ART APP SUMMATIVE

Art

• the source of the term is the Latin word “ars” meaning skills.

• Its realm suggest creative endeavors and includes an entire range of activities classified as cultural

• is the result of the artist’s personal effort, the touch of his or her hands, the fresh invention of the artist’s mind, spirit, and talent.

Performing arts

• theatre, music, and dance

Literary arts

• poetry, essays, and novels

Visual arts

• include the artistic media of painting, sculpture, and architecture, as well as outstanding examples of drawing, printmaking, photography, design, digital art, decorative arts, and crafts.

Fine arts

• subdivision of visual arts that include painting, printmaking, and sculpture

Applied arts

• subdivision of visual arts that include architecture and deisgn

Western art

• Paintings and sculptures have usually been seen as a higher form of
  artistic production than applied (or useful) arts, such as book illustration or wallpaper.

Photographs

• which were once thought of as mere mechanical reproductions of reality, have also been elevated to the status of fine art.

Self-Expression

• One of the most obvious and important reasons that artists make art is to satisfy the need for _________. Through their art, painters, sculptors, architects, photographers, printmakers, designers, and craftspeople are all able to express their personal visions. Their willingness to use art to reveal their inner life gives the work great impact.

The Power of Art for the Artist

• Without artists, there wouldn’t be any art. While a cynical observer might say artists make art to make money, those knowledgeable about art know that few of the millions of artists at work today will ever make a living strictly from sales of their art. The satisfactions of such a difficult and often painful occupation, then, must be more substantial than dreams of wealth.

The Artist at Play

• Visual art has often been used to record personal and artistic suffering, yet it can be an equally effective record of the artist’s joy, such as the simple joy of being creative. A sense of spontaneous playfulness, amusement, and imagination are just some of the ideas that can be conveyed in a work of art.

The Artist’s Memory

• Visual art can also provide a vehicle for memory, a means of recording past experiences. Art can convey the personal experiences of an artist in ways that words cannot. Some artists attempt to capture flashes of memory that read like a scrapbook of consciousness particular to their own life. Through their work, they can use art to relive their past and regain a lost world with memory and imagination.
  

Disinterested contemplation

• During the 18th century, when our category of art came into being, beauty and art were discussed together because both were felt to provide pleasure. When philosophers asked themselves what the character of this pleasure was and how it was perceived, their answer was that it was an intellectual pleasure and that we perceived it through a special kind of attention called ______
  

Photography

• Reason for why art changed all of a sudden

• had been developed during the 19th century. It is now so pervasive that we need to take a moment to realize how revolutionary that change was. From the Paleolithic cave paintings until about 160 years ago, images had to be made by hand. Suddenly, there was a mechanical way based on chemical reactions to light. For some artists, ____ meant the
  end of painting, for manual skills were no longer needed to create a visual record. For artists, it meant liberation from a lifetime spent copying nature.

Subject

• Refers to the literal and visible topic of a work. It encompasses the story, or narrative; the scene presented; the action’s time and place; the persons involved; and the environment and its details. This can be almost anything, but common examples include the nude, war and animals.

Representational/Naturalistic Art

• It is very faithful to visual experience, recording how forms are revealed by light and shadow, how bodies reflect an inner structure of bone and muscle, how fabric drapes over bodies and objects, and how gravity makes weight felt.

Abstract Art

• depicts the forms of the visual world that are purposefully simplified, fragmented, or otherwise distorted. Somewhere between naturalism and abstraction lies stylization.

Stylized

• describes representational art that conforms to a preset style or set of conventions
  for depicting the world

Nonrepresentational Art

• While artists experimented with abstraction, seeing how far art could go without severing its ties to the visible world, other artists at the beginning of the 20th century turned their backs on the visible world altogether as a starting point for art.

• Developed from the search for art’s essence in the wake of the challenge presented by photography.

Style

• term that helps us categorize art by its own appearance is ______

• refers to a characteristic or group of characteristics that we recognize as constant, recurring, or coherent.

Cultural styles

Ex: Aztec style in Mesoamerica

Period or historical style

Ex: gothic style in Europe

School styles

• which are styles shared by a particular group of like-minded artists (Impressionist style).

Form

• is the way a work of art looks. It includes all visual aspects of the work that can be isolated and described, such as size, shape, materials, color, and composition.

Content

• what a work of art is about.. For representational and abstract works, ____  begins with the objects or events the work depicts, its subject matter.

