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| the selection, simplification,and rearrangement of the representation of natural appearance |
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| traditionally a branch of philosophy concerned with the theory of the beautiful, now a compound of the philosophy, psychology, and sociology of art; attempts to discover the origins of the art experience and the relationship between art and other aspects of culture |
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| creative vision derived from the imagination |
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| the essential meaning and significance of a work of art; refers to the sensory, subjective, psychological, or emotional properties a work of art contains,as opposed to its descriptive aspects alone |
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| aptitude, skill, or quality workmanship in the use of tools and materials |
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| ornamenting or enriching but, more importantly in art, emphasizing the two-dimensionality of an artwork or any of its elements; emphasizes the essential flatness of a surface |
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| a type of art that is based on adherence to actual appearances |
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| the underlying plan on which an artwork is based; synonymous with form |
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| line, shape, value, texture, color-the basic ingredients to produce imagery |
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| the manifestation of thought, emotion or quality of meaning in artistic form; synonymous with content |
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| the organization and arrangement of visual elements that develop unity in an artwork; total appearance or organization of an artwork |
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| 2-D art forms such as drawing, painting, and printmaking; 2-D use of the elements of art; may also refer to the techniques of commercial art used in the layout and production of newspapers, books, magazines, and Web pages |
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| in graphic art, a shape that appears to stand out three-dimensionally from the space surrounding it or appears to create the illusion of a solid body of material; in plastic arts, the physical bulk of a solid body of material |
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| the materials and means used to bring an artwork into existence |
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| the approach to art that attempts a description of things as they appear in nature; pure naturalism would contain no personal interpretation by the artist |
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| the unoccupied or empty space in an artwork defined by the positive elements created by the artist |
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| nonobjective, nonrepresentational art |
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| a type of art that is entirely imaginative and not derived from anything visually perceived by the artist, and consequently not associated by the observer with any previously experienced natural object |
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| art that is based on physical actuality, optical perception, and the appearance of things as they are; tends to appear natural or real |
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| things as seen through the eye |
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| a condition in which the components of an artwork-that is, subject, form, and content-form an interdependent whole |
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| the outermost boundary of the picture plane |
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| the actual flat surface on which the artist executes a pictorial image; in some cases, the picture plane acts merely as a transparent plane of reference to establish the illusion of forms existing in a 3-D space |
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| an area that is essentially 2-D having height and weight; flat or level surface; a 2-D surface having a positive extension and spatial direction or position |
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| the use of the elements of art to create the illusion of the third dimension on a 2-D surface; 3_D art forms, such as architecture, sculpture, and ceramics |
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| the portion of an artwork in which the art elements or their combination, produce the subject- nonrepresentational or recognizable images |
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| the style of art that creates an impression of visual actuality without going to extremes of detail, while attempting to relate and interpret universal meanings that lie beneath surface appearances |
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| a type of art in which the subject is presented through the visual art elements so that the observer is reminded of actual objects |
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| the interval, or measurable distance, between points or images |
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| a specific artistic character or dominant trend of form noted during a period of history or during an art movement; expressive use of media that gives an artwork individual character |
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| the persons, things, signs, or ideas represented in an artwork that express the artist's inspiration or intention |
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| that which is derived from a personal viewpoint, bias, or emotion |
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| the manner with which an artist uses tools and materials to achieve an expressive effect |
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| possessing a dimension of depth, in addition to having the dimensions of height and width |
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| possessing the dimensions of height and width |
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| the result of bringing the elements into the appropriate ratio between harmony and variety to achieve a sense of oneness |
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| a measurable area of defined or occupied space |
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| the repetition of design units in a recognizable systematic arrangement over an entire surface |
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| the use of similar imagery on both sides of a central axis; the imagery on one side resembles that on the other but is varied to prevent monotony |
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| having unlike, or noncorresponding, appearances-"without symmetry" |
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| a sense of equilibrium achieved through implied weight, attention or attraction, by manipulating the visual elements within an artwork |
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| a concept derived from Gestalt psychology describing the mental relationships that develop while incomplete information is grasped as a complete, unified whole; the artist provides visual suggestions that the observer brings to final recognition |
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| the total arrangement of all the elements in an artwork; sometimes interchangeable with the terms design and form |
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| a comprehensive idea or generalization; an idea that brings diverse elements into a basic relationship |
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| the underlying plan on which an artwork is based; synonymous with the term form |
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| the principle of visual organization that certain elements are more important than others in a particular composition or design; some features are emphasized and others are subordinated |
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| the distillation of the image to the basic essentials for clarity of presentation |
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| a german word for "form"; an organized whole in experience |
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| golden mean, golden section |
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| golden mean "perfect" harmonious proportions that avoid extremes; the moderation between extremes; traditional system for harmonious proportion expressed by dividing a line or an area into two sections such that the smaller part is to the larger as the larger is to the whole |
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| the pleasing quality achieved by different elements of a compostion interacting to form a whole; often accomplished through repetition of the same or similar characteristics |
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| the interlocking movement of planes, objects, or shapes within a specified area of space |
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| a design unit that is repeated often enough in the total composition to make it a significant or dominant feature |
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| eye travel directed by visual design in a work of art |
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| any artistic design serving as a model for imitation; a repeated element and/or design that is usually varied and produces interconnections and obvious directional movements |
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| principles of organization |
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| seven principles that guide the use of the elements of art in achieving unity; harmony, variety, balance, proportion, dominance, movement, and economy |
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| the comparative size relationship between the parts of a whole |
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| the use of the same visual effect a number of times in the same composition |
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| a sense of movement achieved by the repetition of visual units; us of measured accents |
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| size relative to human dimensions or another standard unit of measure |
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| the mirrorlike repetition of appearances on both sides of an imaginary central axis |
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| a visual quality in which a distant image or element can be seen through a nearer one |
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| differences achieved by opposing, contrasting, changing, elaborating, or diversifying elements in a composition to add individualism and interest; counterweight of harmony |
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| elegant, decorative writing; lines in art that possess qualities found in writing; generally flowing and rhythmic |
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| the line that defines the edges of an object or a drawn or painted shape |
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| a line that defines the surface undulations between, or up to, the outermost edges of shapes or objects |
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| repeated strokes of an art tool producing clustered lines that create values |
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| implied lines are those that dim, fade, stop, and/or disappear; the missing part of the line is implied to continue and is visually completed by teh observer as the line reappears |
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| a clearly defined or positive area |
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| a shape without clear definition; formles, indistinct, and of uncertain dimension |
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| an irregular shape that resembles the freely developed curves found in living organisms |
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| the painting style invented by Pablo Picasso and Georges Braque shich incorporates multiple views of objects to simulate their three-dimensionality while acknowledging the 2-D suface of the picture plane |
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| stressing the use of curved lines as opposed to recilinear |
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| a condition, usually intentional on the artist's part, in which the viewer may, at different times, wee more than one set of relationships between art elements or depicted objects |
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| a shape that appears related to geometry |
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| a shape that does not physically exist but is suggested by dots, lines, areas, or their edges |
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| from the greek word "kinesis", meaning motion; art that includes the element of actual movement |
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| a shape whose boundaries consist of straight lines |
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| that which is derived from the mind, reflecting a personal viewpoint, bias, or emotion |
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| a style of art inspired by Freudian psychology, that emphasizes fantasy and is said to be revealed by the subconscious through the use of automatic techniques |
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