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| Christo & Jeanne-Claude, The Gates at Central Park, 2005. Contemporary sculpture, installation |
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| Frank Gehry, Guggenheim Museum, Bilbao, 1997, Deconstructivist architecture |
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| Congo Culture, Magical Figure (nkisi nkonde), c. early 19th century, African art |
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| Jan Van Eyck, God from Ghent Altarpiece, 1432. Renaissance |
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| Jasper Johns, Three Flags, 1958, Pop art |
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| Rene Magritte, The Treachery of Images, 1929, Surrealism |
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| Edouard Manet, Le Dejenuner Sur L'Herbe (Luncheon on the Grass), 1863, Realism, early modern |
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| Jacques-Louis David, The Oath of the Horatii, 1784-1785, Neoclassical |
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| Chris Ofili, Holy Virgin Mary, 1996, Contemporary art |
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| Andre Serrano, Piss Christ, 1987, Photography |
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| Raphaelle Peale, Still Life with Strawberries, 1822, Still life |
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| Paul Cezanne, Still Life with Basket of Apples, 1890-1894, Still life, impressionism |
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| Sesshu Toyo, Haboku Landscape for Soen, 1495, Japanese art |
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| Similar to: Xu Wei, Sixteen Flowers and Poem, detail, c. 1580-1593, Chinese art |
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| Matthew Ritchie, No Sign of the World, 2004, Contemporary art |
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| Jackson Pollock, Autumn Rhythm, 1950, Abstract expressionism |
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| Vincent Van Gogh, Starry Night, 1889, Expressionism |
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| Fransisco de Goya, Los Fusilamientos del Tres de Mayo (Third of May, 1808), 1814, Spanish romanticism |
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| Leonardo da Vinci, The Last Supper, 1495-1498, Renaissance |
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| Pablo Picasso, Guernica, 1937, cubism |
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| Gustave Caillebotte, Paris, A Rainy Day, 1877, Modern art |
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| J.M. Turner, Burning of the Houses of Lord and Commons, 1835, English romanticism |
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| Edward Munch, The Scream, 1893, Expressionism |
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| Diego Velazquez, Las Meninas, 1656, Spanish renaissance |
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-See the world in new ways
-Record reality and history
-Everyday objects made beautiful or meaningful
-Give form to immaterial ideas and feelings |
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| Many filters influence how we perceive and understand art; the viewer is always an active participant in the construction of the meaning in art |
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| The belief in the existence of souls and the conviction that things can have a soul |
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| The ability to recognize why you like an artwork, how it communicates to you |
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| What the image literally depicts |
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| Image breakers who sought to destroy religious images because in the Ten Commandments, it states, "Thou shalt not make any graven image or any likeness of anything that is in heaven above...." |
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| Portrays natural objects in recognizable form (realism) |
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| Does not refer to the natural (abstraction) |
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| Brand of representation in which the artist retains apparently realistic elements |
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| The organization of the formal elements in a work of art |
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| Overall structure of a work of art |
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| What the work of art expresses or means |
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| System of visual images the meaning of which is widely understood by a given culture |
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| Visual images that represent something more than their literal meaning |
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| The study of icons - image |
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| Posess direction, can divide or connect, thick or thin, long or short, smooth or agitated, reflects movement |
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| Function of line of sight, the direction the figures in a given composition are looking |
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| A flat, two-dimensional area; it's boundaries can be measured in height/width |
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| A solid form that occupies a three-dimensional volume; height, width, depth; density, weight |
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| A way for artists to make it seem like there is depth on a flat paper |
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| One Point Linear Perspective |
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| Lines are drawn on the plane to represent parallel lines receding to a single point on the viewers' horizon called the vanishing point |
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| Where all lines meet in a painting |
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| Where the viewer is positioned |
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| When the vanishing point is directly in front of the vantage point |
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| Vanishing point is to one side of the vantage point |
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| Two Point Linear Perspective |
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| Two vanishing points;a more dynamic artwork results |
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| Even distribution of weight in a composition |
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| Apparent "heaviness" or "lightness" of the shapes/forms of a composition |
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| Mirror reflection across the center |
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| Minor differences, but the sides are mostly the same |
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| Sides lack symmetry, but appear to have the same visual weight |
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| Everything radiates outward from a central point |
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| Employs emphasis to draw the viewer's attention to one area of the work |
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| Dimensions of an art's objects in relation to the original object that it depicts or in relation to objects around it |
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| Relationship between parts of an object and the whole or to its surroundings |
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| Perfect proportions of the human body |
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| Perfect mathematical proportion |
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| Sense that parts can never form a unified whole |
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| The personification of painting |
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| Holds the particles of pigments together; protects the pigments and serves as an adhesive to the surface |
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| Surface on which the painter paints |
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| Make the support surface smoother/more uniform in texture. Many grounds increase the brightness of the painting |
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| Thinner that enables the paint to flow more readily and that also cleans brushes |
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| Combining pigment with a binder of hot wax |
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| Pigment is mixed with limewater then applied to a lime plaster wall that is either still wet (buon fresco) or dry (fresco secco) |
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| "Day's work" sections in a fresco painting |
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| Medium made by combining water, pigment, gummy material (usually egg yolk) and applied with a fine red sable brush - Colors could not be readily blended |
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| Careful, gradual hatching |
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| Most common ground for tempura; fully absorbent; creates a durable and softly glowing surface |
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| Meaning behind a painting |
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| What the painting portrays |
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| Art's ability to teach, to elevate the mind |
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| Far more versatile; can be blended on the painting surface to create a continuous scale of tones and hues; becomes more realistic and 3-D |
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| Still-life paintings; reminds of the vanity of human life |
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| Water-based paint; most expressive |
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| Water color mixed with Chinese white chalk |
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| Resins, materials used to make plastic, mixed with turpentine |
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| Combining different mediums |
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| Process of pasting or gluing fragments of printed matter, fabric, natural material onto 2-D surface |
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| Artis begins with material of larger product than the finished product and removes material |
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| Artist builds the work, adding to the piece |
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| Extends from the plane behind it less than 180 degrees |
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| Projects forward from their base by at least half their depth |
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| Demands movement, seen from all sides; must move around it |
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| Sculptural space which you can enter |
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| Counter-balance position; weight falls on one foot, opposite hip rises |
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| Clay work fired in a kiln |
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| Employs a mold into which some molten material is poured and allowed to harden |
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| Mixture of water/plaster/powder made from ground pottery |
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| Casting where bronze replaces wax |
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| Chemical compound applied to bronze that forms a film of encrustation on the surface after exposure to the elements |
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| Process of bringing individual objects or pieces to form a larger whole |
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| Assemblages of events performed or perceived in more than one time/piece...A Happening is are but seems closer to life |
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