Iconography

• literally “describing images,” involves identifying, describing, and interpreting subject
  matter in art.

• is an important activity of scholars who study art, and their work helps us
  understand meanings that we might not be able to see for ourselves

Context

• Art does not happen in a vacuum. Strong ties bind a work of art to the life of its creator, to the tradition it grows from and responds to, to the audience it was made for, and to the society in which it circulated. These circumstances form the _____

Bringing Faith to Life

• Function of Art where the deepest and most intangible beliefs of a culture can be translated into powerful images that communicate specific spiritual messages to the people who view them as part of their religious rituals. From the beginning of humanity, people have expressed their beliefs in material form. They pictured their gods and goddesses in statues and paintings; they built places for worship and religious rites.

Venus of Willendorf

• One of the very earliest known artworks of the prehistoric hunting period is a tiny carved stone figurine known as the ______

Cave paintings

• The earliest known paintings were also creations of European hunting peoples, but they date from a period ten to fifteen thousand years later than early sculptures.

• these dramatic prehistoric pictures were done by Ice-Age tribes living in areas of what is now France and Spain around 15,000 BC.
  

Rock Art

• Painting and carving in rock walls, known as _____, was not simply a prehistoric European
  phenomenon.

• can be found in North America, Asia, Australia, and all across Africa.

• These sites reveal that art played a vital role in the rituals of tribal peoples for tens of thousands of years. In fact, this role remained uninterrupted until well into the twentieth century.

  
  

Tribal art

• is the art of any area of the world where people lived or still live in a preindustrial or
  preagricultural state—generally without permanent buildings, written language, or modern technology.

• was originally considered crude and uncivilized by Western Europeans and Americans who came in contact with the “undeveloped” cultures that produced it. But at the turn of the nineteenth century, their attitude changed.

• was seen as new and exotic, valued by collectors and artists for its immediacy and impact. More recently there has been an attempt to appreciate and understand the arts of tribal peoples living around the world as an expression of the cultures and beliefs that produced them.

Art Represents Ideals

• Statues of gods and goddesses also have the power to express the ideals of a particular culture in physical form. The art of classical Greece, for example, expresses the Greeks’ cultural ideals of physical beauty and athletic strength. For the Greeks, a strong and healthy body was extremely important, because physical development was considered equally as important as mental and spiritual growth. They sought a perfect balance between body and mind, a natural harmony between muscular prowess,
  grace, mental vigor, and physical beauty.

Art as a Declaration of Power

• Besides expressing spiritual beliefs or cultural ideals, art from the earliest times has been used to declare the power of rulers. The pharaohs of Egypt erected huge structures to declare their strength; Roman emperors constructed triumphal arches in conquered territories. For thousands of years, artists served kings and queens. During the Renaissance, royal images were not just stylized versions of majesty but true portraits.
  

The Ability to Convey Immortality

• In the face of certain death, an artist can defy mortality by creating a work that will keep their talents and their tragedy in the public’s consciousness for decades. Human beings are conscious of death, and for millennia they have used art to overleap the limits of this life.

The Ability to Change Our Beliefs

• Art also has the power to change the way we think, the way we understand the world around us. Many contemporary artists use their work to express political viewpoints, to lead their viewers to a moral lesson.

The Ability to Shock

• Related to art’s power to change our point of view is its power to shock us. In the early twentieth century, many artists wanted to create works that would wake viewers up and shake them out of their preconceptions about art.
  

The Ability to Touch Our Emotions

• Art has the power to make us think, and it can also profoundly touch the emotions of the viewer. Beautiful or controversial works in all mediums can trigger many associations for us: gazing at a landscape painting may remind us of a vacation past, puzzling over a work of geometric abstraction maya bring back memories of tenth-grade math, or a quilt may have the power to evoke family ties and traditions.

The Ability to Awaken Our Senses

• Art has the power to awaken us to realities that we may not have recognized before, to truly open our eyes. In the modern world, the art of photography has become a medium for this kind of artistic revelation—to slow us down, to make us stop and really look.

The Ability to Transform the Ordinary

• One pleasure of looking at art is enjoying a feeling of amazement that an artist has magically transformed ordinary materials into a marvelous work of imagination. Almost all of us apply, or would like to apply, this aesthetic sense to the places in which we live.

