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"Dead Nature"
ex: Cezanne, The Basket of Apples |
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Art that moves.
ex: Calders Mobile |
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Autographic form of line that is expressive of an individual artist.
ex: van Gogh- Starry Night |
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| Line that is mathematically percise and rationally organized. Epitomized by the horizontal/vertical grid opposed to expressive line. |
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| Help us recognize how important both positive and negative shapes are to our perception of the image. |
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one- point linear perspective: lines are drawn on the picture plane in such a wa as to represent parallel lines receeding to one vanishing point
two-point linear perspective: two vanishing points in a composition |
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| System projecting space (Jap Art), in which the font of the object or building is parallel to the picture plane, the the sides, receeding at an angle remain parallel to each other rather than converging like linear perspective. |
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apparent truth, or representation of reality
ex: Matisse, Harmony in Red |
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The effect of the atmosphere on the appearance of elements in a landscape.
In one of the chief preoccupations of his notebooks, and it is fair to say that leonardo is responsible for formulating the "rules"
ex: Leonardo, Modonna of the Rocks |
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| Relative level of lightness or darkness of an area or object is traditionally called its relative value. |
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Highlight: directly relect the light source, indicated by white
Light: Faded Light Halo around the Highlight
Shadow: Beginning part of the Shadow nearest to light
Core of Shadow: Heart of Shadow between shadow and reflected light
Reflected Light: Outermost part of the shadow
Cast Shadow: Shadow that is cast off the object onto something else |
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Shade: When Black is added to a hue (Maroon)
Tint: When White is added to a hue (Pink) |
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Balance of light and dark in a picture, expecially its skillful use by the artist in representing the gradual transition around the a curved surface from light to dark.
Renisannce Technique* |
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| "Murky" Makes use of large areas of dark contrasting sharply with small brightly illuminated areas. |
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Primary: Red, Yellow, Blue
Secondary: Orange, Green, Violet
Intermediate: Mixture of the Primary with neighboring Secondary (Yellow-Orange)
Subtractive Process: Mixing all color pigments together which results in no color or black
Additive Process: Mixing red-orange, green, blue violet(Primary colors of light) with yellow, magenta, and cyan (Secondary colors of light)
Complementary: Colors directly opposite of each other on the color wheel (Red, Green)
Analogous: Hues that neighbor each other on the color wheel (Blue, Green)
Intensity: function of a colors relative brightness or dullness
Simultaneous Contrast: Compliments seems brighter than they do alone
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Technique of painting in which small distinct dots of pure color are applied in patterns to form an image.
ex: Close, Stanley |
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| Optical Color/Local Color? |
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Optical- Color seen in the way which light renders it
Local- Color of object viewed up close in even light conditions |
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| elaborately decorated with drawings, paintings, and large captial letters, to beautify the sacred text |
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| type of collage that includes textile art, traditionally produced by women |
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Characterized by it rejection of expressive content and its use of "minimal" formal means.
*mid-twentieth century, predominately American |
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| the physical characteristics of certain formal elements- (particularly line and color)- are subtly manipulated to stimulate the nervous system into thinking it perceives movement. |
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characterized by its rendering of expressive content by abstract or nonobjective means.
*1940's-50's, predominately American |
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| used to describe the willfully plural and eclectic art forms of contemporary art. |
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| describes the painting of a number of artists, working in widely different styles, in France during the last decades of the nineteenth century. |
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| characterized by concentration on the immediate visual impression produced by a scene and by the use of unmixed primary colors and small strokes to simulate actual reflected light |
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emphasized dream imagery, chance operation, and rapid thoughtless forms of notion that expressed, it was felt, the unconscious mind.
*early twentieth century |
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| As opposed to "actual weight", the apparent "heaviness", or "lightness" of a shape or form |
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Symmetry?
Asymmetry?
Radial? |
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-Each side is exactly the same(absolute, bilateral)
-Two sides of the composition lack symmetry, but seem to possess the same visual weight
-Everything radiates outward from a central point |
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| used to describe the demensions of an art object in relation to the original object that it depicts, or in relation to the objects around it. |
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| refers to the relationship between the parts of an object and the whole, or to the relationship between an object an its surroundings. |
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