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Definition
| Each half of the composition is the same |
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| the rendering of images and objects in a stylized way, so that they remain recognizable, their formal or expressive asoects are emphasized |
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| Painting style of late '40's and early '50s. American characterized by its rendering of expressive content by abstract or nonobjective means |
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| The physical weight of material in pounds |
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| In color: describes when different hues of colores light are combined, the resulting mixture is higher in key than the original hues and brighter as well |
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| The appreciation of the beautiful...to the appreciation of art, whether overtly beautiful or not |
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| Work in which no single point of the composition demands attention any more or less than any other eye can find no place to rest |
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| In color, the tendency of the eye to see the complementary color of an image after the image has been removed. |
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| Pairs of colors, such as yellow and orange, that are adjacent to each other on the color wheel |
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| Line that is mathematical, precise, and rationally organized. |
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| An intaglio printmaking process, in which acid bites around powdered particles of resin resulting in a print with a granular appearance. |
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| Color that has no realistic or natural relation to the object that is depicted. May have emotional or expressive significance |
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| an additive sculptural process in which various and diverse elements are combined |
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| Balance achieved in a composition when neither side reflects or mirrors the other |
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| any use of a line that is distinct to the artist who employs it and is therefore recognizable as a kind of signature style |
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| Works that can be characterized as unorthodox and experimental |
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| A German school of design, founded by Walter Gropius in 1919. Closed by Hitler in 1933 |
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| Used when the overall effect of a composition is one of absolute symmetry, even though there are clear discrepancies side to side |
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| The substance that holds pigments together |
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| the art of handwriting in a fine and aesthetic way |
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| The first photographic process to utilize image. Discovered by William Henry Fox Talbot,1841 |
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| Any full size drawing, subsequently transferred to the working surface, from which a painting or fresco is made |
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| The use of light and dark to create the effect of 3-D modeled surfaces |
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| Line that is mathematical, precise, and rationally organized |
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| A method of ceramic constructionin which ropelike strands of coiled on top of one another and then smoothed |
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| A work made by pasting various scrap or pieces of material--cloth paper, photographs onto the surface of the composition |
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Definition
| A circular arrangement of hues based on one of a number of various color theories |
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| Pairs of colors, such as red and green, that are directly opposite each other on the color wheel |
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| The organization of the formal elements in a work of art |
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| The meaning associated with or implied by an image |
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| The disposition of the human figure in which the hips and legs are turned in opposition to the shoulders and chest, creating a counter positioning of the body |
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| An art movement that originated suring world war I in a number of world capitals...which was so antagonistic to traditional styles and materials of art...anti-art |
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| One of the earliest forms of photgraphy. Invented by Louis Jacques Mande Dagurre in 1839, made with a copper plate polished with silver |
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| The descriptive representation of an object by means of outline or contour drawing |
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| The direct or literal meaning of an image |
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| An intaglio printmaking process in which the copper or zinc plate is incised by a needle pulled back across the surface leaving a burr. The resulting print is called a drypoint |
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| A type of ceramics made of porous clay and fired at low temepratures that must be glazed if it is to hold liquid |
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| An environment that is out-doors |
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| In printmaking, The number of impressions authorized by the artist made from a single master image |
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| A method of painting with molten beeswax fused to the support after application by means of heat |
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| An intaglio printmaking process in which a sharp tool called a burin is used to incise the plate. |
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| a form of art that is large enugh for the viewer to move around in. |
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| an intaglio printmaking process in which a metal plate coated with wax is drawn upon with a sharp tool dow to the plate |
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| pertaining to the imposition of the point of view of one culture upon the works and attitudes of another |
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| an art that stresses the psychological and emotional content of the work. |
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| line that springs directly from the artists' emotions or feelings---loose, gestural, and energetic. |
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| an art movement of the 20th century characterized by its use of bold arbitrary color |
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| the center of visual attention |
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| perspective modification to decrease distortion resultiong from the visual contraction of an object or figure as it extends backwards from the picture plane |
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Definition
| the literal shape and mass of an object or figure. The materials used to make a work of art, the ways in which the materials utilized in terms of the formal elements(line, light, color, etc.) |