Sculpture

• is an artistic form in which hard or plastic materials are worked into three-dimensional art objects. The designs may be embodied in freestanding objects, in reliefs on surfaces, or in environments ranging from tableaux to contexts that envelop the spectator.

Subtractive processes

• the sculptor begins with a mass of material larger than the finished work and removes material, subtracting from that mass until the work achieves its finished form. Carving is a subtractive process.

Additive processes

• the sculptor builds the work, adding material as the work proceeds. Modeling, construction, and assemblage are ________.

Casting

• in which material in a liquid state is poured into a mold and allowed to harden, has additive aspects, but it is in many ways a process of its own

Earthworks

• often utilize both additive and subtractive processes.

Installations

• are essentially additive, transforming a given space by addition of new elements, including the live human body.

Relief

• It is a type of sculpture in which figures are attached to a background and project from it to some degree. It is meant to be seen from one side only—in other words, it is frontal, meant to be viewed from the front—and it is very often used to decorate architecture.

Low relief

• also called, bas-relief

• the figures project minimally, as on a coin.

High relief

• figures project substantially from the background, often by half their full depth or more.

Sunken relief

• outlines are carved into the surface and the figure is modeled within them, from the surface down.

Sculpture in the Round

• It is a work fully finished on all sides and standing free of a background. It is meant to be seen from all sides, and the viewer must move around it. The sculpture changes dramatically as the viewer walks around it and experiences it from each side.

Environment

• is a sculptural space into which you can physically enter either indoors, where it is generally referred to as an installation, or out-of-doors, where its most common form is that of the earthwork.

Stone

• is an extremely hard, earthen material that can be carved, scraped, drilled, and polished. The durability that makes stone, or rock—in all of its myriad aggregates including granite, marble, limestone, jade, and basalt—so appropriate for monuments and statues meant to outlive generations is also what makes working with it a tedious process.

Granite

• used by ancient Egyptians—mostly quarried near Aswan—made it almost impossible to render fine detail, one reason that their figures were simplified and stay close to the shape of quarried blocks.

Marble

• by contrast, is a relatively soft stone and more conducive to carving and delicate detail. The Greeks, who manipulated ____ with great facility, acquired most of their material from islands in the Aegean.

Wood

• like stone, may be carved using a variety of tools and, like stone, possesses different degrees of hardness that affect its workability and durability.

• Its tensile strength exceeds that of stone, so parts of a ___ sculpture that protrude are less likely than their stone counterparts to break off. On the other hand, stone is less impervious to disintegration over time.

Clay

• is a naturally occurring material that is more pliable than stone or wood.

• Often preserve the evidence of the artist’s direct handling of the medium, such as fingerprints and handprints.

• has little strength, and it is not typically considered a permanent material—unless it is exposed to heat, as in ceramics.
  Sculptors have always used this to make three-dimensional sketches, or models, for works that are then cast in more durable materials such as bronze.
  

Metal

• Sculptors use any number of techniques including extruding, forging, stamping, drilling, filing, and burnishing to manipulate the material, mark it, and polish it.

• Contemporary artists have also assembled direct-___ sculptures, often of steel, by welding,
  riveting, and soldering.

• Modern adhesives have also made it possible to glue sections of ____ together into three-
  dimensional construction
  

Modeling

• It is the manipulation of a plastic material such as clay or wax to create a form

Casting

• The process of making a sculpture or some other object by pouring a liquid into a mold, letting it harden, and then releasing it. Common materials used for casting include bronze, plaster, clay, and synthetic resins.

• It is an invention of the Bronze Age (beginning in approximately 2500 BCE), when it was first used to make various utensils by simply pouring liquid bronze into open-faced molds.

Lost-wax process

• It is a bronze-casting method in which a figure is molded in wax and covered with clay; the whole is fired, melting away the wax and hardening the clay; and the resulting hardened mold is then filled with molten metal.

Carving

• It is a subtractive technique in which a mass of material such as stone or wood is shaped by cutting and/or abrasion

Wood and stone

• two most common carving materials.

Assembling/Assemblage

• The technique of creating a sculpture by grouping or piecing together distinct elements, as opposed to casting, modeling, or carving.

• imore often associated with the transformation of common materials into art, in which
  the artist, rather than forming all of the parts that are put together, finds the parts in the world.

Constructed sculpture

• is built or constructed from an assortment of materials—pieces of wood, sheet metal, wire,
  plastic, cardboard, found objects, just about anything.

Architecture

• It is the art and technique of designing and building, as distinguished from the skills associated with construction.

