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