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