Art 3
Golden Mean
"perfect" harmonious proportions that avoid extremes; the moderation between extremes. Golden Section-a traditional system for harmonious proportion stressed by dividing a line or an area into two sections such that the smaller part is to the larger as the larger is to the whole. The ratio developed is 1:1.6180, or roughly 8:13
Anamorphosis Perspective
(Res Obscura) A distorted projection or perspective requiring the viewer to use special devises (mirror or lens) or occupy a specific vantage point to reconstitute the image.
Ruckenfigur
A compositional arrangement wherein a figure, male or female, is represented from the back, and portrayed as being engaged in deep contemplation before nature. Its function/effect was to draw the viewer/spectator into the painting thus identifying the viewer with the figure. Paradoxically, this portrayal of the figure has the potential to keep the viewer "outside" the painting, as the viewer is decidedly behind and distanced from the figure thus one-step removed from the visual experience.
Atmospheric Perspective (Aerial)
A compositional effect that creates the spatial illusion that objects in the foreground are represented with great clarity and sharpness, while distant objects systematically lose clarity, as they recede into illusionary, deep space; this effect is most commonly used by landscape painters to suggest panoramic, vista-like space by softening details and textures, lightening values, neutralizing colors thus resulting in illusionistic recession into deep pictorial space.
Simulated texture (Visual Texture)
A convincing copy or translation of a known actual texture.
Alla Prima
A direct method of painting using one layer of pigment; without the use of underpainting, glazing or retouching.
Mobile
A kinetic sculpture invented by Alexander Calder that is comprised of suspended cantilevered rods that support planar elements that rotate horizontally using a motor or air currents to create actual movement.
Plein-air
A landscape painting technique wherein the artist paints outdoors and on-site with the intention of capturing the immediacy and ever-changing conditional light, atmospheric, and seasonal effects.
Impressionism
A painting movement originating in the 1860's in Paris, France. A group of independent artists who rejected the academic, painting traditions perpetuated by the Salon and the Academie (Escole des Beaux-Arts). This loose affiliation of artists exhibited together in 8 independent exhibitions (1874, '76,'77, '79, '80, '81, '82, '86) supported by art dealers, such as Durand-Ruel. The group derived their name from the title of one of Monet's painting, Impressions: Sunrise. Prompted by Monet's titled work, the art critic and journalist, Louis Leroy, in the newspaper, Charivari, dubbed the whole group 'Impressionists'. The coined title was derisive, and meant to denounce this new form of painting. The aesthetic philosophy and subject matter vary greatly among the individual artists associated with the group. However, there are some basic identifying characteristics that define the movement. The impressionistic painters produced artworks that used short, feathered, unblended brush strokes. They used an innovative process, known as plein-air painting, and a direct application of pigment, known as alla prima. They avoided using black pigment to define shadow and the use of line to define shape. Lastly, they sought to reflect the fast-paced life of late nineteenth century Paris, by arresting the moment by capturing the immediacy and ever-changing conditional lighting, atmospheric, and seasonal effects.
Hierarchical Scale
A pictorial device that uses enhanced or monumental size to indicate relative importance of objects or human figures resulting in visual dominance within a work of art.
Fractional Representation
A pictorial device used notably by the Ancient Egyptians in which several spatial aspects of the human figure are combined in the same image permitting the viewer to observe the figure from multiple vantage points simultaneously. Composite Pose: Portrayal of the human body at different angles that are impossible in real life.
Brightness Gradient
A progressively changing relative degree of intensity in the rendering of nearby and distant objects, used to create an illusion of depth in pictorial space.
Texture Gradient
A progressively changing visual effect that creates the spatial illusion that objects in the foreground are represented with greater detail and sharpness, wherein distant objects systematically lose clarity as they recede into illusionary deep space.
Pattern
A repeated element and/or design unit that is usually varied, and produces visual interconnections and obvious directional movement.
Balance
A sense of equilibrium achieved through implied weight, attention, or attraction, by manipulating the visual elements within an artwork. Refers to the distribution of actual or apparent weight of the elements of a composition.
