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| the ability to "respond to the unexpected, the chance occurrences or results that are part of the creative process" |
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A style of art pioneered by Pablo Picasso and Georges
Braque in the first decade of the twentieth century, noted for
the geometry of its forms, its fragmentation of the object, and
its increasing abstraction. (page 499) |
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| a pleasing appearance or effect |
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| a way of deciding whether a claim is true, partially true, or false. |
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Any work of art that seeks to resemble the
world of natural appearance. (page 26) |
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In art, the rendering of images and objects in a stylized
or simplified way, so that though they remain recognizable,
their formal or expressive aspects are emphasized. Compare
both representational and non objective art. (page 26) |
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| painting of scenes from everyday life, of ordinary people in work or recreation, depicted in a generally realistic manner. |
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| in order to understand how a work of art is put together and how the elements and principles of art function, you must know the language of art. We call this recognition, understanding, and communication of art, [TERM] |
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| the interpretation of what we see |
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| A work with no reference to an image or object from the word of our experiences |
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| [TERM] or trompe l'oeil ("fool-the-eye") works of art are sometimes indistinguishable from those objects in the everyday world |
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| a beauty of things unconventional, modest and humble. The artist finds beauty in everyday objects and occurrences, and takes pleasure in accidents or chance operations in the art-making process. |
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