• is employed to fulfill both practical and expressive requirements, and thus it serves both utilitarian and aesthetic ends.

• Of all the arts, ____ probably
  has the greatest impact on our daily lives. It shapes the immediate environments in which we live, work, or entertain ourselves.

Shell system

• one building material provides both structural support and sheathing (outside
  covering). Buildings made of brick or stone or adobe fall into this category, and so do older (pre-19th-century) wood buildings constructed of heavy timbers, the most obvious example being the log cabin. The structural material comprises the walls and roof, marks the boundary between inside and outside, and is visible as the exterior surface.

Skeleton-and-skin system

• might be compared to the human body, which has a rigid bony skeleton to
  support its basic frame and a more fragile skin for sheathing. We find it in modern skyscrapers, with their steel frames (skeletons) supporting the structure and a sheathing (skin) of glass or some other light material.

Tensile strength

• refers to the amount of tensile (stretching) stress a material can withstand before it
  bends or breaks. As applied to architecture, it especially concerns the ability of a material to span
  horizontal distances without continuous support from below.

Load-Bearing Construction

• also called “stacking and piling”

• the simplest method of making a building, and it is suitable for brick, stone, adobe, ice blocks, and certain modern materials. Essentially, the builder constructs the walls by piling layer upon layer, starting thick at the bottom, getting thinner as the structure rises, and usually tapering inward near the highest point.

Post-and-Lintel

• is the most elementary structural method, based on two uprights (the posts) supporting a horizontal crosspiece (the lintel, or beam).

• has been, for at least four thousand years, a favorite method of architects for raising a roof and providing for open space underneath

Round Arch and Vault

• Although the round arch was used by the ancient peoples of Mesopotamia several centuries before our common era, it was most fully developed by the Romans, who perfected the form in the 2nd century B.C.E.

• The arch has many virtues. In addition to being an attractive form, it enables the architect to open up fairly large spaces in a wall without risking the building’s structural soundness. These spaces admit light, reduce the weight of the walls, and decrease the amount of material needed.

Vault

• A tunnel or barrel vault simply places arches behind one another until a desired depth is reached. In this way, impressive spaces may be roofed, and tunnels may be constructed. 

Groin vault

• results when two barrel vaults are crossed at right angles to each other, thus directing the weights and stresses down into the four corners.

Ribs

• Architects of the Gothic period found they did not need heavy masses of material
  throughout the curve of the vault, as long as the major points of intersection were reinforced. These reinforcements are called _____

Dome

• is an architectural structure generally in the shape of a hemisphere, or half globe.

Cast-Iron Construction

• With the perfection of the post-and-lintel, the arch, and the dome, construction in wood, stone, and brick had gone just about as far as it could go. Not until the introduction of a new building material did the next major breakthrough in structural systems take place. Iron had been known for thousands of years and had been used for tools and objects of all kinds, but only in the 19th century did architects realize that its great strength offered promise for structural support.

Steel-Frame Construction

• a true skeleton-and-skin arrangement. Rather than piling floor upon floor, with each of the lower stories supporting those above it, the builders first erect a steel “cage” that is capable of sustaining the entire weight of the building; then they apply a skin of some other material.

Suspension

• is the structural method we associate primarily with bridges. The concept of suspension was developed for bridges late in the 19th century. In essence, the weight of the structure is suspended from steel cables supported on vertical pylons, driven into the ground.

Reinforced Concrete

• also known as ferroconcrete

• has been used in a wide variety of structures, often in those with free-form, organic
  shapes. Although it may seem at first to be a skeleton-and-skin construction, ferroconcrete actually works more like a shell, because the iron rods (or sometimes a steel mesh) and concrete are bonded permanently and can form structures that are self-sustaining, even when very thin.

Tetrahedron

• a three-dimensional geometric figure having four faces.

Geodesic Dome

• Of all the structural systems, probably the only one that can be attributed to a single individual is the _____, which was developed by American architectural engineer R. Buckminster Fuller.

• - Fuller’s dome is essentially a bubble, formed by a network of metal rods arranged in triangles and further organized in to tetrahedoms.

1500 CE

When did painting, sculpture, and architecture came to be thought of as more elevated forms of art.