Canon of Proportion
A set of standardized rules determining proportional harmony and order as expressed in the comparative size relationships of body parts as they relate to one another and the body as a whole, creating a proportionally perfect or ideal human figure.
Maquette (Bozzetto)
A small three-dimensional sketch, usually in wax or clay, used as a preparatory model for a larger and more finished work.
Overlapping
A spatial device wherein, one object is placed partly over another object resulting in the illusion of objects uniformly receding back in to pictorial space.
Focal Point
A specific part of an artwork that seizes and holds the viewer's interest.
Actual Texture
A surface that is produced through man-made fabrication, and be confirmed and experienced through tactile investigation.
Natural Texture
A surface that occurs as a result of nature's processes, and can be confirmed and experienced through tactile investigation.
Linear Perspective
A system of organizing space in two-dimensional media in which lines that are in reality parallel and horizontal are represented as converging diagonals. The method is based on foreshortening, in which the space between the lines grows smaller until it disappears, just as objects appear to grow smaller as they become more distant.
Abstract Texture
A texture derived from the appearance of an actual surface but rearranged and/or simplified by the artist to satisfy the demands of the artwork.
Subversive Texture
A texture that is chosen by the artist intended to undermine commonly held ideas and perceptions about the object itself, thus skewing response, compelling the viewer to reconsider and reevaluate the object.
Invented Texture
A texture whose only source is the imagination of the artist. It is, generally, a decorative pattern and/or a texture without precedent.
Impasto
A thick or heavy application of paint.
Hyperrealism
A three-dimensional reaction and response to photorealism. The highly realistic, ultra-illusionary rendering of the human figure in three-dimension.
Transparency
A visual quality in which a distant image or element can be seen through a nearer one.
Symmetry
A.k.a. Bilateral symmetry, Refers to similarity of shapes, objects, or arrangement on either side of a dividing line or plane, or correspondence of parts in size, shape, and position. An artwork having a mirror-like repetition of appearance on both sides of a visible or imaginary central, vertical axis.
Stabile
Although similar in composition and appearance to mobiles, stabiles are earthbound structures comprised of interlocking planes of geometric and/or organic shapes typically made of plate steel or aluminum construction. These sculptures are primarily stationary, however, they can include mobile elements.
Variety
An aesthetic concept concerned with factors of difference, contrast, elaboration, accents, devices that through Exaggeration stresses differences rather than similarities among images. Differences achieved by opposing, contrasting, elaborating, or diversifying elements in a composition to add individualism and interest; the counterweight of harmony in art
Vanitas
An allegorical still life often featuring a skull (memento mori), in which all objects depicted are meant to be reminders of the transient nature of human life and the inescapable certainty of death, and to emphasis the meaninglessness of earthly possessions, the futility of pleasure, and our trivial attachments and vanities.
Op Art
An art movement established in the 1960's that focuses on the exploration of various optical effects achieved by retinal stimulation, thus giving the illusion of movement by the precise use of pattern and color.
Avant-grande
An artist or artwork that is innovative, characterized by the aesthetic pursuit of new and unique, forward thinking or experimental ideas; progressive, revolutionary, unprecedented, and on the "cutting edge" of creative exploration, expression and technique.
Scale
An external relative comparison of other objects of its kind, its setting (context), or human dimensions. The manipulation and exaggeration of size with the intension of evoking emotional, intellectual, and psychological artistic impact.
Standard
An idea or thing used as a measure, norm, or model in comparative analysis or evaluations.
Implied Motion
An impression of Movement created by the use of visual elements, composition, or content. Contrast with actual Movement.
Implied Time
An impression of time's passage through the depiction of events that occur over a period of time.
Site-specific Art
Art that is produced in or for one location and is not intended to be relocated
Site-specific Art
Art that is produced in or for one location, and is not intended to be relocated.
Asymmetry
Artwork having unlike, or non-corresponding appearances on either side of a visible, imaginary, or nonexistent central axis, thus lacking visual equivalences between comparative elements and an uneven distribution of compositional parts, yet often achieving pictorial balance.
