foregoes mass for volume because of change in material

Umberto Boccioni, Dynamism of a Cyclist, 1913

Movement, the figure is almost completely camouflaged amid the collision of abstract shapes, sense of motion and chaos

Leonardo Da Vinci, Mona Lisa, c. 1503

No outlines, only contour lines softened by hazy shadows, has gradation, chiaroscuro or modeling- the create the illusion of a 3-dimensionality on the 2-D surface

Sandro Botticelli, Birth of Venus, c. 1480

Outline, Enunciates the contours of his figure with dark, lack lines, clearly separating the face and hair, chin and neck, fingertips, and chest, has a flattening effect

Gjon Mili, Picasso, 1949

Photograph, "light drawings", a flashlight beam used to create a 3-D shape, multiple exposures with multiple Picasso

Andres Serrano, Johnny from Nomads series, 1990

Photograph, depicts a naturalistic rendering of a homeless man

Andrew Adolphus, Untitled, 2013

Photograph, figure-ground reversal, initially see space debris but just actually just seeing the reflection of the church in a puddle

Audrey Flack, Marilyn (Vanitas), 1977

Photorealism, vanitas- still life, infused to symbolism, tied to death, visual rhythm

Emily Mary Osborne, Nameless and Friendless, 1857

Psychological lines are seen as a character points to an object or gazes across the pictorial space at another figure, like the boy at the art dealer and the woman with the floor

Theo Van Doesburg, Counter-Composition of Dissonances, 1925

Pure essence of objects, black lines intersect at right angles, creating distinct shapes

Raffaello Santi (Called Raphael), Portrait of Baldassare Castiglione, 1514-1515

Realism, Portraitist, sitter is engaged with the viewer, simplifies the background, illusion of contrasting textures

Smiling figure, Mexico, Remojadas (7th century-8th century)

Representation imagery, meant to depict a human, focus on its garments

Art & Language (Michael Baldwin and Mel Ramsden), Joseph Stalin Gazing Enigmatically at the Body of V.I. Lenin as It Lies in State in Moscow in the Style of Jackson Pollock, 1979

Sarcastic joke with the tangible title