ARH 151: Exam 2
Michelangelo, The Temptation and Fall of Adam and Eve and The Expulsion from Paradise, 1508-1512
Simultaneous narrative on a single panel, tree in the middle, temptation on the left, on the right the angel is expelling Adam ad Eve
Lorenzo Ghiberti, Sacrifice of Isaac, 1401-1402
Space is divided along diagonal rock formation that separated main characters from lesser ones, the forms moves more rhythmically together in a continuous space, not as intense emotionally, included element of Classicism, won the competition
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
Georges De La Tour, Saint Joseph the Carpenter, 1642
Tenebrism, a single light source a burning candle, draws out attention to the young Jesus's face as he speaks to the elderly Joseph, heightens this contrast with the judicious placement of highlights and cast shadows
Michelangelo, The Creation of Eve, 1508-1512, Vatican Palace, Rome
The dead center panel on the ceiling, tell the book of Genesis, masculine treatment of all figures like Eve
Michelangelo, The Creation of Adam, 1508-1512, Vatican Palace, Rome
The hand of God reaches out to spark spiritual life into Adam but does not touch him, integrated chiaroscuro with Botticelli's extensive use of line, figures are harshly drawn and muscular
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
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
Titian, Venus of Urbino, 1538
Venetian artist, preceded the Baroque style, shift from painting on wood to canvas and using tempera to oil paint, vibrant, intense hues, and more subtle semitransparent glazes, Venus- term of the reclining female nude, coy, reference to purity and virginity, part of a wedding dowry, perceived depth
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
mannerism
a 16th century artistic movement in Europe that deliberately broke down the High Renaissance principles of balance, harmony, and moderation
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 wee 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
contrapposto
counterpose, a figure positioned so that the hips and legs turn in a different direction rom the shoulder and head
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
genre painting
depicts ordinary people engages in the run-of-the-mil activities, no reference to religions, many symbols
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
Raphael, The School of Athens (philosophy), 1510-1511, Vatican Palace, Rome
foreshortening, one-point line perspective, illusion of architect, figures symbolize philosophy, coexisting of pagan Greek philosophy and modern Christian Italian culture, our attention is drawn to the 2 main figures (Plato and Aristotle) by orthogonal leading, Classical stability and predictability, Michelangelo rival
Illuminated manuscript
illustrations or decoration of books and letters with pictures or designs, lots of symbolism
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 30D 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
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
international style
14th and 15th century painting style, It appealed to the aristocracy because of its brilliant color, lavish costumes and themes of knights and ladies, subject matter literally fit for a king
Janine Antoni, Gnaw (detail), 1992
600 lb. of chocolate
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
panel paintings
A painting, usually in tempera but sometimes in oil, whose ground is a wooden panel, illuminated manuscript enlarged
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
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
Donatello, David, 1408
Bronze, combined Classical with realism, a closed-form sculpture with objects and limbs centered around an S-curve stance, graceful pose, almost unheroic, youth, already defeated goliath
Cimabue, Madonna Enthroned, c. 1280-1290
Byzantine style, combination of Late Gothic and Early Renaissance style, transitional work, Madonna has a corporeal presence but also instability and weightlessness, has height and width but not depth and mass, proto-Renaissance because it still had a touch of Gothicism
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)
Michelangelo, David, 1501-1504
David is not shown after conquering his foe, but as a beautiful animal preparing to kill with intellect and skill, part of the Classical tradition of "ideal youth" who has just reached manhood, like Donatello its closed in form, carved from back to front, naturalistic stance, intricate detail
Sandro Botticelli, The Birth of Venus, c. 1486
Did not use chiaroscuro, use lines instead of tonal contrasts, loved to paint mythological theme, goddess of love, wind god on the left
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
Leonardo Da Vinci, The Last Supper, 1495-1498
Fresco painting executed for the dining hall of a Milan monastery, shows the Renaissance ideals of Classicism, humanism, and technical perfection, one-point linear and atmospheric perspective, no excessive emotion, secular and spiritual imagery, 3 window referenced to the holy trinity
Albrecht Durer, Adam and Eve, 1504
German artist, shows his admiration for the Classical style, emphasized the idealized beauty of the human body, images arise form Greek and Roman prototypes, did not focus on the consequences of the event preceding the taking of the fruit as an admonition against sin
Façade of the Apple Store, 5th Avenue, New York
Has come to signify the worldwide apple brand
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 and a marriage ceremony must have had 2 to 3 witnesses, couple were shown as wealthy but not royalty, genre painting, realism and fidelity, the objects around the couple are full of symbolism relevant to the occasion
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
Giotto, Madonna Enthroned, c. 1310
Impression of stability and corporeality with Madonna, has height, width, depth, and mass, proto-Renaissance because it still had a touch of Gothicism
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
Leonardo Da Vinci, Madonna of the Rocks, c. 1483
Mary is no longer portrayed as the queen of heaven but as a mother, human, real, hazy atmosphere, chiaroscuro
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
Limbourg Brothers, "May" from Les Tres Riches Heures du Duc de Berry, 1416
Minute to more substantial imagery, calendar (illustrated domestic tasks and social events) page that show a parade of aristocratic gentlemen and ladies who have come decked out to celebrate the first day of May, international style
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
Filippo Brunelleschi, Sacrifice of Isaac, 1401-1402
Panel is divided into sections by strong vertical and horizontal elements, ferocious energy bordering on violence pervades the composition, included element of Classicism
Gjon Mili, Picasso, 1949
Photograph, "light drawings", a flashlight beam used to create a 3-D shape, multiple exposures with multiple Picasso
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
Smiling figure, Mexico, Remojadas (7th century-8th century)
Representation imagery, meant to depict a human, focus on its garments