Kinetic Art
Artworks that contain movement perceivable by the viewer or depends on actual, physical motion for its effect. Virtual movement is the illusion of motion achieved through the manipulation of line proximity (Op Art) and energy of brush stroke (Impressionism). Apparent movement is created by motors, machines, electrically powered systems, wind currents, or by the observer (viewer).
Canon
General law, rule, principle, or criterion by which something is judged.
Texture
Latin for weaving. The surface character of a material that can be expressed through touch or the illusion of touch. Texture is produced by natural forces or through an artist's manipulation of the art elements.
Genre Art
Literally meaning, type or kind, a category of artwork that derives its inspiration from commonplace, everyday human existence, and avoids allegorical, heroic, religious, extraordinary, exotic, mythological, or the representation of nobility or the social elite as subject matter.
Memento Mori
Literally, "Remember your mortality", An object serving as a warning or reminder of death, e.g.; skull (death), rotten fruit (decay), bubbles, smoke, clocks, hourglasses, instruments, (brevity of life, ephemeral nature of life, & sudden death) Associated with 16th c. Northern European, Flemish, and Dutch painters.
Trompe L' oeil
Literally, "To fool the eye"; A technique that simulates, with great illusionistic accuracy, a known object or texture in a still life painting or a Three-dimensional sculpture. This technique is intended to produce such exactitude in copying actual known objects as to be mistaken for the real thing, thus resulting in optically deceiving the eye of the viewer.
Contrapposto
Meaning "placed opposite" or "against the post" is a way of representing the human form in a relaxed, naturalistic stance. This pose is also known as "the weight-shift principle" wherein the weight of the figure is distributed on to one leg resulting in the opposing leg to bend and creating a tilting of the hip and a spiraling of the torso.
Collage/Papier Colle'
Meaning stuck paper, A two-dimensional assemblage made of layers of pieces of paper and found objects such as, labels from wine bottles, calling cards, theater tickets, wall paper, bits of rope, newspaper clippings glued to a support or ground.
Modernity
Of or relating to the present or recent times as opposed to the remote past. Indicative of artist's who are inspired by their immediate cultural, social, and political surroundings. Art that relates to the present and responses to it's own time; inherently at odds with established artistic traditions, free of aesthetic rules dictated by the remote past.
Infinite Space
Pictorial space in which the picture frame acts as a "window" through which objects can be seen receding endlessly.
Sequential Narrative Art
Refers to the art form of using a train of images deployed in sequence to create a visual narrative such as, graphic storytelling (graphic novels), step-by-step instructional images, or cinematic storyboards. The best-known example of sequential art is the comics, which are printed arrangements of art and balloons, especially comic books and comic strips.
Shallow Space
Shallow Space: The illusion of limited depth resulting in imagery appearing to move only a slight distance back into the picture plane.
Stop-Action Photography
Stopped-time photography, A high-speed photographic technique employing a very fast shutter speed and short exposure time. A photographic technique resulting in the Freezing time and motion of a single image, recording an exceptional Fleeting and momentary action.
Dominance/Emphasis
The Principle of visual organization that certain elements are more important than others in a particular composition or design. Some features are emphasized, and others are subordinated.
Vantage Point
The actual or apparent position from which a viewer observes an object or picture, i.e. bird's-eye view, worm's-eye view, or eye level.
Horizontal Balance
The arrangement of pictorial elements that appear to be equal in number and/or visual emphasis (weight ) causing the viewer to read the composition moving from the left side to right.
Foreshortening
The visual compressing or truncating of an object, resulting in the illusion of the object running at an oblique angle or perpendicular to the picture plane, creating the illusion of recession back into space.
Proportion
The comparative size relationship between parts of a whole. An interior evaluation of a whole based on comparative size relationships of individual elements, pieces, parts, or components as expressed through dimensional ratios.
Economy
The distillation of an image or object to its basic essentials for clarity of presentation. Using the minimal amount of visual information to effectively convey image, subject, or concept.