Painting

Properties of Painting

• A visual product of intentional activity

• An artifact that endures beyond a viewer’s experience of it 

• A visual representation that is most naturally seen via its vertical and horizontal axes being perpendicular to a spectator’s line of vision

• A surface composed of discrete marks so as to realize a cumulative visual effect

• A surface composed of discrete marks so as to realize a cumulative visual effect

• A surface covered in a viscous medium, such as oil paint, tempera, gouache, or acrylic, the recognition of which as such is of artistic or aesthetic interest

• A depiction that permits content to be recognized in a configuration of lines, shapes, and colors

• A work of art

• An artifact created in light of and with reference to otherr artifacts identified as paintings

• A marked surface that serves as a conduit via which “the mental state of an artist makes itself felt within the mind of a spectator…”

Figurative painting

• depicts recognizable subjects from the real world, such as people, animals, or objects, even if they are stylized or semi-abstract.

Abstract paintings

• might represent a mood or an idea.

• are not depictive—they don’t offer an experience as if of the visual properties of what they represen. Sometimes its because what they represent has no visual property, as in the case of abstract ideas.

• Presented so as to elicit an aesthetic interest in its formal qualities and its decorative qualities

Formal qualities of an abstract painting

• the appearance and relations among its shapes, colors, lines, how its elements are
  arranged

Decorative qualities of an abstract painting

• without an attribution of content or meaning to those marks.

A Painting’s Configurational Dimensions

• the design and arrangement of its marks, colors, shapes, and other features of its literal surface (form).

Ex: lines, brushstrokes, shapes, and colors

A Painting’s Representational Dimensions

• the object of which it presents a visual experience.

Ex: symbolic and expressive properties to its content

Medium

• pigment, powdered color, compounded with a medium or vehicle, a liquid that holds the particles of pigment together without dissolving them. The vehicle generally acts as or includes a binder, an ingredient that ensures that the paint, even when diluted and spread thinly, will adhere to the surface. Without a binder, pigments would simply powder off as the paint dried.

• In other terms, can be the pigment used, the oil to dilute the pigment, or even the canvas itself

ENCAUSTIC

• this kind of paint consist of pigment mixed with wax and resin.

• When the colors are heated, the wax melts and the paint can be brushed easily.

• When the wax cools, the paint hardens.

• After the painting is completed, there may be a final “burning in” as a heat source is passed close to the surface of the painting to fuse the colors.

FRESCO

• pigments are mixed with water and applied to a plaster support, usually a wall or a ceiling coated in plaster.

• is above all a wall-painting technique, and it has been used for large-scale murals since ancient times. Probably no other painting medium requires such careful planning and such hard physical labor. The plaster can be painted only when it has the proper degree of dampness; therefore, the artist must plan each day’s work and spread plaster only in the area that can be painted in one session.

• There is nothing tentative about _____. Every touch of the brush in this is a commitment. The only way an artist can correct mistakes or change the forms is to let the plaster dry, chip it away, and start all over again.

Fresco secco

• pigments are mixed with water and applied to a plaster support, usually a wall or a ceiling coated in DRY plaster.

• Italian for “dry fresco”

Buon Fresco

• “true fresco,”

• But most often when speaking about fresco, we mean ________, in which
  paint made simply of pigment and water is applied to wet lime plaster.

• As the plaster dries, the lime undergoes a chemical transformation and acts as a binder, fusing the pigment with the plaster surface.

TEMPERA

• shares qualities with both watercolor and oil paint.

• Like watercolor, it is an aqueous medium.

• Like oil paint, it dries to a tough, insoluble film.

• Technically, it is paint in which the vehicle is an emulsion, which is a stable mixture of an aqueous liquid with an oil, fat, wax, or resin.

Casein

• A derivative of milk called _____ is one of the many vehicles that can be used to make tempera colors.

Egg yolk

• The most famous tempera vehicle, however, is another naturally occurring emulsion

Oil paints

• consist of pigment compounded with oil, usually linseed oil. The oil acts as a binder, creating as it dries a transparent film in which the pigment is suspended.

• The word “painting” in Western culture was virtually synonymous with “oil painting.” Only since the 1950s, with the introduction of acrylics, has the
  supremacy of _____ been challenged.

• dries very slowly, allowing artists far more time to manipulate the paint. Colors
  can be laid down next to each other and blended softly and seamlessly. They can be painted wet on wet, with a new color painted into a color not yet dry. -

• They can be scraped away partially or altogether for revisions or effects. Again unlike tempera, ______ can be applied in a range of consistencies, from very
  thick to very thin.