Art Appreciation Exam #2`

Some different varieties of asymmetrical balance. [Fig. 7-6]

asymmetrical balance: balance achieved in a composition when neither side reflects or mirrors the other

Julia Margaret Cameron, Portrait of Thomas Carlyle. 1863. [Fig. 11-9]

blurred their features slightly, believing this technique drew attention away from mere physical appearance and revealed more of her sitter's inner character.

Head of an Oba, Nigeria, Africa, Edo, Court of Benin. 18th century. Casting, of brass and iron, height 13-1/8". [Fig. 12-13]

brass Casting symbolizes life and behavior in this world, the capacity to organize one's actions in such a way as to survive and prosper, authority

camera obscura

camera obscura: Latin for "dark room," a dark box with a pinhole through which reflected light shines and creates an upside-down image on the opposite wall

Leonardo da Vinci, Madonna and Child with St. Anne and Infant St. John the Baptist. 1499-1500. Black chalk and touches of white chalk on brownish paper, mounted on canvas, 4' 7-3/4" × 41- 1/4". [Fig. 8-4]

cartoon: drawing done to scale for a painting or fresco earliest recorded example we have of the public actually admiring a drawing.

Michelangelo, Study for the Libyan Sibyl. 1510. Red chalk on paper, 11-3/8 × 8-7⁄16". [Fig. 9-9] Video

cartoon: drawing done to scale for a painting or fresco? Each of the sibyls holds a book of prophecy—though not Christian figures, they prophesy the revelation of the New Testament in the events of the Old Testament that they surround.

Media of: Henri Matisse, Woman Seated in an Armchair, 1942....

contour line: can be used to suggest a volume in space Pen and ink

Anna Atkins, Halydrys Siliquosa, 1843-4. Plate 19 from Volume 1 of Photographs of British Algae. Cyanotype, 5 x 4".

cyanotype: cameraless image; photographic process using light-sensitive iron salts that oxidize and produce a brilliant blue color where light penetrates and remain white where light is blocked

Edo artist, Warrior and Attendants, from Nigeria, Court of Benin. 16th - 17th centuries

high relief: a sculpture in which the figures and objects remain attached to a background plane and project off of it by one-half or more their normal depth

Menkaure and his Queen, probably Khamerernebty, from valley temple of Menkaure, Giza. Dynasty 4, ca. 2480 BCE. Carving of schist (gray stone), 4' 8" [Fig. 12-9]

ka: in Ancient Egypt, the individual spirit of the deceased into the eternity of the afterlife

Ansel Adams, Moonrise, Hernandez, New Mexico. 1941. [Fig. 11-16]

landscape: all visible features of a countryside or land, often considered in terms of their aesthetic appeal Zone System: a picture broken up into zones ranging from black to white with nine shades of gray in between It represents the essence, he felt, of a changing world.

Graphite

less graphite :: harder pencil :: lighter tones more graphite :: softer pencil :: darker tones

"Photography" meanings

meaning "drawing with light" photos means "light" graphein means "to draw" definition: the process of recording images on a photosensitive surface with light

Timothy O'Sullivan (negative) and Alexander Gardner (print), A Harvest of Death, Gettysburg, Pennsylvania, July 1863. 1866. [Fig. 11-10]

photojournalism: the use of photography to tell a news story

Richard Beard, Portrait of Maria Edgeworth. 1841. Daguerrotype.

portrait: image of a person or animal, usually focusing on the face

Maidens and Stewards, fragment of the Panathenaic Procession, from the east frieze of the Parthenon, Acropolis, Athens. 447-438 BCE. Marble relief, height approx. 43". [Fig. 12-2\]spoti

relief located in Parathenon-nse of mathematical harmony was utilized by the Greeks in their architecture as well low relief: a sculpture in which the figures and objects remain attached to a background plane and project off of it by less than one-half their normal depth

Henri Matisse, Venus. 1952. Paper collage on canvas. [Fig. 8-21]

the figure of the goddess is revealed in the negative space of the composition. It is as if the goddess of love—and hence love itself—were immaterial. In the blue positive space to the right we discover the profile of a man's head, as if love springs, fleetingly, from his very breath.

Gianlorenzo Bernini, David. 1623. Marble, life-size. [Fig. 6-8]

three dimensional Marble

Abelardo Morell, Tent-Camera Image on Ground View of Rio Grande and Mexico Near Boquillas Canyon, Big Bend National park, Texas. 2011.

wanted to find a way to make these well-known views of familiar and iconic places into my own private discoveries.

