Roles of the Artist: 

#1

Help us to see the world in new or innovative ways

E.g. Hongtu: Brid's Nest

Kusama: You Who Are Getting Obliterated

Roles of the Artist:

#2

Make a visual record of the people, places, and events of their time and place

E.g. Ahearn and Torres: Pat

Roles of the Artist:

#3

Make functional objects and structures more pleasurable and elevate or imbue them with meaning. 

E.g. Kwei: Coffin Orange

Roles of the Artist:

#4

Give for to the immaterial: hidden or universal truths, spiritual forces, personal feelings. 

E.g. Picasso: Les Demoiselles D'Avignon

The Process of Seeing:

Reception

The Process of Seeing:

Extraction

The Process of Seeing:

Inference

The meaning of an image, beyond its overt subject matter. 

E.g. Magritte: The Treason of Images

Seeks to resemble the world of natural appearance

E.g. Bierstadt: The Rocky Mountains

Art that makes no reference to the natural world

E.g. Malevich: Black Square

The study or description of images and symbols

E.g. Basquait: Charles the First; Van Eyck: Arnolfini Wedding

The artist's relation to the public depends on the public's understanding of what the artist is trying to say. Misunderstanding.

E.g. Manet: Luncheon on the Grass; Duchamp: Nude Descending a Staircase

Like a signature, it identifies the artist himself, his deeply anguished and creative genius

E.g. Van Gogh

Linear arrangements that emphasize the horizontal and vertical possess a certain architectural stability, that of mathematical, rational control.

E.g. David: The Death of Socrates

A version of linear perspective in which there are two (or more) vanishing points in the composition.

E.g. Caillebotte: Paris Street on a Rainy Day 

The modification of perspective to decrease distortion

E.g. Mantegna: Dead Christ

• Suggest three-dimensional space in the two- dimensional space of the picture plane
• Forms and objects distant from the viewer become less distinct, often bluer or cooler in color
• Contrast among the various distant elements is greatly reduced.

A color or hue modified by the addition of another color resulting in a hue of a lighter value

E.g. The addition of white to red results in pink.

A color or hue modified by the addition of another color, resulting in a hue of a darker value

E.g. The addition of black to red results in maroon.

The hues that in theory cannot be created from a mixture of other hues and from which all other hues are created

E.g. Red, yellow, and blue

Hues created by combining two primary colors

E.g. Orange, green, and violet

As opposed to optical color and perceptual color, 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 color.

E.g. Ahearn and Torres: Pat

Color as perceived by the eye

E.g. Monet: Grainstack

To different people in different situations and in different contexts, color symbolizes different things.

E.g. Van Gogh: The Night Cafe

An art style particularly popular in the 1960s in which line and color are manipulated in ways that stimulate the eye into believing it perceives movement.

E.g. Riley: Drift

Prompts the viewer to become actively engaged with it; chart the path of the artist's motions

E.g. Pollock: No. 29

When two halves of a composition correspond to one another in terms of size, shape, and placement of forms.

E.g. Taj Mahal