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| painting on plaster, either dry(secco) or wet (buon) |
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Definition
| in cinema, a narrative type. |
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| a painting medium similar to watercolor, but opaque instead of transparent |
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| an image so natural that it creates the illusion of being real |
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| paint applied very thickly to canvas |
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| a line created by movement or direction, such as the line established by a pointing finger |
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| a form of printmaking in which the line is incised into the surface of the printing plate |
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| the relative purity of a color's hue |
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| the range of colors on the color wheel between each primary color and it's neighboring secondary colors |
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| sculpture that requires no wall support and that can be experienced from all sides |
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| a system for depicting 3d space on a 2d surface |
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| a form of relief printmaking, a block of linoleum is carved |
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| a printmaking process in which a polished stone, often limestone is drawn upon with a greasy material |
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| the actual hue of a thing, independent of the ways in which colors might be mixed or how different conditions of light and atmosphere might affect the color |
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| the plate is ground all over with a rocker |
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| mid-20th century characterized by it's rejection of expressive content and its use of minimal formal means |
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| the combination of two or more media in a single work |
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| meaning "like nature" descriptive of any work that resembles the natural work |
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| empty space, surrounded and shaped so that it acquires a sense of form or volume |
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| art that makes no reference to the natural world and that explores the inherent expressive or aesthetic potential of the formal elements---line, shape, color and the formal compositional principles of a given medium |
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| free of personal feelings or emotion, hence, without bias |
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| spots or dots on pure hues set beside each other and mixed by the viewer's eye |
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| An art style particularly popular in the 1960's in which line and color are manipulated in ways that stimulate the eye into believing it perceives movement |
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Definition
| one employing only a few colors or one utilizing the full range of hues |
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| the color as perceived by the eye, changed by the effects of light and atmosphere in the way for instance: that mountain appears to be blue |
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Definition
| a kind of super realistic art rendered with such a high degree of representational accuracy that it appears to be photographed rather than drawn or painted |
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| any work of art that seeks to resemble the world of natural appearance |
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| an effect achieved when shapes, colors, or a regular pattern of any kind |
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| the comparative size of a thing in relation to another like thing or its "normal" or "expected" size |
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| hues created by combining two primary colors |
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| a color hue modified by the addition of another color, resulting in a hue of lower key or value. red+black=maroon |
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Definition
| in drawing and printmaking, a pattern of closely placed dots or small marks employed to create the effect of shading or modeling |
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| a type of ceramics fired at high temperature making thus impermeable to water |
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| the literal, visible image in a work of art, as distinguished from its content |
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| full of personal emotions and feelings |
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| that which impresses the mind with a sense of grandeur and power, inspiring a sense of awe |
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Definition
| in color: when different hues of colores pigment are combined, the resulting mixture is lower in key than the original |
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Definition
| when two halves of a composition correspond to one another in terms of size, shape and placement of forms |
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Definition
| a painting medium made by combining water, pigment and usually egg yolk |
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Definition
| the relative warmth or coolness of a given hue. |
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| the surface quality of a work |
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| any space that possess height, width and depth |
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| a color or hue modified by the addition of another color resulting in a hue of higher key or value white+red=Pink |
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| a form of representation that attempts to depict the object as it were actually present before the eye in 3-d SPace; literally "eye fooling" |
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| any space that is flat, possessing height and width but no depth, such as a piece of drawing paper or a canvas |
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| two-point linear perspective |
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Definition
| 2 vanishing points in the composition |
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Definition
| the point on the horizon line where parallel lines appear to converge |
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Definition
| an artificial 3D environment, sometimes called hyperspace or cyberspace, generated through the use of computers |
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Definition
| the apparent "heaviness" or "lightness" if a shape or form |
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Definition
| large flat areas of ink or watercolor diluted with water and applied by brush |
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Definition
| a painting medium, consisting of pigments suspended in a solution of water and gum arabic |
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Definition
| An important element in creating balance in a composition. |
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Definition