Abelardo Morell, Camera Obscura Image of the Panthéon in the Hotel des Grands Hommes, 1999.

Abelardo Morell took to the streets of New York and Europe, capturing cityscapes through a lens that he considered to be vital to the understanding of the place.

Do-Ho Suh, Public Figures. 1998-99. Installation view, MetroTech Center Commons, Brooklyn, New York. Fiberglass/resin, steel pipes, pipe fittings, 10 × 7 × 9'. [Fig. 7-19]

Artist's Goal: acknowledge the heroic nature of the many people who support a "hero" or help facilitate victory scale: the comparative size of an object in relation to other objects and settings outside of itself

Georges de La Tour, Joseph the Carpenter. ca. 1645. [Fig. 7-12]

Artist's Goal: candlelight as Divine light foreshadow the eventual crucifixion of Christ upon a cross, here Christ shown as a young boy focal point: the center of visual attention, where the viewer's gaze is first drawn and returns to

Jacob Lawrence, Barber Shop. 1946. [Fig. 7-28]

Artist's Goal: capture the rhythm of life in Harlem, where the artist grew up in 1930s create a sense of connection between the people and the spaces of the community rhythm: an effect achieved when shapes, colors, or a regular pattern of any kind is repeated over and over again repetition: a thing repeated unity and variety: complementary principles; typically both present, one more so than the other

Taj Mahal, Agra, India. Mughal period, ca. 1632-48. [Fig. 7-3]

Artist's Goal: communicate a sense of the eternal symmetrical balance: when two halves of a composition correspond to one another in terms of size, shape, and placement of forms

Anna Vallayer-Coster, Still Life with Lobster. 1781. [Fig. 7-11]

Artist's Goal: create a "feast" for the eyes through the feast on the table painting as an exercise in "good taste" emphasis: the place of visual attention

Leonardo da Vinci, Study of Human Proportion: The Vitruvian Man. ca. 1492. [Fig. 7-1]

Artist's Goal: demonstrate beauty and the ideal as a product of perfect, mathematically derived proportion proportion: in any composition, the relationship between the parts to each other and to the whole unity and variety: complementary principles; typically both present, one more so than the other

Childe Hassam, Boston Common at Twilight. 1885-86. Oil on canvas, 42" × 5'. [Fig. 7-8]

Artist's Goal: highlight the tension between the natural serenity of the Common (the park) and the human activity of the street asymmetrical balance: balance achieved in a composition when neither side reflects or mirrors the other

Lucas Samaras, Room No. 2 (popularly known as the Mirrored Room) (detail). 1966. [Fig. 7-13]

Artist's Goal: sensation of being an essential part of the work as a viewer disorientation and loss of singular identity afocal: no single point of the composition demands our attention more or less than any other, the eye can find no place to rest.

Frida Kahlo, Las Dos Fridas (The Two Fridas). 1939. Oil on canvas, 5' 9-1⁄5" × 5 ft. 9-1⁄5". [Fig. 7-5]

Artist's Goal: show two sides of her identity at the same time, as both connected yet in conflict with one another symmetrical balance: when two halves of a composition correspond to one another in terms of size, shape, and placement of forms

Pyramids of Khufu, Khafre, and Menkaure. ca. 2500 BCE. Original height of Pyramid of Khufu 480', length of each side at base 755'. [Fig. 22-15]

Carving

Michelangelo, "Atlas" Slave. ca. 1513-20... of marble, 9' 2". [Fig. 12-8]

Carving The block of stone resists Michelangelo's desire to transform it, as if refusing to release the figure it holds enslaved within it. Yet, arguably, the power of Michelangelo's imagination lies in his willingness to leave the figure unrealized. Atlas, condemned to bearing the weight of the world on his shoulders forever as punishment for challenging the Greek gods, is literally held captive in the stone.

Tomb of Emperor Qin Shihuangdi. 221-206 BCE. Casting, painted ceramic figures, life-size. [Fig. 12-12]

Casting painted in ceramic Qin Shihuangdi (the first emperor of China) was buried near the central Chinese city of Xian, or Chin (the origin of the name China), and his tomb contained more than 6,000 life-size, and extraordinarily lifelike, ceramic figures of soldiers and horses, immortal bodyguards for the emperor.