Intuitive Space
The illusion of space that the artist creates by instinctively manipulating certain space-producing devices, including overlapping, transparency, interpenetration, inclined planes, disproportionate scale, relative size, fractional representation, Foreshortening, and the inherent spatial properties of the art elements.
Subverted Scale
The inability to comprehend the dimensions of any objects within a composition because size relationship are arbitrary and without the benefit of understanding which objects are of a familiar size, and which objects have been dimensionally distorted.
Space
The interval, or measurable distance, between points or images. Pictorial space is, generally divided into three principal areas-foreground, middle Ground, and background
Horizon Line
The line that contains the point in which all converging lines meet, and subsequently, corresponds to the viewer's vantage point, thus establishing a pictorial eye-line orientation.
Afterimage
The lingering impression from an stimulus that has been removed. The after image of a color is its complement.
Interpenetration
The movement of planes, objects, or shapes through each other, locking them together within a specific area of space
Cubism
The name given to the painting style invented by Pablo Picasso and Georges Braque between 1907 and 1912, which incorporates multiple views of objects to simulate their three-dimensionality while acknowledging the two-dimensional surface of the picture plane. Establishing the beginnings of 20th century abstract art, Cubism is a semi-abstract styles that continued a trend away from representational art initiated by Cezanne in the late 1800's.
Harmony
The pleasing quality achieved by different elements of a composition interacting to form a whole. Harmony is often accomplished through repetition of the same or similar characteristics. An aesthetic concept concerned with repetition, rhythm, consistency, continuity, closure, pattern, and visual links.
Vanishing Point
The point at which all parallel, converging lines meet in paintings or drawings that employ a one, two, or multi-point perspective resulting in recession by systematically reducing size of objects.
Sequential Motion Photography
The process of freezing time and motion through a series of rapid, multiple exposures of a single action. A series of photographic images that record sequential movement in the process of occurring, capturing the progressive development of that action.
Relative Scale
The relative comparison of objects in context. The ability to comprehend dimension/size of an object based on the relative comparison of more familiar objects and their standardize size.
Allover Pattern
The repetition of a design unit in a recognizably systematic arrangement over an entire picture plane.
Relative Size Comparison
The representation of objects within a picture plane wherein size of objects systematically diminish in scale as they recede back into illusionary space, i.e. objects that appear closer to the viewer are larger, whereas objects that appear to be more in the distance are smaller.
Unity
The result of bringing the elements of art into the appropriate ratio between harmony and variety to achieve a sense of oneness. A unified composition having visual continuity combining elements of variety and harmony.
Approximate Symmetry
The whole of an artwork suggesting symmetrical balance but has slight variations on either side of the actual or imaginary vertical axis. The use of similar but not exact imagery on both sides of the central axis. The imagery on one side resembles that on the other side but is varied to prevent monotony and enhance variety.
Conceptual Unity
Unity that relies on supporting imagery that create a unified idea, rather than repetitive and consistent visual elements. Unity that relies on the diversity of visual elements and their juxtaposition, rejecting visual harmonies in favor of discordant punctuations, focusing on the relationships between meanings and functions of imagery.
Focal Rhythm
Visual patterns creating orderly progressions. A sense of movement achieved by the repetition of visual units, employing the use of measured accents. Rhythm can be used to lead the eye over the landscape of the artwork and to evoke a psychological response in the viewer.
Rhythm
Visual patterns creating orderly progressions. A sense of movement achieved by the repetition of visual units, employing the use of measured accents. Rhythm can be used to lead the eye over the landscape of the artwork and to evoke a psychological response in the viewer.
Photorealism
Working from photographic stills, painters create highly detailed and unidealized images resembling photographs, especially of banal or mundane subject matter. A detailed, super-realistic representation having illusionistic, photographic qualities, using nonphotographic mediums such as oil and acrylic paints, a.k.a. "Super Realism".
Motif
a design unit that is repeated with such frequency in a composition as to make it a significant or dominant feature. A distinct or separable element in the design of an artwork or architectural structure that creates visual and/or conceptual unity through repetition. This term is used interchangeably with "theme".