| a relief printmaking process, a wooden block is carved so that those parts not intended to print are cut away, leaving the design raised. |
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Definition
| reception, extraction, inference |
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Definition
| Abstract art reduces the world to it's _____ qualities |
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Definition
| Objects are intended to stimulate a sense of beauty in the viewer are thought to be ______ |
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| gives form to the immaterial, to represent hidden or universal truths, spiritual forces, and personal feelings. |
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| what the work expresses or means. |
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| The ______ selects, rejects, organizes, discriminates, associates, classifies, analyzes and constructs. |
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| Artists are _______, they question assumptions to explore new directions. |
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| Christian art's main purpose |
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Definition
| to educate illiterate people in the Christian doctrine. |
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Definition
| ______the ability to recognize, understand, and communicate the meaning of visual images. |
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| Magritte's The Treason of Images |
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Definition
| _______asks us to consider that images and words refer to things that we see, but are not the things themselves. |
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| Objects that have symbolic meaning: ______ |
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| works of art show no reference to the concrete world |
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| Artists make a _______ of the people, places & events of their time and place |
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| Artists __________. Hidden or universal truths, spirtiual forces, personal feelings |
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| Artists make functional objects and structures more __________ elevate them imbue them with meaning. |
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| see the world in new or innovative ways. |
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Definition
| Artists make art to help________ |
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| indicates the power of the artist’s expressive line |
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Definition
| As is common in Japanese art, the kumano mandala creates the illusion of space by utlizing _________ |
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Definition
| Titian’s Assumption and Consecration of the Virgin demonstrates the power of ________ |
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| ________is the most obvious visual element used in Andy Goldsworthy’s Hazel Leaves |
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Definition
| Leonard da Vinci’s The Last Supper is based off of ________ linear perspective. |
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Definition
| Dejeuner su l’herbe was rejected by the public due to it’s ______ |
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| Armory Show of 1913, New York |
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Definition
| Nude Descending Staircase |
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Definition
| Linear Perspective was first codified during _________ |
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| little context in which to view the work |
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Definition
| Historically people receive new and innovative work with reservation because they have ____________ |
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| National Endowment for the Arts |
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Definition
| ________ believe that artists should educate the public about the value of art. |
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| The Arts in Public Places |
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Definition
| ________ program works of art available to the general public. |
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| The Arts in Public Places Program |
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Definition
| purpose was to expose the general public to contemporary art as a kind of mass audience art appreciation course. |
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| what motivates collectors to buy contemporary art |
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Definition
| The pleasure of owning art and the prestige it confers is _________ |
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| On ______ projection all lines indicating height, width, and depth remain parallel |
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Definition
| The surface of a painting or drawing is called the __________ |
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Definition
| _____ can define space by creating texture, indicating the edge of a 2-d shape or 3-d form, and creating value. |
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Definition
| Early manuscripts such as the Lindisfarne Gospels were said to be _______ because they were elaboretely illustrated and decorated. |
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Definition
| Chartes Cathedral’s rose window best illustrates ________ balance |
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| tactility, surface quality, impasto |
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| ______When an artist deliberately avoids emphasis |
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| A color’s brightness or dullness is called _____ or _____ |
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| _______ often implies monotony, yet it also creates a sense of rhythm. |
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| The spectator moves through time and space to view it. |
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| thick pattern applied to a canvas |
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Definition
| when dealing with balance in a composition, an artist or designed is usually dealing with _______ |
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Definition
| the relationship between parts to each other and the whole in a composition |
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| perspective, light, color |
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Definition
| elements used to create space |
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Definition
| Yellow's Complimentary color |
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Definition
| 15th century, a painting process that allowed for a continuous blending of tones and hues on the painting surface |
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| Ansel Adams and Fred Archer |
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Definition
| developed the zone system in photography |
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Definition
| Sound was introduced to film in this year |
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| is the process that assures that the colors of a linocut or other relief print will align perfectly |
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| The earliest photographs were developed in the year_____ in both ______ and _______ |
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