Media of: Käthe Kollwitz, Self-Portrait, Drawing. 1933.... on paper [Fig. 8-11]

Charcoal This area of raw drawing literally connects her mind to her hand, her intellectual and spiritual capacity to her technical facility. It embodies the power of the imagination. expressive directness and immediacy

Media of: Georgia O'Keeffe, Banana Flower. 1933.... on paper [Fig. 8-10]

Charcoal and black chalk achieves a sense of volume and space comparable to that realized by means of chalk

Louis-Jacques-Mandé Daguerre, Le Boulevard du Temple. 1839. Daguerreotype. [Fig. 11-7]

Daguerreotype: a type of photograph, invented by Louis-Jacques-Mande Daguerre, which used treated metal plates to capture a brightly lit scene, creating a detailed, unique positive image

Robert Smithson, Spiral Jetty. April 1970. Great Salt Lake, Utah. Black rock, salt crystals, earth, red water (algae), 3' 6" × 15' × 1,500'. [Fig. 12-26]

Earthwork Site-specific picked a spiral because of what he saw in nature ex: snails, plants, water, galaxy The spiral is one of the most widespread of all ornamental and symbolic designs on earth. In Egyptian culture, it designated the motion of cosmic forms and the relationship between unity and multiplicity, in a manner similar to the Chinese yin and yang

Media of: Mummy Portrait of a Man, Faiyum, Egypt. ca. 160-70 CE. ... on wood, 14 × 18". [Fig. 9-3]

Encaustic the neck and shoulders have been rendered with simplified forms, giving them a sense of strength that is almost tangible, the face has been painted in a very naturalistic and sensitive way. The wide, expressive eyes and the delicate modeling of the cheeks make us feel that we are looking at a "real" person, which was clearly the artist's intention

Albrecht Durer, The Knight, Death, and the Devil. 1513....

Engraving encourages the viewer to reflect on the inevitability of their mortality

Rembrandt van Rijn, The Angel Appearing to the Shepherds. 1634. ..... [Fig. 10-19]

Etching he wanted to create the feeling that the angel, and the light associated with her, were emerging out of the darkness. Normally, in etching, the background is white, since it is unetched and there are no lines on it to hold ink. Here, Rembrandt wanted a black background, and he worked first on the darkest areas of the composition, creating an intricately cross-hatched landscape of ever-deepening shadow.

The "Toreador," from Palace of Knossos, Crete. ca. 1500 BCE.... [Fig. 16-18]

Fresco

Giotto, Lamentation. ca. 1305....., approx. 5' 10" × 6' 6". [Fig. 9-6]

Fresco the two crouching figures with their backs to us extend into our space in a manner similar to the bowl of eggs in the Roman fresco. Here, the result is to involve us in the sorrow of the scene.focal point—Christ's face Interior, Scrovegni Chapel (Arena Chapel), Padua, Italy giornata: from the Italian, "a day's work," the area a fresco painter is able to complete in a single sitting Implied line-everyone looking down

Fra Andrea Pozzo, The Glorification of St. Ignatius. 1691-94. Ceiling .... Nave of Sant' Ignazio, Rome. [Fig. 9-7]

Fresco the congregation had the illusion that the roof of the church had been removed, revealing the glories of Heaven.

Media of: Vija Celmins, Untitled (Ocean).1970......on paper [Fig. 8-13]

Graphite used a pencil of differing hardness for each drawing in the series, exploring the range of possibilities offered by the medium.

Joseph Niepce, View from the Window at Le Gras. 1826.....on pewter

Heliograph heliograph: "sun writing," the term given by Niepce to his early photographic process

Media of: Yooah Park, Movement II. 1993. Ink on paper, 1'1" x 4'7"

INk

Media of: Liang Kai, The Poet Li Bo Walking and Chanting a Poem. ca. 1200.... on paper. [Fig. 8-20]

Ink juxtaposes the quick strokes of diluted ink that form the robe with the fine, detailed brushwork of his face. This opposition contrasts the fleeting materiality of the poet's body—as insubstantial as his chant, which drifts away on the wind—with the enduring permanence of his poetry.

Elizabeth Catlett, Sharecropper. 1952, printed 1970. Color ....[Fig. 10-15]

Linocut registration: in printmaking, the precise alignment of impressions made by two or more blocks on the same sheet of paper, used particularly when printing two or more colors We look up at Catlett's sharecropper as if we are her children, and what we see is anything but a visage defeated by a lifetime of indentured servitude. Instead we are witness to a determined strength, a will to endure. She is entirely representative of Catlett's own lifetime dedication to create art that promotes social change.

Honoré Daumier, Rue Transnonain, April 15, 1834. 1834. ....[Fig. 10-26]

Lithograph direct reportage of the outrages committed by government troops during an insurrection in the Parisian workers' quarters. He illustrates what happened in a building at 12 rue Transnonain on the night of April 15, 1834, when police, responding to a sniper's bullet that had killed one of their number and had appeared to originate from the building, revenged their colleague's death by slaughtering everyone inside. The father of a family, who had evidently been sleeping, lies dead by his bed, his child crushed beneath him, his dead wife to his right and an elder parent to his left.

Abelardo Morell, Lightbulb. 1991.

Medium- Gelatin silver print

Jan de Heem, Still Life with Lobster. Late 1640s.... on canvas, 25-1/8 × 33-1/4". [Fig. 9-16]

Oil vanitas: a tradition of still-life painting, popular in N Europe in the 17th century, reminding the viewer of the frivolous quality, or vanity, of human existence ll remind the viewer that the material world celebrated in the painting is not as long-lasting as the spiritual, and that spiritual well-being may be of greater importance than material wealth.

Jacques-Louis David, Napoleon Crossing the Saint-Bernard. 1800-01.... on canvas. 8' 11" × 7' 7". [Fig. 26-5]

Oil. Shows calm while dominating horse-hand motion. Propaganda

Kehinde Wiley, Napoleon Leading the Army over the Alps. 2005... on canvas, 9' x 9'

Oil. Shows calm while dominating horse-hand motion. Random people got painted. Shows masculinity with the symbols in the background.

Andy Warhol, Marilyn Monroe. 1967. .... print [Fig. 10-30]

Silkscreen almost all made within three or four years of her death in 1962, he depicted her in garish, conflicting colors.

Andy Warhol, Four Marilyns, 1962.

Silkscreen almost all made within three or four years of her death in 1962, he depicted her in garish, conflicting colors.

Media of: Leonardo da Vinci, Study of a Woman's Head or of the Angel of the Vergine delle Rocce. 1473. .... with white highlights on prepared paper [Fig. 8-6]

Silverpoint metal point-requires extreme patience and skill.

Sandro Botticelli, Primavera.ca. 1482.... on a gesso ground on poplar panel, 6' 8" × 10' 3-1/4". [Fig. 9-11]

Tempera. (layers on layers and able to thin layers on transparency). The figures and trees were painted on an undercoat—white for the figures, black for the trees. The transparency of the drapery was achieved by layering thin yellow washes of transparent medium over the white undercoat

Andrew Wyeth, Christina's World. 1948...... on panel, approx 32 x 48"

Tempera. Showed the women's isolation mentally and physically. The use of the frame made it look like it's floating.

Henri Matisse, Icarus, from Jazz, 1943-7.

This bold and playful image is one of twenty plates Matisse created to illustrate his groundbreaking book "Jazz." The illustrations derive from maquettes of cut and pasted colored papers, which were then printed using a stencil technique known as "pochoir." Here, the mythological figure Icarus is presented in a simplified form floating against a royal blue nighttime sky. Matisse's flat, abstracted forms and large areas of pure color marked an important change in the direction of his later work

Winslow Homer, A Wall, Nassau. 1898.... on off-white wove paper, 14-3/4 × 21-1/2". [Fig. 9-20]

Watercolor and graphite..Created on paper. This shows the disconnect in Bahama's in the 20s. Walls separated people from the island to visitors.The "birds" are actually broken glass. There is no such thing as watercolor.

Frontispiece, Diamond Sutra, 868 CE...... handscroll [Fig. 10-2]

Woodblock The medium of printmaking appears to have originated in China in the ninth century ce with the publication of the world's earliest known printed book, the Diamond Sutra, one of Buddhism's more important texts. Discovered in 1907 in a cave at Dunhuang among hundreds of other paper and silk scrolls, all perfectly preserved by the dry desert air (see Chapter 1), the 18-foot-long handscroll begins with a print showing the Buddha preaching to his followers (see Fig. 10-2). Although only a single copy of the scroll survives (in the British Library in London), the image was apparently intended for wide-scale distribution

Casting

a technique in sculpture in which the artist creates a model in a soft material and uses a mold to replicate the model in a permanent material 1. Commonly used with clay and metal (bronze) 2. kiln: an oven that reaches temperatures of 1200 - 2700 degrees Fahrenheit used for firing ceramics 3. firing: the process of baking clay pieces in a kiln; through firing, clay pieces are changed physically and chemically so they are durable and hard 4. ceramics: clay pieces that have been fired in a kiln